sec ond ary - canberra theatre...wuthering heights, is boldly adapted in this clever and appealing...

SEC OND ARY

1

CANBERRA THEATRE CENTREPart of the Cultural Facilities Corporation, which is an agency of the ACT Government.

PO Box 226, Civic Square, Canberra ACT 2608

Phone 02 6275 2777 Fax 02 6230 1098

[email protected]

canberratheatrecentre.com.au

Director

Bruce Carmichael

Programming Manager Gill Hugonnet

Education Officers Tori Cordova & Tony Martin

[email protected]

CANBERRA TICKETINGPhone 02 6275 2777 Fax 02 6230 1098

[email protected]

CULTURAL FACILITIES CORPORATIONBOARD CHAIR Mr John Hindmarsh AM

CHIEF EXECUTIVE OFFICER Ms Harriet Elvin

CHIEF FINANCE OFFICER Mr Ian Tidy

BOARD MEMBERSMs Louise Douglas, Ms Harriet Elvin (CEO), Ms Robyn Hendry, Mr Eugene Kalenjuk, Ms Virginia Haussegger AM

Principal partner

sponsors

2

A NOTE FROM THE EDUCATION TEAM

Experiencing the arts is essential for all children and young people. The arts must be part of their learning. The arts link their real world with imaginative worlds. Exploring the arts offers a wide range of impressions and sensations, which can help them understand how they fit into our community. As Minister for Small Business and the Arts, it is important to me that we also cultivate in our children an appreciation of the performing arts and all they have to offer.

Canberra Theatre Centre’s Education Program provides exciting opportunities to explore creativity and imagination across the curriculum for all students from early learning to year 12. In 2015, Canberra Theatre Centre welcomed over 230 schools with more than 9000 students from the ACT and surrounding region.

2016 will see a wide range of productions from Australia and beyond that provide many exciting learning opportunities for students and teachers alike to engage with the arts. This season reflects the diversity of the Australian Curriculum and the growing need to support cross-curricula learning. The arts are now a basic entitlement for all students.

This year, Canberra Theatre Centre is bringing six different productions for primary school students. Adding to this theatre experience are the partnerships that allow programs such as library readings, workshops and incursions that link with each show. For secondary and college students, there are ten productions and a range of engaging opportunities such as Q&A sessions with artists, workshops, together with resource kits for teacher to extend learning in the classroom.

Each year, students in year 11 and 12 have the opportunity to receive specialised training by the Centre’s experienced staff as part of their Vocational Education and Training (VET) program. This involves working with Lighting Designers, Sound Engineers, Mechanists and Technical Staff on professional shows, learning what it takes to get a show up and running from behind the scenes. In 2014 and 2015, six students completed the Certificate III in Live Theatre Production and Services with the help of the Centre.

The Work Experience Program continues to evolve in 2016. In 2015, 17 students were selected from years 10-12 to complete a week of work experience at Canberra Theatre Centre. They worked on some of the largest productions seen onstage during the year, learning how a major commercial theatre operates its backstage, box office, marketing and front of house.

In June, Canberra Theatre Centre is producing Acting Up! , a showcase of short plays by secondary students. The works are written and acted by students.

The Canberra Theatre Centre’s Education Team are leaders in arts education in the ACT and the region offering a range of high quality opportunities to learn. I am proud of the work they are doing to enhance the love of theatre for students and teachers.

I encourage you to consider the opportunities in this brochure and engage with the Centre to provide students with enriching, empowering and exciting experiences that will assist them to learn and grow as creative and vibrant individuals.

Dr Chris Bourke, MLA Minister for Small Business and the Arts

ARTS MINISTER’S MESSAGE

MORE THAN

9000 STUDENTS

ENJOYED THE THEATRE

IN 2015

3

Each year we look forward to the launch of our education season. Nothing is more exciting in Theatre than raising the grand drape and drawing back the curtains to reveal a new show. And this year is no exception! We offer a wonderful variety of productions full of opportunities to stimulate and enhance your student’s learning experiences and provide a forum for valuable discussion long after the curtain falls.

Delivering a literary classic with a contemporary twist, shake + stir’s Wuthering Heights invites students to explore the themes and issues presented in the original text; a perfect introduction to Gothic Theatre. Belvoir’s award winning The Glass Menagerie graces our stage, honouring the original directions and notes as a legendary playwright intended. English and Drama students immerse yourselves in this melodramatic masterpiece and revel in the art and the technique.

New Australian works provide a plethora of opportunities to investigate intriguing themes, events and mindsets. Sugarland by Australian Theatre for Young People gives you the chance to experience the stories of youth growing up in today’s remote outback Australia. Themes of culture, diversity, sustainability and teenage social issues are brought to the forefront with this unique set of voices. State Theatre Company of Australia and Frantic Assembly’s Things I Know to be True will challenge your students through Bovell’s thought provoking script with something for the movement actor as they watch Frantic Assembly’s remarkable collaboration at work. The tumultuous heart of Australia is revisited in Merrigong Theatre Company’s Letters to Lindy and Geelong Performing Arts Centre & Red Stitch Actors Theatre’s Extinction, which asks us to understand how each person’s foot print affects the world as we know it and to commit to personal goals of sustainability … while we still can!

Drama, Dance and Music once again combine beautifully in Sydney Dance Company’s CounterMove and local talent is showcased through the joy of Canberra’s own Quantum Leap Youth Dance Ensemble and local choreographer James Bachelor’s FACES.

Bell Shakespeare once again returns with their unique offerings. This time, with the beautiful and intimate Romeo and Juliet and gripping and passionate Othello. It is interesting how the Shakespeare themes are still so alive and relevant in our modern society and particularly with youth!

A NOTE FROM THE EDUCATION TEAM

WELCOME TO OUR

STIRRING SECONDARY

SCHOOL PROGRAM

FOR 2016!

For those of you who are studying ‘Theatre for Young People’ don’t forget to check out our vibrant Primary Education Program available online. Click here.

We understand how important it is to connect these performance experiences with your unit programming which is why we have selected the variety of productions that support ‘Essential Learning Achievements’ and ‘Content Descriptions’ across both the Australian and Every Chance to Learn Curriculums. You will find a glossary of the links following the show pages.

Take a moment to check out our ‘From the Education Officer’ comment on each show page, where we highlight and suggest learning opportunities and teaching moments for each production, to assist in your planning.

Don’t forget to contact us at any time if you have questions or are looking for a specific way to link your program to the curriculum, we just may be able to help!

SEE YOU IN THE FOYER!

Tori Cordova & Tony Martin Canberra Theatre Centre Education Officers

4

SEXY AND SUMPTUOUS…XS Entertainment

THE PLAYHOUSE

9–11 MARCH

Ph

oto

gra

phy

by

Dyl

an E

van

s

SHAKE & STIR THEATRE CO AND QUEENSLAND PERFORMING ARTS CENTRE

Wuthering Heights BY EMILY BRONTË CREATED & ADAPTED BY SHAKE & STIR THEATRE CO

Emily Brontë’s gothic masterpiece, Wuthering Heights, is boldly adapted in this clever and appealing production that drags you into its dark world and doesn’t let you go until the final word is spoken.

LOVE IS A DIRTY WORD When Heathcliff, a mysterious boy is rescued from the street and brought to Wuthering Heights, he develops a passionate bond with Cathy Earnshaw and a repulsive distrust of her brother Hindley. As time passes, Heathcliff and Cathy’s relationship deepens to the point

of dangerous obsession, until one day, Cathy marries another man. Overcome with jealousy, Heathcliff flees the Heights only to return, years later, ready to exact revenge on those he believed ruined his one chance at happiness.

Featuring breathtaking design and a stellar cast, shake & stir invites you to drop by the Heights and settle in for this classic story, retold.

ADAPTOR AND DIRECTOR Nick Skubij

COSTUME DESIGNER Leigh Buchanan

SET DESIGNER Josh McIntosh

LIGHTING DESIGNER Jason Glenwright

SOUND DESIGNER Guy Webster

PROJECTION DESIGNERS optikal bloc

WITH Nelle Lee

Ross Balbuziente

s ake&s irh ttheatrecos ake&s irh ttheatreco

5

DATES & TIMES 11am, Wednesday 9 March & Friday 11 March

AVAILABILITY Term 1

SUITABILITY Years 9 – 12

RUNNING TIME 140 minutes including interval + Post show Q&A

WARNINGS Bright lights, loud noises, infrequent coarse language and simulated violence

PRICES $20 per ticket (1 teacher free per 15 students)

FROM THE EDUCATION OFFICERIf you have not heard about shake & stir before, this is the perfect opportunity to immerse yourself in their innovative approach to bringing classics to the contemporary stage. Whether you are a Drama or English teacher this production of Wuthering Heights provides many exciting learning opportunities. Have your students review the core literary themes in both the book and stage setting and decide if they are enhanced through visual actions and actor delivery; or does the imagination of a reader have the same impact. Is there a subtlety in the spoken word? Are the secondary plots emphasized as in the book? Is the audience asked to make leaps of event/story continuity when time is of the essence! Are characters multidimensional or are they influenced by the character of the actor? Are you studying Australian Gothic Theatre? Haven’t read the book? Explore the creative decisions of the designers, the projections, the set, the lighting and sound, the costumes! Does the stage show use the Fourth Wall? How? What theatrical techniques have been used to enhance this faithful adaptation of a Brontë Classic! Themes include Love vs. Passion, Birth vs. Death, Injustice vs. Prejudice. What modern stories in book or theatre have similar themes?

AUSTRALIAN CURRICULUM YEAR 9 YEAR 10

English Language ACELA1564

Literature ACELT1771 ACELT1640

Literacy ACELY1749

SENIOR SECONDARY

Language ACEEN008, ACEEN024, ACEEN027, ACEEN038, ACEEN043, ACEEN058, ACEEN079

Literature ACELR004, ACELR006, ACELR020, ACELR038, ACELR056, ACELR059

YEARS 9 & 10

The Arts Drama ACADRR053

ACT EVERY CHANCE TO LEARN EARLY ADOLESCENCE LATER ADOLESCENCE

ELA 1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 11.EA.3, 11.EA.5, 25.EA.1

1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 11.LA.3, 11.EA.5, 25.LA.1

ACT BSSS UNIT

Performing Arts – Drama Design for the Stage

Sound & Light Design

Ensemble Production

The Director

Taking it to the Stage

English – Literature & English – Integrating Australian Curriculum

WORKSHOPS Gothic Theatre Workshop Available! Click to express your interest today!

DOWNLOAD THE BOOKING FORM

DOWNLOAD THE RISK ASSESSMENT FORM

WATCH VIDEO

6

JAMES BATCHELOR IS RAPIDLY CARVING

OUT A NAME FOR HIMSELF AS ONE OF AUSTRALIA’S

MOST INTERESTING YOUNG DANCE

PRACTITIONERS.Bill Stephens, City News

THE COURTYARD STUDIO OR YOUR SCHOOL

6-8 APRIL

CANBERRA THEATRE CENTRE PRESENTS

FacesCHOREOGRAPHED BY JAMES BATCHELOR & COLLABORATORS

AWARD WINNING AND CRITICALLY ACCLAIMED CHOREOGRAPHER FROM CANBERRA James Batchelor, returns with an original and thoughtful contemporary dance performance, FACES. This brand new piece of work is an interpretation of the images from the First World War. Between March 1916 and November 1918 more than 295,000 Australians served in the Australian Imperial Force (AIF) in France and Belgium, which was known as the Western Front. Of these, some 132,000 became casualties and 46,000 lost their lives.

In FACES, documents from the Western Front including photographs, maps and letters are brought into a physical yet translucent world of overlapping images. Moving fluidly across a glistening surface, the performance continuously folds and manipulates body and object. Time is expanded and warped in this unpredictable space, as anonymous bodies and faces appear in and out of focus. We are reminded of the uncertainty of war and its immortal traces as we are left to contemplate a distant yet ever present memory and its place in the modern world.

CREATOR & PERFORMER James Batchelor

ORIGINAL SOUND DESIGNMorgan Hickinbotham

7

DATES & TIMES 11am & 1pm, Wednesday 6 April, 11am, Thursday 7 April & Friday 8 April

AVAILABILITY Term 1


RUNNING TIME 50 minutes, no interval + Preshow intro & Post show Q&A

PRICES $15.50 per ticket (1 teacher free per 15 students)

FROM THE EDUCATION OFFICERJames Batchelor returns to Canberra, to give his home audiences a chance to see his inspiring work first hand. The uniqueness and flexibility of this show means that we can bring it to your school. The themes explored in this production bring to light events sometimes forgotten in our history as they are not as widely talked about. Discuss the Western Front with your students, when was it? What did it mean to Australia? Have them imagine themselves as one of the characters represented. Discuss how these themes were interpreted through dance. How does contemporary dance create a platform for this story to be told? Dance and movement students, create your own interpretation of an image or letter used in the production. What techniques did they use and why? Reflect on these choices and compare to the class and to the Faces production. How do they differ? How do they become a personal story? English students may be inspired to use this technique as a creative response to a text they are studying.

AUSTRALIAN CURRICULUM YEARS 9 & 10

The Arts Dance ACADAR026

Drama ACADRR053

Music ACAMUR104

Humanities & Social Sciences

History World War I (1914-1918)

Senior Secondary – Modern History


ELA 1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 23, 25.EA.1

1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 23, 25.LA.1

ACT BSSS UNIT

Performing Arts – Dance Contemporary Dance

Dance in our Time



Ensemble Production

The Director


Performing Arts – Music Ensembles

Modern History integrating Australian Curriculum

EXPRESS YOUR INTEREST Click to email us if you are interested in hosting this performance at your school?



8

...A BEAUTIFULLY-CALIBRATED PLAY, PITCHED PERFECTLY TO THE ADOLESCENT EAR AND WITH

A COMPASSION FOR ITS CHARACTERS THAT TRANSCENDS THE ALLIANCE OF SIMILAR AGES

Aussie Theatre, Sydney

THE COURTYARD STUDIO

FRIDAY 6 MAY

CANBERRA THEATRE CENTRE PRESENTS

Sugarland BY AUSTRALIAN THEATRE FOR YOUNG PEOPLE (ATYP)TOURED BY PERFORMING LINES

SUGARLAND PROVIDES A GLIMPSE INTO A TEENAGE AUSTRALIA THAT FEELS LIKE A FOREIGN COUNTRY. THIS EXCEPTIONAL NEW PLAY WILL MAKE YOU LAUGH, CRY AND STAY WITH YOU LONG AFTER YOU LEAVE THE THEATRE. Nina is 16 years old, good at school, has a job at the cinema and one of the best singing voices around. But none of that is important. She needs a place to live. Living with her Aunty in an overcrowded house, things aren’t going well, and it’s getting complicated.

Erica is 16 and the new girl in town. Her Dad’s in the RAAF and the family’s just moved to Katherine. She’s lived all over Australia and every time makes somewhere home, she moves again. She’s so used to being an outsider, she’s stopped trying to fit in.

The only thing they have in common is the music they listen to. Sometimes that’s enough.

WRITERSRachael Coopes with Wayne Blair

DIRECTORSFraser Corfield

SET DESIGNJacob Nash

COSTUME DESIGNRuby Langton-Batty

LIGHTING DESIGNJuz McGuire

SOUND DESIGNGuy Webster

Sugarland is toured by Performing Lines for Blak Lines, and was commissioned and developed by Australian Theatre for Young People (ATYP). The original production was co-directed by Fraser Corfield and David Page. Sugarland is supported by the NSW Government

through Arts NSW, and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Ph

oto

: Tra

cey

Sch

ram

m

9

DATES & TIMES 10am, Friday 6 May

AVAILABILITY Term 2


RUNNING TIME 80 minutes, no interval + Post show Q&A

WARNINGS Coarse language, drug use, simulated self-harm


FROM THE EDUCATION OFFICERThis new Australian work by ATYP is written for your students. It challenges the expectations of what ‘Youth Theatre’ is and invites the audience into a world rarely experienced by the majority of Australians. Are you studying Australian and Indigenous Theatre? These strong teenage voices make us think and talk about youth social issues, and provides an important and valuable classroom discussion opportunity. Have your students think about these characters, do they relate? Have they seen characters like them before? How do they differ from the usual characters in stories they have read? This show provides links to a very diverse range of subjects and forms the basis of an excellent catalyst to develop discussion and debate about youth and cultural norms, differences and influences. An opportune time to think about culture, what it means to be me and to belong to a place. Is it different for each person? Do they think that these issues are universal or more prevalent in remote communities? Why?


English Language ACELA1551 ACELA1564


Literacy ACELY1739 ACELY1749

SENIOR SECONDARY

Language ACEEN024, ACEEN027, ACEEN038, ACEEN063

Literature ACELR004, ACELR006, ACELR037, ACELR038, ACELR040, ACELR059

Cross Curriculum Priority – Aboriginal and Torres Strait Islander Histories and Cultures

YEARS 9 & 10



ELA 1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 11.EA.5, 21.EA.1, 21.EA.2, 21.EA.5, 21.EA.8, 25.EA.1

1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 11.LA.3, 11.EA.5, 21.LA.2, 21.LA.5, 21.LA.6, 25.LA.1

ACT BSSS UNIT

Performing Arts – Drama Australian Theatre

Design for the Stage

Devised Theatre

Ensemble Production

The Director

English – Literature

English – integrating Australian Curriculum

WORKSHOPS Are available with the Cast Click to express your interest today!



WATCH VIDEO

10

THE PLAYHOUSE

FRIDAY 6 MAY

BELVOIR

The Glass Menagerie BY TENNESSEE WILLIAMS

Ph

oto

: Bre

tt B

oar

dm

an

PROFOUNDLY MOVING…BEAUTIFULLY DONE…

BREATHTAKING The Australian

Tennessee Williams was one of the greatest American playwrights of the 20th century. The Glass Menagerie is his most loved play. Put in the hands of Belvoir Artistic Director Eamon Flack, this production delivers on every account – winning Best Play and Best Actress at the 2015 Helpmann Awards.

A beautiful, slightly haunting play, The Glass Menagerie follows a family as it falls apart-along with the dreams that had given them some fragmented substance. Amanda Wingfield is a single mother played by the great Pamela Rabe. Her son Tom, (Luke Mullins) is an aspiring poet who works in a warehouse, her daughter Laura is studying to become a secretary. They live in a small

apartment pent up with fantasies and urges, rage and wounded tenderness. It is not a magnificent existence, but each has one true idea for a better life. Enter the Gentleman Caller …

THREE FAMILY MEMBERS EACH WITH ONE TRUE IDEA FOR A BETTER LIFE.The work is touching, depicting how change affects the individual (as well as the group), even as it rips them asunder.

DIRECTOR Eamon Flack

STARRING Harry Greenwood, Luke Mullins

Pamela Rabe, Rose Riley

SET DESIGNER Michael Hankin

COSTUME DESIGNER Mel Page

LIGHTING DESIGNER Damien Cooper

COMPOSER & SOUND DESIGNER Stefan Gregory

VIDEO DESIGN CONSULTANT Sean Bacon

ASSISTANT DIRECTOR Jada Alberts

DIALECT COACH Paige Walker-Carlton

11

DATES & TIMES 11am, Friday 6 May

AVAILABILITY Term 2


RUNNING TIME 150 minutes including interval + Post show Q&A


FROM THE EDUCATION OFFICERIf you are looking for an opportunity to see this 20th Century theatre classic as it’s author truly intended then bring your students to this production. Eamon Flack and his team have honoured Tennessee Williams’ most personalised drama through gorgeous period costumes, a naturalistic and evocative set as well as American accents. He follows William’s stage directions exactly, including the inter-title screens that are in the original text. Whether your students are studying the text, the author or simply wish to see a very entertaining quality play by a classic playwright this production provides many moments to enhance their learning. How does the introduction of media support the story? Many directors ignore these stage directions, why do you think they do? What would you do? How would your experience of the production differ without this element? Or, look at the theme of “Fitting in”, what does it mean? How is it relevant to you? As with Tennessee Williams in his own life and his heightened melodramatic self in Menagerie, how did conforming to this expectation affect his life?




Literacy ACELY1749

Senior Secondary – English & English - Literature

YEARS 9 & 10




1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 11.LA.3, 11.EA.5, 25.LA.1

ACT BSSS UNIT



Ensemble Production

The Director






WATCH VIDEO

12

Ph

oto

by

Iren

aeu

s H

ero

k. D

ance

r B

ern

har

d K

nau

er

WITTY, EFFERVESCENT AND PLAYFULThe Australian (Cacti)

SYDNEY DANCE COMPANY

CounterMove CANBERRA THEATRE

FRIDAY 20 MAY

Sydney Dance Company’s CounterMove explores luminescence and life, humour and darkness in a double bill that celebrates the exhilaration and physicality of some of Australia’s finest dancers.

From Swede Alexander Ekman – one of the world’s most exciting choreographers – comes a hilarious, affectionate tribute that parodies modern art: Cacti. Ekman’s witty and energetic piece, employing the full company and a string quartet, will take you in with a knowing wink, then surprise with its bracing physicality.

Time Out Sydney lauded Cacti for its ‘infectious playful energy and absolutely incisive wit’. Crikey.com called it ‘blindingly brilliant’ and the Daily Telegraph noted the audience’s laughter was ‘impossible to suppress’.

SUBVERSIVE, ENTERTAINING AND BRILLIANTLY CONCEIVEDRafael Bonachela’s world premiere, Lux Tenebris, provides the perfect contrast: it is a deeply emotional exploration of light, darkness and beauty emerging from a dusky sonic landscape by composer and long-term Sarah Blasko collaborator Nick Wales.

CHOREOGRAPHERSRafael Bonachela Alexander Ekman

LIGHTING AND STAGE DESIGNERS Benjamin Cisterne Alexander Ekman

Thomas Visser

ORIGINAL MUSIC BY Nick Wales

13

DATES & TIMES 11.30am, Friday 20 May

AVAILABILITY Term 2


RUNNING TIME 120 minutes including interval, Pre-show introduction and Post-show Q&A


FROM THE EDUCATION OFFICERA double bill full of contrasts. The title CounterMove, by its definition, means “a move or an action made in opposition of another.” Compare the two pieces, analyse the elements, how did a live string quartet onstage differ to a recorded soundtrack? Humour, light, darkness, feelings, atmospheres, space and time are all explored. What responses did you have to the pieces? What inspires you when you are creating a performance piece? What techniques could you use in your own creation? Dance, music and drama students, there is something here for everyone.

AUSTRALIAN CURRICULUM YEARS 7 & 9 YEARS 9 & 10

The Arts Dance ACEEN008 ACADAR026

Drama ACADRR045 ACADRR053

Music ACAMUR097 ACAMUR104


ELA 1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 25.EA.1

1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 25.LA.1

ACT BSSS UNIT


Dance in our Time



Ensemble Production

The Director



WORKSHOPS Are available with Sydney Dance Company. Click to express your interest today!



WATCH VIDEO

14

BOVELL’S HYPNOTIC, POETIC USE OF

LANGUAGE …(IS) PIERCINGLY BEAUTIFUL

Arts Hub

Ph

oto

: Kri

s W

ash

use

n

STATE THEATRE COMPANY OF SOUTH AUSTRALIA AND FRANTIC ASSEMBLY (UK)

Things I Know To Be True BY ANDREW BOVELL

BRILLIANT THEATRE PARTICULAR TO OUR TIME AND PLACEThe Price family appears to be living the Australian dream – a loving household, a quarter acre block where time is measured by the seasonal changes in working class patriarch Bob’s beloved roses. The four kids have grown up and spread their wings, with only the youngest, Rosie, still at home. As the seasons turn, their story becomes darker and more difficult. But with complexity comes richness, resolution and meaning.

Epic in scope while deeply human in focus, Things I Know To Be True tugs at your heart while asking big questions about what keeps us going.

A newly commissioned play from one of our greatest contemporary playwrights, Andrew Bovell, (The Secret River, When the Rain Stops Falling and Lantana) is cause enough for celebration – but add to that an international collaboration with the extraordinary Frantic Assembly, (The Curious Incident of the Dog in the Night-time) a brilliant cast including stage icon Paul Blackwell, the outstanding Nathan O’Keefe (Betrayal, The Importance of Being Earnest) and introducing rising star Tilda Cobham-Hervey, and you have the ingredients of something special.

DIRECTORS Geordie Brookman

& Scott Graham

SET AND LIGHTING DESIGNER Geoff Cobham

COSTUME DESIGNER Ailsa Paterson

WITH Paul Blackwell

Tilda Cobham-Hervey Eugenia Fragos Nathan O’Keefe

Tim Walter

THE PLAYHOUSE

THURSDAY 9 JUNE

15

DATES & TIMES 11am, Thursday 9 June

AVAILABILITY Term 2


RUNNING TIME TBC + Post show Q&A


FROM THE EDUCATION OFFICERWhether you’re bringing your students along to get a taste of this latest work by Andrew Bovell or you’re studying movement theatre, this is a perfect opportunity to introduce both topics. Study Bovell’s script and ask a question, what keeps us going? Themes of family, life, time, season and change are all addressed. Frantic Assembly’s collaboration adds another whole level to the drama; discuss the techniques used by the movement artists and how the cast were able to deliver the directions successfully. Watch the video of a Master Class run by Frantic Assembly. What do you feel the important attributes of a movement artist are? Do you think these attributes, which create trust, made the cast work more as one being? Did they have fluidity in their movement and blocking due to this trust?


English Literature ACELT1634 ACELT1640


SENIOR SECONDARY

Language ACEEN024, ACEEN027, ACEEN038, ACEEN063

Literature ACELR004, ACELR006, ACELR037, ACELR038, ACELR059

YEARS 9 & 10




1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 11.LA.3, 11.EA.5, 25.LA.1

ACT BSSS UNIT


Devised Theatre

Ensemble Production

The Director


Voice and Movement





WATCH VIDEO

WATCH VIDEO

WATCH VIDEO

16

GEELONG PERFORMING ARTS CENTRE & RED STITCH ACTORS THEATRE

ExtinctionBY HANNIE RAYSON

THE PLAYHOUSE

THURSDAY 21 JULY

The tiger quoll once ruled Victoria’s dense Otway forest but is now almost extinct. A wild, rainy night, a twist of fate and an injured tiger quoll bring together a passionate environmentalist and an unlikely Good Samaritan. Both are hell-bent on saving the species, but intentions are murky. What will be compromised in the quest to save the quoll? Nothing is black and white in this intriguing story about love, sex, money and power played out under the shadow of global warming.

WHAT’S WORTH SAVING? HOW DO YOU CHOOSE?Extinction is a timely and intelligent new Australian play by Helpmann award winning playwright and screenwriter Hannie Rayson (Hotel Sorrento, Life After George), directed by acclaimed film director and producer Nadia Tass (Malcolm, Matching Jack). It delves deep into the heart of our own morals, choices and tightly-held convictions.

Extinction wraps an important conservation message around a unique and personal human story. What would you choose?

DIRECTORNadia Tass

SET DESIGNERShaun Gurton

CASTBrett Cousins

Ngaire Dawn Fair

RAYSON HAS A WELL-DESERVED REPUTATION FOR

WRITING CHALLENGING, COMPELLING AND

INSIGHTFUL DRAMA Limelight

17

DATES & TIMES 11am, Thursday 21 July

AVAILABILITY Term 3


RUNNING TIME 140 minutes including interval and Post show Q&A

WARNINGS Language & Sexual Themes


FROM THE EDUCATION OFFICERThis story will get your students thinking about the way in which theatre can be used to not only tell a story but as a tool to address a community or political concern and view point with the purpose of ‘educating’ its audience. Create a discussion around what devices this production uses to get their view point across. Did the students feel that they were educated on the issue? Or, did they feel that their view point remained unchanged? Sustainability is a strong theme in this piece and requires thought and action. What does it mean to be sustainable? How, as global citizens do we work towards sustainability and a world for future generations? What impact can a single person have on a species? Discuss the controversial topics linked with the moral struggle of corruption as themes of emotion, ecology, environment and ego all come into play. This is about the individual and the feeling of helplessness that we all feel with global challenges!


English Language ACELA1551 ACELA1564



SENIOR SECONDARY

Language ACEEN003, ACEEN008, ACEEN024, ACEEN027, ACEEN038, ACEEN043


YEARS 9 & 10


Cross Curriculum Priority – Sustainability


ELA 1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 20, 25.EA.1

1.LA.1, 1.LA.3, 1.LA.7, 7, 20, 8.LA.4,25.LA.1

ACT BSSS UNIT



Ensemble Production

The Director


Community Theatre

Political Theatre

Geography



WATCH VIDEO

18

MAKING A POSITIVE DIFFERENCE TO THE

LIVES OF YOUNG PEOPLE WHETHER

THEY CONTINUE TO DANCE, OR

TAKE THEIR PASSION TO OTHER FIELDS.

THE PLAYHOUSE

28-29 JULY

QL2 PRESENTS

Quantum LeapQL2 Dance’s Quantum Leap is Canberra’s auditioned youth dance ensemble. Each year through the Quantum Leap program QL2 create productions that excite their audiences with thoughtful and challenging dance works: the hearts and minds of young people speaking through their bodies. Wonderful themes enhanced by youthful exuberence.

They are dedicated to diverse, challenging and rigorous youth dance which develops the next generation of dance-makers and contributes to a dynamic, caring and diverse society. QL2 have presented performances in Canberra, Sydney, Adelaide, Jamaica, Thailand, and Taiwan; as well as Armidale, Bega, Narooma and Cowra.

19

DATES & TIMES 10am & 12pm, Thursday 28 July & Friday 29 July

AVAILABILITY Term 3


RUNNING TIME TBC


FROM THE EDUCATION OFFICEREvery year QL2 present a production that is beautiful, unique and inspiring. We love to marvel at the talent of our region being showcased professionally. Do you have a student involved? Come and support as a class while having the opportunity to engage your students in reflection over the creative choices of another fantastic production.

AUSTRALIAN CURRICULUM YEARS 7 & 8 YEARS 9 & 10

The Arts Dance ACEEN008 ACADAR026

Drama ACADRR045 ACADRR053

Music ACAMUR097 ACAMUR104


ELA 1.EA.3, 1.EA.6, 4.EA.4, 4.EA.11, 7, 8.EA.2, 8.EA.5, 25.EA.1

1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 25.LA.1

ACT BSSS UNIT


Dance in our Time



Ensemble Production

The Director





20

Ph

oto

: AP

via

AA

P

THE PLAYHOUSE

THURSDAY 11 AUGUST

MERRIGONG THEATRE COMPANY IN ASSOCIATION WITH CANBERRA THEATRE CENTRE

Letters to LindyBY ALANA VALENTINE

Filled with humour and heartbreak, this stunning new work by award-winning playwright Alana Valentine explores the public’s relationship with one of 20th Century Australia’s most iconic figures.

A MOTHER’S LOSS. A NATION’S OBSESSION.The court case captivated a nation. A mother accused of murdering her child, her claim – that the baby was taken by a dingo – denied and discredited by zealous police and a flawed legal system. The media circus, the rumours, the nation’s prejudices laid bare. And in the eye of the storm – Lindy Chamberlain.

Over three decades, from baby Azaria’s death to the final coroner’s report, the public’s fascination with Lindy has seldom waned. The National Library in Canberra holds a collection of more than 20,000 letters to Lindy. From sympathy to abuse, from marriage proposals to death threats and photos of dogs’ birthday parties (yes, really!), the correspondence traverses the gamut of human response to Lindy’s story.

Letters to Lindy draws on this extraordinary correspondence and interviews with Lindy herself, to create an enthralling, revealing, and long overdue dialogue between Lindy and the nation. It paints a singular portrait of the heartbreak, wisdom and resilience of a grieving mother.

DIRECTORDarren Yap

THERE ARE THREE THINGS THAT HAVE

DIVIDED THIS NATION RIGHT DOWN THE

CENTRE. CONSCRIPTION, WHITLAM AND LINDY

CHAMBERLAIN.

21

DATES & TIMES 11am, Thursday 11 August

AVAILABILITY Term 3


RUNNING TIME TBC + Post show Q&A


FROM THE EDUCATION OFFICERAn event that divided a nation! An intriguing aspect in the material of our emotional and civic history as Australians. Bring your students along and experience firsthand the authenticity of this production. Whether they are studying Drama, English or even Civics and Citizenship, there is something here for all. Alana Valentine’s new work explores themes linked to the human psyche, sympathy, blame, remorse, loss, humour and heartbreak, policy and political constraint. Have your students think about an event that may have happened to them and then set up a mock trial; build parties who believe and do not believe the story; create a jury and a judge who has a constraint to rule black or white; feed in rumours. Once the ruling has occurred discuss how the students feel; reflect as a class and compare this experience to that of Lindy. Did your students have a prior assumption of Lindy’s story? Perhaps they would like to write their own Letter to Lindy. This is also a great opportunity to discuss policy and rights as an Australian Citizen. This is an emotive Australia tragedy that is part of our culture and history.





SENIOR SECONDARY

Language ACEEN009, ACEEN024, ACEEN027, ACEEN038, ACEEN058, ACEEN076


YEARS 9 & 10




1.LA.1, 1.LA.3, 1.LA.7, 7, 8.LA.4, 11.LA.3, 11.EA.5, 25.LA.1

ACT BSSS UNIT



The Director


Political Theatre

Australian Theatre

Devised Theatre





WATCH VIDEO

22


WEDNESDAY 16 MARCH

Presented by Melbourne International Comedy Festival and Canberra Theatre Centre in association with Canberra Comedy Festival

THE SEARCH IS ON FOR AUSTRALIA’S FUNNIEST TEENS!!!Past participants have gone on to be funny as a career – Josh Thomas, Tom Ballard, and YouTube sensation Neel Kolhatkar to name a few.

The Class Clowns competition encourages teens with a talent for comedy, from Years 9-12 (ages 14-18) to unleash their comic voice either through stand up, sketch or musical comedy – any format goes as long as it is only 3-5 minutes long! State Final winners go through to the National Grand Final to perform at the Melbourne International Comedy Festival in April 2016 and be in the running to win a $2500 prize package..

DATES & TIMES 2-4pm Workshop & 5pm Performance, Wednesday 16 March

AVAILABILITY Term 1


RUNNING TIME Workshop – 120 minutes, Performance – 60 minutes

PRICE Performance Ticket Price $10

REGISTER HERE



WATCH VIDEO

23


2-11 JUNE

ACTING UP! 2016

Acting Up! Provides a platform for students aged 18 or younger to present a 10 minute performance piece to a live audience. The piece must be a play which may include a dance or movement work or music composition. The catch? It must tell a clear story.

HEATS 7pm, Thursday 2 June – Monday 6 June

FINALS 7pm, Friday 10 June – Saturday 11 June

AVAILABILITY Term 1


RUNNING TIME 120 minutes

PRICES Registration Fee $25, Heats Ticket Price $12, Finals Ticket Price $15

REGISTER HERE

ACTING UP! OPPORTUNITIES! Leading up to this festival workshops will be scheduled for both students and teachers that will focus on the tips and tricks to writing an evocative story, Directing and Stage Management.

A SHOWCASE OF STORIES

24

THE PLAYHOUSE

1-9 APRIL

BELL SHAKESPEARE

Romeo And JulietBY WILLIAM SHAKESPEARE DIRECTED BY PETER EVANS

Ph

oto

: Pie

rre

Tou

ssai

nt

A ROSE BY ANY OTHER NAME WOULD

SMELL AS SWEETAct 2 Scene 2

Violence rumbles through the streets, with two families at war. From such angry beginnings flame the fire of passion and forbidden love.

From the first intimate blush to the tragic finale, Romeo And Juliet is a story for all ages. A tale of a chance meeting, love at first sight, the passion of youth, and old family feuds spilling blood.

THE SPARKLING AND FORBIDDEN LOVE AFFAIR THAT ENDS IN TRAGEDYIn a city divided by anger and from rivalling families, Romeo and Juliet come together in a dangerous union of love.

Beautiful and intimate, Romeo And Juliet will be directed by Bell Shakespeare’s Artistic Director Peter Evans, who will breathe new life into one of the greatest love stories ever told.

Visually stunning in its nod to the layers of storytelling and the history of the play, it will feature a talented cast, including Alex Williams (Underground:The Julian Assange Story, INXS: Never Tear Us Apart) as Romeo, and Kelly Paterniti (As You Like It) as Juliet.

DIRECTORPeter Evans

DESIGNER Anna Cordingley

LIGHTING DESIGNERBenjamin Cisterne

COMPOSER AND SOUND DESIGNER

Kelly Ryall

FIGHT & MOVEMENT DIRECTORNigel Poulton

WITHCramer Cain

Justin Stewart Cotta Michelle Doake Michael Gupta Angie Milliken Kelly Paterniti

Hazem Shammas Tom Stokes

Damien Strouthos Jacob Warner Alex Williams

RUNNING TIME160 minutes

including interval

DOWNLOAD THE BOOKING FORM EMAIL US

WATCH VIDEO

25

BELL SHAKESPEARE – ARGUABLY THE COUNTRY’S BEST SHAKESPEAREAN THEATRE COMPANYHerald Sun

THE PLAYHOUSE

14-22 OCTOBER

Ph

oto

: Pie

rre

Tou

ssai

nt

BELL SHAKESPEARE

OthelloBY WILLIAM SHAKESPEARE DIRECTED BY PETER EVANS

A violent exploration of the thin line that separates love and jealousy, Othello is a relentless journey of vicious passion.

O, BEWARE, MY LORD, OF JEALOUSY; IT IS THE GREEN-EY’D MONSTER ACT 3, SC 3

A warrior on the fields of war, but felled by the sharpness of whispered words, Othello is a man swept up in desire, quickly turned to murderous ambition when he is betrayed by his military brother-in-arms, the cynically destructive Iago.

One of William Shakespeare’s most famous and passionate tragedies, Othello will be directed by Bell Shakespeare’s Artistic Director Peter Evans, in a gripping production that will touch audiences to their core, as envy is a weapon wielded with brazen savagery, and the complex contradictory nature of humanity is tested.

Starring Ray Chong Nee as Othello (Bell Shakespeare’s The Dream) and Yalin Ozucelik as Iago (Bell Shakespeare’s Henry IV), in one of Shakespeare’s most captivating and devastating pairings, this astonishing epic tragedy will rage with jealousy on stage.

DIRECTORPeter Evans

DESIGNER Michael Hankin

LIGHTING DESIGNER Paul Jackson

ASSISTANT DIRECTOR & FIGHT DIRECTOR

Nigel Poulton

WITH Joanna Downing Alice Keohavong

Edmund Lembke-Hogan James Lugton

Huw McKinnon Elizabeth Nabben

Ray Chong Nee Yalin Ozucelik Michael Wahr

RUNNING TIME160 minutes

including interval

DOWNLOAD THE BOOKING FORM EMAIL US

WATCH VIDEO

EDUCATION MATINEE 11AM, WEDNESDAY 19 OCTOBER

26

Work Experience Program

WEXA career in the performing arts! Are you interested? Work experience will help you understand how the performing arts industry operates and you will receive advice about pursuing a career in the industry.

Canberra Theatre Centre offers senior school students that chance to spend a week in Canberra’s largest professional theatres, observing and participating in various areas of operation. The Canberra Theatre Centre is the major presenter for performing arts in the ACT. It comprises three theatre spaces, the Canberra Theatre, The Playhouse and The Courtyard Studio.

Opportunities exist to work with ticketing and front of house staff, lighting technicians, audio technicians, mechanists and in the marketing department to name but a few.

Please note that there are limited weeks during which work experience can be offered owing to the nature of work in the theatre. In addition, we receive more applications for work experience than we are able to accept each year and so we suggest students apply early.

To apply for a placement please complete a Work Experience Application Form and submit it, outlining the preferred time period, the type of work experience requested and the skills and experience which relate to the work experience being.

CRITERIA

You need to fit the following criteria:

• Be in Year 10 or above or a tertiary student (if work experience is a mandatory requirement to complete the relevant course)

• Demonstrate an interest in the performing arts (students studying drama or with backstage experience will be given preference)

• Be available to do work experience at an allocated time

DOWNLOAD APPLICATION

EMAIL YOUR APPLICATION

27

Vocational Education Training Program

VET The Canberra Theatre Centre accepts a select number of students enrolled in industry recognised Vocational Education and Training (VET) courses at a school or college. The current training towards a Certificate III in Live Production and Services is delivered both by the school and by the Canberra Theatre Centre staff.

The VET placements ensure that the students spend a specified period of time as voluntary workers placed on a variety of commercial shows. The students are trained and supervised by senior professional staff that have relevant skills in theatre practice and are qualified Workplace Assessors (Certificate IV in Training and Assessment).

Schools and Colleges wishing to work with the Canberra Theatre on the VET program will need to be approved to deliver the Certificate III and are invited to contact the Canberra Theatre Centre’s Education Team at [email protected]

Many of our successful VET graduates have become casual employees at the theatre.

EMAIL YOUR APPLICATION

28

How early should I get there? We recommend that you arrive at least half an hour before the advertised start time in order to locate your seats and make use of the venue’s facilities.

Where does the bus drop us/collect us? At the front of Civic Square, between the Legislative Assembly and the Canberra Museum and Gallery (CMAG).

When can we park? If students coming to the theatre are arriving by private car, we suggest the car parks on either side of Canberra Theatre or The Playhouse. Please bring lots of change as parking is expensive and the parking inspectors are vigilant. Disabled parking is located at the rear of The Link foyer and in both car parks.

Will we get individual tickets? No, the Front of House staff (ushers) will have a seating plan, and seat your school in accordance to this and direct you to the entrance door and your seats.

What do we do with my coats and bags? A free cloaking service is provided to look after your items. Sometimes it is easier to leave things on the bus or at school.

What if we’re late for the show? If you are able, please call Canberra Ticketing and the Education Officer as soon as you can. Where possible, CTC will endeavour to accommodate your group, and will admit them to the auditorium at a suitable break in the performance. Some productions do not allow entry once the performance starts. Seating groups larger than 20 people will not be possible once the performance has started. The best advice: Arrive early.

What if an incident occurs on the day of the show, and we will not be attending? We appreciate that the unforeseen can sometimes occur. In the event of an incident, please contact Stephen Olah at Canberra Ticketing 02 6290 9307 and the Education Officer on 02 6243 5704. Where possible, we will try to accommodate the group at another performance. Unfortunately, ticket refunds are not possible. Event Insurance can also be purchased from Canberra Ticketing, which may cover you against vehicle breakdowns, sudden illness or accidents en route to the theatre. Please contact Canberra Ticketing for more information.

Where can the students eat lunch or snack? Water in plastic containers is permitted in the auditorium. All other food and drink must remain in your bag. If there is room, packed lunches and snacks can be consumed in the foyer areas. Weather permitting, packed lunches can be consumed on the steps leading up to the theatre or in Civic Square.

Will there be… stage smoke/flashing lights/loud explosions/strong language? CTC makes every effort to communicate the presence of such experiences through its marketing campaigns, website information and at the time of booking at the Box Office. If you have any concerns, please always be sure to ask when booking your ticket.

What about age appropriateness? CTC endeavours to ensure the correct year group suitability has been indicated on the marketing material. Where this does not appear, it is important to note that unlike movies, theatrical performances do not generally have imposed age limits for adult content. It is up to the teacher to make judgements about the age appropriateness of a show for their children. Usually a show’s advertisements or flyers will give an indication and more detail is usually provided on the website, again however if you have any particular concerns please ask at the time of booking.

What if my students greatly disrupt the performance? We want to encourage their participation in and enjoyment of the experience, however, behaviour intended to disrupt the production will not be tolerated. This can include heckling the performers or laughing and calling out in inappropriate places. In extreme cases of disruption, the student will be asked to leave the auditorium (with a teacher/guardian) and will not be permitted to return for the remainder of the production. In this case, tickets will not be refunded.

What if one of my students goes missing at the theatre? Our advice is to identify a meeting point when you arrive at the theatre, somewhere that the students can find easily and wait there should they be separated from their group. If you do find that a student is missing from your group, approach a Front of House staff member (or usher) and ask them to make an announcement via the Public Address system. It is the responsibility of the accompanying teacher or minder to ensure that the students remain with their group at all times.

What if I or one of my students loses something at the theatre? Call the Front of House Manager on (02) 6243 5739. If they’re not in, please leave a detailed message with your name, contact details, description of the item lost, the show and session you were seeing and your seat number. They will investigate and get back to you.

Is a Risk Assessment available from the theatre for our excursion? Yes, a risk management document will be mailed to all schools prior to the excursion.


Planning Your Excursion

USEFUL CONTACTS Education Officers Tori Cordova 02 6243 5704 [email protected] Tony Martin 02 6243 5700 [email protected]

Canberra Ticketing Manager Fran Tapia 02 6290 9377 [email protected]

Canberra Ticketing Coordinator Stephen Olah 02 6290 9307 [email protected]

Front of House Manager Michael Ranieri 02 6243 5739 [email protected]

29

AUSTRALIAN CURRICULUM (view online)

SUMMARY

English – Language ACELA1564 Understand how language use can have inclusive and exclusive social effects, and can empower or disempower people

English – Literature ACELT1771 Present an argument about a literary text based on initial impressions and subsequent analysis of the whole text

ACELT1640 Reflect on, extend, endorse or refute others’ interpretations of and responses to literature

ACELT1634 Reflect on, discuss and explore notions of literary value and how and why such notions vary according to context

ACELT1633 Interpret and compare how representations of people and culture in literary texts are drawn from different historical, social and cultural contexts

English – Literacy ACELY1745 Explore and explain the combinations of language and visual choices that authors make to present information, opinions and perspectives in different texts

ACELY1749 Analyse and evaluate how people, cultures, places, events, objects and concepts are represented in texts, including media texts, through language, structural and/or visual choices

ACELY1739 analysing and interpreting assumptions about groups that have shaped or influenced representations of people, places, events and things and identifying how listeners and readers are positioned by these representations

ACELY1742 Interpret, analyse and evaluate how different perspectives of issue, event, situation, individuals or groups are constructed to serve specific purposes in texts

The Arts – Drama ACADRR053 Analyse a range of drama from contemporary and past times to explore differing viewpoints and enrich their drama making, starting with drama from Australia and including drama of Aboriginal and Torres Strait Islander Peoples, and consider drama in international contexts

ACADRR045 Analyse how the elements of drama have been combined in devised and scripted drama to convey different forms, performance styles and dramatic meaning

The Arts – Dance ACADAR018 Analyse how choreographers use elements of dance and production elements to communicate intent

ACADAR026 Analyse a range of dance from contemporary and past times to explore differing viewpoints and enrich their dance making, starting with dance from Australia and including dance of Aboriginal and Torres Strait Islander Peoples, and consider dance in international contexts

The Arts – Music ACAMUR097 Analyse composers’ use of the elements of music and stylistic features when listening to and interpreting music

ACAMUR104 Evaluate a range of music and compositions to inform and refine their own compositions and performances

Senior Secondary (view online)

English ACEEN003 Investigate the relationships between language, context and meaning by: evaluating the choice of mode and medium in shaping the response of audiences, including digital texts

ACEEN008 “Analyse and evaluate how responses to texts, including students’ own responses, are influenced by: purpose, taking into account that a text’s purpose is often open to debate

ACEEN009 “Analyse and evaluate how responses to texts, including students’ own responses, are influenced by: personal, social and cultural context

ACEEN024 “Investigate the representation of ideas, attitudes and voices in texts including: analysing the ways language features, text structures and stylistic choices shape points of view and influence audiences

ACEEN027 analysing how attitude and mood are created, for example, through the use of humour in satire and parody.

ACEEN038 “Reflect on their own and others’ texts by: analysing the values and attitudes expressed in texts

30

SUMMARY

Senior Secondary (view online)

English ACEEN043 Compare texts from similar or different genres and contexts by: analysing and evaluating how similar themes, ideas or concepts are treated in different texts.

ACEEN058 Reflect on their own and others’ texts by: explaining how meaning changes when texts are transformed into a different genre or medium

ACEEN079 Reflect on their own and others’ texts by: discussing and evaluating different readings of texts.

ACEEN063 Evaluate different perspectives, attitudes and values represented in texts by: analysing content, purpose and choice of language

ACEEN076 Reflect on their own and others’ texts by: analysing and evaluating how different attitudes and perspectives underpin texts

English – Literature ACELR004 Investigate and reflect on different ways of reading literary texts including: how responses of readers and viewers can range from empathetic to critical.

ACELR006 Analyse distinctive features in literary texts including: different points of view represented in texts, for example, those of characters, narrators and the implied author

ACELR020 Analyse and reflect on the relationships between authors, texts and contexts including: the relationship between conventions of genre, audience expectations, and interpretations of texts

ACELR037 Evaluate the ways in which literary texts represent culture and identity including: how readers are influenced to respond to their own and others’ cultural experiences.

ACELR038 Evaluate the ways in which literary texts represent culture and identity including: the power of language to represent ideas, events and people in particular ways

ACELR040 Evaluate the ways in which literary texts represent culture and identity including: the ways in which authors represent Australian culture, place and identity both to Australians and the wider world.

ACELR056 Evaluate the dynamic relationship between authors, texts, audiences and contexts including: how interpretations of texts vary over time

ACELR059 Evaluate and reflect on the ways in which literary texts can be interpreted including: how specific literary elements and forms shape meaning and influence responses, for example, mise-en-scène, enjambment, dramatic monologue and verse drama

BSSS (view online)

UNIT TITLE



Ensemble Production

The Director


English – Literature – integrating Australian Curriculum

Modern History integrating Australian Curriculum

31

EVERY CHANCE TO LEARN (view online)

ESSENTIAL LEARNING ACHEIVEMENT

SUMMARY

Essential Content

1 1.EA.3 use logical, creative and lateral thinking to explore relevant knowledge indepth, distinguish central concepts from contributing ideas, stimulate imagination and generate and test creative ideas and solutions.

1.EA.6 recognise how feelings influence their thinking.

1.LA.1 select and apply various forms of thinking (e.g. logical, convergent, divergent, inductive, deductive, lateral, creative) to issues and problems in order to consider alternative perceptions and value positions, put forward a point of view or synthesise various points of view

1.LA.3 see how knowledge from one discipline can transfer to and transform knowledge in another

1.LA.7 reflect on and evaluate their own thinking and the thinking of others in relation to an issue or problem, and their own learning processes and achievements.

4 4.EA.4 investigate real-life situations that require integrity and/or regard for others

4.EA.11 identify the personal advantages of valuing diversity and engaging with other groups

7 Creates, presents and appreciates artistic works

8 8.EA.2 appropriate audience behaviours in a range of listening contexts

8.EA.5 listen and speak in discussions, conversations and oral resentations, including prepared and spontaneous discussions, meetings and debates

8.LA.4 listen and speak in discussions, conversations and oral presentations, including meetings, extended presentations, formal debates and group discussions

11 11.EA.3 how readers’ and viewers’ interpretations of texts are influenced by the knowledge and values of the groups to which they belong and by their own experiences

11.EA.5 how visual (e.g. Camera angles and shot types), nonverbal (e.g. gestures and facial expressions), spoken (e.g. voice qualities) and auditory techniques (e.g. Music and sound effects) can be used to add meaning, interest, immediacy and authority to texts

11.LA.3 how creators of texts select language and techniques to represent ideas, information and concepts in particular ways (e.g. choose words and symbols with particular connotations; use imagery to establish mood and enhance ideas and feelings; vary sentence beginnings to emphasise information; use passive voice to hide responsibility; and use hyperlinks, flashbacks and other time variants to influence meaning)

11.LA.5 how visual (e.g. Camera angles and shot types), non-verbal (e.g. Gestures and facial expressions), spoken (e.g. voice qualities) and auditory techniques (e.g. music and sound effects) are combined to position an audience

13 13.EA.3 ways to improve physical skill proficiency (e.g. technique, control, anticipation, timing)

20 acts for an environmentally sustainable future

32

ESSENTIAL LEARNING ACHEIVEMENT

SUMMARY

21 21.EA.1 characteristics that make Australia unique (e.g. landforms, basins, climate, weather, resources, vegetation, flora and fauna, natural hazards, latitude and longitude)

21.EA.2 how the geography of Australia influences what people do to survive and prosper (e.g. Where people live, the location of natural resources and the development of industries and cities) Great Depression, sporting heroes, role of women, mateship, larrikinism, White Australia policy, migration and multiculturalism, 1967 referendum)”

21.EA.4 “past and contemporary people, movements, events and ideas, which shaped Australia as a nation with a sense of Australian identity (e.g. Federation, stories of the bush, ANZAC legend,

21.EA.5 the importance of ‘country’ to Australia’s Aboriginal and Torres Strait Islander peoples (e.g. different ways individuals are related to the land)

21.EA.8 current issues and challenges facing the local community and Australian society.

21.LA.2 how government policies have affected Indigenous peoples and their pursuit of citizenship rights

21.LA.4 the events, people and movements that shaped the development of Australia (e.g. colonisation and expansion, development of governments, participation in major wars) and the contexts in which events and actions occurred (e.g. social and economic context, motivationand beliefs of individuals)

21.LA.5 contemporary and future issues and challenges facing Australian society

21.LA.6 ways in which Australia is presented, nationally and internationally (e.g. Stereotypes of Australian people and places).

25 25.EA.1 the design process (e.g. understanding design criteria; researching, generating and testing ideas; selecting and using tools, materials and processes; producing and evaluating solutions)

25.LA.1 the design process (e.g.identifying needs and opportunities in establishing design criteria; planning and managing time, resources and risk; evaluating design ideas and procedures; appraising design solutions against criteria)

EDUCATION@CANBERRA THEATRE CENTRE

.COM.AU16

109

Gir

affe

and

Som

e Co

wbo

y

sec ond ary - canberra theatre...wuthering heights, is boldly adapted in this clever and appealing...

Documents