1.
Exploring diversity and inclusion in drama education
UNI TY
Unity - the state of being united or joined together as a whole. In 2019 we ask our presenters and delegates to contemplate how we celebrate and teach for diversity and inclusion in our drama classrooms to develop a sense of unity for our students. We invite you to join us on Wurundjeri land at: The Graduate School of Education, University of Melbourne, Queensbury Street, Parkville Thursday 5th and Friday 6th December, 2019 to deeply consider what diversity and inclusion are in drama, how we create diverse and inclusive drama classrooms, how we can develop rich drama content and learning experiences for the broadest range of students possible, and what allows us to feel unified as drama education professionals.
PROVOCATIONS UNITY How does drama practice and professional learning in drama and theatre education bring the profession together? DIVERSITY Who are our students? How do they learn in drama? How does the curriculum address diversity? How does industry practice address diversity in drama education? INCLUSION Who is included, how are they included? What content, resources and practices enable this?
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CONFERENCE OVERVIEW
DAY1 THURSDAY 5TH DECEMBER Location Graduate School of Education University of Melbourne Queensbury Street Parkville 8am – 9am 8.10am – 9.10 9.15am
Registration (Trade Hub) Early Birds - Warm-up Frenzy (optional) Welcome & Keynotes
KEYNOTE 1: JEFFREY TAN Drama educator, theatre director and applied theatre practitioner – a multi-community and international perspective Title: From into the Blue Forest to Open Homes – The magical power of imagination from the drama classroom As drama educators, we are constantly challenged to plan inclusive, interesting drama experiences that are relevant to the 21st century learning skills for our participants. We aim to leave the participants with something to think about, a shift in their perspectives about themselves and the world we live in. This keynote proposes questions more than answers to create an inclusive, diverse, drama/theatre experience for the next generation of citizens, who are not afraid of entering the unknown blue forest and to examine the untold life stories of different homes. So how might drama/theatre bring diverse citizens together? What do we need to create an inclusive drama/theatre classroom? 3.
CONFERENCE OVERVIEW
DAY1 KEYNOTE 2: KATE HOOD Artistic director of Raspberry Ripple and board member of Access Arts – a disability perspective Title: What Do You Need To Do Your Best Work? Actor, writer, theatre-maker and wheelchair user, Kate Hood, delivers a Keynote with a difference. As an artist with a foot in the mainstream theatre world and a foot in the disability arts world, she has experienced first-hand the privilege of being a white, educated, able-bodied actor – and the very different experience of becoming an artist with a disability. How does our known educational practice fit with the creation of a new breed of artists with disability? How do performing arts educational institutions practice inclusion? What is it exactly? Who are the experts? 11am 11.30am 1pm 2pm 3.30pm 4-5.30pm
Morning Tea (Trade Hub) Session One (90 min) Lunch (Trade Hub) Session Two (90 min) Afternoon Tea (Trade Hub) Session Three (90 min)
6pm 8.30pm (Optional)
Drama Victoria Awards recognising contributions of Industry and Drama Educators, Drama Legends and includes a performed research play based on the Drama Victoria MAMA Project, Written by Dr. Jane Bird, Kelly McConville and Dr. Richard Sallis (University of Melbourne) 4.
CONFERENCE OVERVIEW
DAY 2 FRIDAY 6TH DECEMBER
Location Graduate School of Education University of Melbourne Queensbury Street Parkville 8am – 9.15m 8.15am – 9.15 9.30am 11am 11.30am 1pm 2pm
Registration (Trade Hub) Warm-up “Licorice All-sorts!” (optional) Session Four (90 min) Morning Tea (Trade Hub) Session Five (90 min) Lunch (Trade Hub) Keynote - Performances and panels.
KEYNOTE 1: This keynote presentation will feature a devised performance from the Drama Victoria Theatre Festival by Braybrook College. The students from years 9 and 10 participated in the festival as an extra-curricular activity. They engaged with Yamatji artist Robyn Latham’s ‘Remembering the empty coolamon’, a video stimulus of a live art piece, exploring the stimulus utilising aesthetic education techniques and devising an original piece of theatre with care, respect and integrity. Braybrook College’s performance begins in the time of the Dreaming. They explore the true story of “Ruth”, a young girl who was stolen from her mother, they investigate the political fight of First Nations peoples and conclude with a celebration. 5.
CONFERENCE OVERVIEW
DAY 2 KEYNOTE 2: MTC Development Programs Producer Karin Farrell, and Indigenous Teaching Artists Lenka Vanderboom and Declan Furber Gillick, are joined by current and past participants of the First Peoples Young Artists Program to discuss their experiences developing, presenting and participating in this unique program. Fresh from a performance of their own devising at Southbank Theatre, the group will examine the motivations, successes and challenges around a program that began simply as a work experience opportunity, and now gives air to young First Peoples voices, ideas and their significance in the industry. Great strides have been taken on the journey to genuine inclusion and diversity - but how far is there left to go? 3.30pm Afternoon Tea (Trade Hub) 4pm Session Six (60 min) 5pm Conference Close 5.30pm – 7.30pm (Optional)
End of Conference drinks. Location TBA.
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DAY1
SESSION SELECTION GUIDE
THURSDAY 5TH DECEMBER
Use this guide to assist you with your registration choices! Make your selections and register here: https://www.dramavictoria.vic.edu.au/events/annual-conference/2019-conference/ Workshops places are limited, once a session is full you will not be able to select it at registration. Changes will not be able to be made on the days of the Conference, unless there is a delegate cancellation.
8.10 AM - 9.10am For anyone who wants to get in a bit earlier and/or avoid the traffic!
EB1: THE WARM-UP FRENZY
Featured Presenters: Sam Mackie and Brendan Carroll Organisation: The Peninsula Grammar
(INCLUDES BREAKFAST GOODIES)
About the Presenters
Brekkie, Drama Games & inclusivity challenges!
Sam and Brenny both teach drama at Peninsula Grammar on the sunny shores of the Mornington Peninsula. Both are giant children and enjoy playing and teaching games. Both also enjoy sharing those resources through workshops and teacher networks. (Both also enjoy Arnott’s Cheds... but that’s a different story!)
The dynamic duo are back! Following the fun and games of their brekkie sessions at the 2018 conference, Sam and Brenny return with more drama games and activities and an even better brekkie (that’s right! Breakfast provided!) The 60 minute workshop will focus on learning drama games and activities... adapting them to consider kids with a diverse range of learning and social needs. The activities and games will be opt in. You can sit and watch, or jump in and be involved! Your choice. (But it’s always more fun when you get involved!) What a great way to start the conference day.
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SESSION ONE THU 5TH DEC, 11.30AM – 1PM
1A.
WHAT’S ESSENTIAL FOR EFFECTIVE DRAMA EDUCATION? AND, WHAT’S THE PLACE OF CAPABILITIES IN DRAMA EDUCATION?
Area(s) of Focus: Primary/Early Years, Middle Years Featured Presenter: Helen Champion Organisation: ACARA About the Presenter(s)
In education, curriculum is everyone’s business. What’s in, what should be in, what language is used, how is it structured... How are expected standards are articulated...
Helen Champion is the Arts Curriculum Specialist at Australian Curriculum Assessment and Reporting Authority. Currently her work involves monitoring implementation of Australian Curriculum: The Arts through research and stakeholder engagement.
In this session, participants will explore two questions - Essential content: what is the essential content for drama and how can it be expressed to signal appropriate breadth, depth and rigour in implementation? - Capabilities - Which capabilities are relevant in drama education and how can they be effectively represented in the curriculum?
1B.
Area(s) of Focus: Primary/Early Years, Middle Years, VCE Drama, Production of Plays, Directing or Stagecraft Featured Presenter: Katy Warner Organisation: Arts Centre Melbourne
YOUR VOICE, YOUR STORY: PLAYWRITING IN THE CLASSROOM
About the Presenter(s)
Our stages need to reflect the world we live in. Australian mainstream theatre has been rightfully scrutinized for its lack of diversity, having traditionally been dominated by the ‘dead white male’ playwrights. But things are changing. And the younger generation of aspiring playwrights need to be prepared.
Katy Warner is a playwright and author. Her plays have been presented across Australia, New Zealand and the UK. Her plays include A Prudent Man, Spencer, Paper Doll and Reasons to Stay Inside. Katy’s debut novel Everywhere, Everything, Everyone was published in 2019 by Hardie Grant.
There is not a lot of room in the curriculum for playwriting yet the benefits for student learning are well documented. Improved writing and communication skills as well as ever important development in confidence, personal expression, creativity and empathy. In this workshop, Arts Centre Melbourne’s Schools Program Manager and playwright, Katy Warner, will lead teachers through a series of practical activities they can use to engage students (Year 5 - 12) in playwriting. In 2020 Arts Centre Melbourne will launch the New Writers Collective: a program for young, aspiring writers. Young people from diverse backgrounds will be supported and guided in developing their unique voices in plays that will have a public performance with professional actors. This workshop will model some of the inclusive practices that Katy will be implementing in the New Writers Collective for teachers to take back to their Drama classes.
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SESSION ONE
1C.
MTC’S THEATRE PRODUCTION PROCESS
Area(s) of Focus: VCE Theatre Studies, Entertainment/Arts Industry Featured Presenter(s):Adam Howe & Nick Tranter Organisation: Melbourne Theatre Company About the Presenter(s)
Discover how Melbourne Theatre Company puts on a show with a step-by-step exploration of the theatre production process. MTC is Australia’s longest-running professional theatre company, producing up to twelve plays each year.
Adam Howe is MTC’s Technical & Production Director. Adam oversees all of the Production departments at MTC, including set and props construction, scenic art, wardrobe, millinery, wigs, stage management, lighting, sound, AV and automation.
Through the lens of VCE Theatre Studies, investigate the life cycle of an MTC show, and explore how MTC’s Education resources can be used to differentiate learning tasks for your students.
1D.
Nick Tranter is MTC’s Education Coordinator. An experienced teacher, Nick creates learning resources and online content for MTC productions, and manages the Company’s direct engagement programs for young people.
PRESENTATIONS & RESEARCH PAPERS SESSION
1. UNIfication: Applications of drama pedagogy to support diversity and inclusion in tertiary contexts This paper is informed by current research projects as well as ongoing, cumulative research and experience of drama pedagogy in the fields of inclusion, enabling, widening participation and intercultural understanding. This teaching-informed research and research- informed teaching, is underpinned by expertise in, and use and promotion of, drama pedagogy in a variety of tertiary education contexts. Application of drama pedagogy to support diversity and inclusion, and cross-curriculum priorities is a key objective. This paper builds on the emerging findings from an ongoing collaborative project between the presenters and colleagues from South Africa. Through a dramatized dialogue, the presenters highlight drama education techniques and processes that can be utilised with students from diverse cultural backgrounds and with emerging identities. Whilst the focus is on tertiary settings, the findings are applicable across a range of teaching and learning contexts. Presenters: Richard Sallis & Carole Carter Richard Sallis (B.Ed, M.Ed, PhD) is a senior lecturer and the Curriculum and Research Leader, Master of Teaching: Work Integrated Learning in the Melbourne Graduate School of Education at the University of Melbourne. His research areas are teacher education, diversity and inclusion in schools, and arts education - practices and policies. Carole Carter (B.Prim Ed, HDE (Drama), B.Ed, M.Ed, PhD) is a conjoint lecturer in Foundations of Education, English Language and Foundation Studies Centre (ELFSC) and the Faculty of Education and Arts (FEDUA) at the University of Newcastle. She is a member of various organisations and a committee member of Drama NSW. Her research interests include early childhood learning and teaching, enabling education, equity and cultural and linguistic diversity, drama education and teacher education. Organisation: University of Melbourne Area of Focus: Tertiary, Research and/paper presentations
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SESSION ONE
1D.
PRESENTATIONS & RESEARCH PAPERS SESSION (CONT)
2. ‘The Spirit of Colonisation’: Looking for diversity and inclusion in VCE Drama and Theatre Studies VCE Drama aims to explore, express and validate students’ identities by examining and devising contemporary drama practices. VCE Theatre Studies aims to give students an insight into the origins and development of theatre and the influence of theatre on cultures and societies. And yet the plays and stimuli chosen for both Drama and Theatre Studies continue to overwhelmingly be written by male, British, white American and white Australian playwrights. This presentation will explore how diversity and inclusion have played out in Drama and Theatre Studies over time. How have First Nations playwrights, histories and cultures been represented? What gender gap exists and is it lessening? Are our students’ identities actually being explored, expressed and validated? And what can we do to make sure they are in the future? Presenter: Danielle Hradsky Danielle has taught Drama, Dance and English for five years at a rural state school, before starting a PhD in Education to pursue her interest in improving the way we teach Aboriginal and Torres Strait Islander histories and cultures in secondary schools. Organisation: Monash University Area(s) of focus: VCE Drama, VCE Theatre Studies, Tertiary Research and/paper presentations
1E.
Area(s) of Focus: Years 9 - VCE Drama, VCE Theatre Studies, Promotion or Product Launch Featured Presenter(s): Kamarra Bell-Wykes Organisation: Kzam Creatz
COOKS COLONY
A simple exploration of Colonisation through drama based activities. Cooks Colony is an interactive, role play based workshop in which participants are immersed in a games based simulation designed to develop authentic understandings of genociadal colonisation practices experienced by First Nations people’s, refugees and other groups effected by systematic oppression.
About the Presenter(s) Kamarra Bell-Wykes is a Yagera and Batjala performance maker; creating as a playwright, director, dramaturge, devisor, facilitator and performer. In 2012 Kamarra graduated with Honours in a Bachelor of Education and Learning before working as a teacher and youth worker. Kamarra recently resigned from her role as Creative Director/Education Manager at ILBIJERRI Theatre Company and is currently freelancing whilst further exploring and deepening her various artistic and therapeutic practices.
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SESSION ONE
1F.
UNITY IN TROUBLED TIMES: TEACHING/THEATRE/ ACTIVISM
In this workshop, we consider questions about what it means to be a teacher in troubled times, our ethical responsibilities as drama educators, and how we can unite to empower our students by teaching theatre as activism. We share some of the big picture ideas and specific teaching and assessment strategies that we developed through our collaboration. We also reflect on what we have learned about teaching theatre as activism through the lived experience of Darcie, Emma, and Julia’s teaching practice. “There’s never been a more important time to seize - and to teach about - the power of theatre as activism. Search for Teaching Theatre/Activism and join our FB group.” Our professional collaboration grew out of this invitation posted by Rachel Forgasz to the Drama Victorians Facebook group the day after the 2019 federal election.
Area(s) of Focus: Middle Years Featured Presenter(s): Rachel Forgasz, Darcie Kane-Priestley, Emma McDonald & Julia Prestia Organisation: Monash University About the Presenter(s) Rachel Forgasz is a senior lecturer in the Faculty of Education at Monash University where she teaches the secondary Drama method. In her research, Rachel has recently turned her attention to questions about how to prepare teachers to work with young people in the context of global climate crisis. Darcie Kane-Priestley is the Drama Co-ordinator at Ruyton Girls’ School and is passionate about the power of theatre to provoke change. She has worked with Ilbijerri and the Marguk Education Reference Group, AISNSW ELEVATE (High Potential Learners Community of Practice Member) and the VCAA (Drama & Theatre Studies Panels & Exam Assessing). Emma McDonald has been a Drama and Humanities teacher at Ruyton Girls’ School for the last 8 years. Prior to that she worked as a counsellor with both adults and young people and has experience as a performer in a variety of mediums. Julia Prestia is an enthusiastic graduate teacher of Drama and History at Ruyton Girls’ School. She has worked with Emma and Darcie at Ruyton for a number of years on several productions as backstage coordinator.
1G.
Area(s) of Focus: Middle Years, VCE Drama, VCE Theatre Studies Featured Presenter(s): Adam Hembree & Ryan Patterson Organisation: Soothplayers
SHAKESPEARE FOR EVERYONE
Soothplayers improvise plays in Shakespearean style. In our shows and workshops we commit to making Shakespeare accessible and welcoming. We integrate key values of improvised theatre into our textual work, especially the freedom to fail. This means taking the air out of some longstanding myths: playing with Shakespeare does not make you smarter, better, or more cultured, and trying to seem smarter, better, or more cultured does not help your Shakespearean work. Join us for a practical session on opening this work to students (and teachers!) of all backgrounds and comfort levels with Shakespeare. You will leave with exercises you can try with your students, and you will get to try them yourselves with us! We hope that, like us, you’ll leave eager to play with Shakespeare instead of being eager to get it right.
About the Presenter(s) Adam Hembree is completing a PhD on Elizabethan acting at the University of Melbourne. He is an experienced teacher of Renaissance drama, genre fiction, and writing skills. He also performs, coaches, and teaches improvised theatre in Melbourne and regionally. Ryan Patterson is a high school Drama and Theatre teacher. He founded Soothplayers with Adam in 2015 and has produced and performed Completely Improvised Shakespeare and Completely Improvised Potter ever since. Ryan has also performed with a variety of conventional and improvised theatre companies throughout Melbourne.
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SESSION ONE
1H.
WHAT ARE THE TOOLS TEACHERS NEED FOR WORKING WITH A LIGHTING DESIGNER ON A SCHOOL PRODUCTION?
Teachers will learn about what is required with lighting, the type of budget required for lighting design, equipment/products and what is on the market, the use of moving lights verses conventional and how to prepare a paper lighting plot before bumping in the theatre. 1. Introduction to the world of lighting design. 2. How to prepare for the lighting of a production that fits into your budget. 3. Deciding on the type of show that will require expensive lighting equipment and whether it will fit into the budget. 4. A brief introduction to the different types of lighting equipment on the market and how it can be used in your production. 5. Practical session on how to come up with a lighting design that suits your show. Jason will have a lighting console and several types of lights in the session including LED Par Cans and Moving light fixtures that will show the types of effects you can have when planning your lighting plot. 6. Creating a paper lighting plot for the lighting designer before you move into the theatre. 7. Lighting “MUST TELL STORY” a discussion.
1I.
Area(s) of Focus: Primary/Early Years, Middle Years, VCE Drama, VCE Theatre Studies, Production of Plays, Directing or Stagecraft, Promotion or Product Launch, Entertainment/Arts Industry Featured Presenter(s): Jason Bovaird Organisation: Moving Light Productions About the Presenter(s) Jason Bovaird is the owner / operator of Moving Light Productions Australia, with over 30 school clients throughout Victoria. His recent lighting designs and re–lights have included the highly acclaimed production of MATADOR - A Dance Spectacular (Sydney Opera House, Brisbane, Festival Centre Adelaide), STRICTLY BALLROOM, LES MISERABLES, WE WILL ROCK YOU, MEMPHIS – THE MUSICAL (2017 Australian Premiere), Jon English’s PARIS – A ROCK ODYSSEY (2017), THE PLAY THAT GOES WRONG (Australian / NZ Tour, Lunchbox Theatricals London, 2017), THE COLOR PURPLE, ANTARCTICA - A NEW MUSICAL (Theatre Royal, Hobart), AVENUE Q (Her Majesty’s Theatre, Melbourne & Crown Theatre, Perth), IN THE HEIGHTS (2015 Australiasian Premiere), London’s West End PETER PAN GOES WRONG, and in September the Australian Premiere of Andrew Loyld Webber’s THE BEAUTIFUL GAME.
INCLUSION AND ADDRESSING DIVERSITY: STRATEGIES FOR GROUP WORK PRACTICES IN 7 AND 8 DRAMA TO IMPROVE STUDENT OUTCOMES.
The greatest challenge in the junior years can be dealing with the diversity of maturity levels and the social skills that students bring into the drama classroom. The differing level of skills can impact students’ ability to take risks and explore their creativity in the classroom. This workshop aims to offer strategies and ways of setting up the classroom to establish productive group behaviours.
Area(s) of Focus: Middle Years Featured Presenter(s): Amanda Egglestone Organisation: St Helena Secondary College About the Presenter(s) Currently working at St Helena Secondary. Amanda has been passionately teaching Drama and VCE Theatre Studies for over 25 years.
The presentation will begin with the issues facing teachers managing the dynamics of a drama classroom at Year 7 and 8 and of improved student outcomes by effectively managing group work. The workshop will explore a step by step system to deal with the issues for teachers managing the diversity in student communication and social skills. It will offer a series of student exercises to establish a framework for all class group work activities, empowering students in establishing respectful boundaries and interactions with classmates. The drama classroom is imaged as a positive cohesive social learning framework, inclusive in the clear expectations of equity and respect of every class member.
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SESSION TWO THU 5TH DEC, 2PM – 3.30PM
2A.
PARRWANG YOUTH ARTS: CONNECTING ABORIGINAL AND TORRES STRAIT ISLANDER CHILDREN WITH CULTURE & CREATIVITY: A JOURNEY OF IDENTITY, CONFIDENCE & PRIDE.
Area(s) of Focus: Primary/Early Years, Middle Years Featured Presenter(s): Kelly Clifford & Kylie Clarke Organisation: The Geelong Performing Arts Centre
Culture & Creativity: A Journey of Identity, Confidence & Pride. Parrwang Youth Arts is a program that nurtures young Aboriginal and Torres Strait Islander People’s identity, confidence and pride through a journey of creative expression. With a focus on interactive and meaningful multi-arts experiences through dance, drama, song, music and visual arts, young people aged 5-18 are welcomed to Geelong Performing Arts Centre.
There will be opportunities to discuss, brainstorm and to experience a first-hand activity that highlights “connection to Country” which can be transferred into the classroom / workshop context.
Instigated and co-created by Community and Senior Producer Kelly Clifford, the program is coordinated by Gunditjmara, Wotjobaluk and Ngarrindjeri woman Kylie Clarke. Workshops are delivered by professional artists, particularly Aboriginal and Torres Strait Islander artists who facilitate young people’s connection to culture, Country, creativity and connection with each other.
About the Presenter(s)
Parrwang means ‘Magpie’ in the local language of the Wadawurrung People of the Kulin Nation.
Kelly Clifford - Senior Producer - Families, Youth & Creative Learning Geelong Performing Arts Centre Kylie Clarke - Coordinator Parrwang Youth Arts
This workshop will explore the significance of Aboriginal storytelling and how arts based programs can be inclusive of Aboriginal people and perspectives. We will examine the elements of the Parrwang Youth Arts program to exemplify the importance of community engagement in celebrating the first story tellers and performers of this land.
2B.
Area(s) of Focus: Middle Years Featured Presenter(s): Dave Kelman Organisation: Dog Theatre
WHO WE REALLY ARE: THE ANCESTORS WORKSHOP
The Ancestors Workshop will enable participants to explore their countries and cultures of origin and make original devised work that fully embraces cultural diversity. The workshop takes participants on a journey of self-discovery that taps into the many layers of cultural identity that make up contemporary Australia. Fully inclusive of practitioners of all abilities, the workshop will utilise a variety of theatrical styles – from process drama to physical theatre – as well as spoken word and languages other than English.
About the Presenter(s) Dave Kelman is a internationally recognised director, researcher, writer and an award winning lecturer in drama education. He has directed works at the Malthouse Theatre and Geelong Performing Arts Centre and led innovative artists residencies in many schools.
It will support teachers to facilitate a devising process with their students that will enable students to explore their family histories in fun and empowering ways that can generate complex, layered and authentic performance works. It will explore the boundary of truth and fiction and the politics and ethics of representation. Specifically designed for middle years students, the workshop is applicable to both primary and older secondary contexts. It should also pretty good fun!
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SESSION TWO
2C.
SKILLS, NOT SCORES: DEVELOPING ASSESSMENT TOOLS FOR ALL LEVELS
Learn how to develop skills-based assessment rubrics for your assessment tasks across all levels of Drama teaching. In this workshop, you will take an existing assessment task and rubric, and break it down. By focusing on what students need to physically do to demonstrate different levels of achievement, you can empower students to set their own goals, give clearer and more-targeted feedback, and take control of their own learning. While this can be especially difficult with some elements of drama practice, we will show you some simple steps, and potential pitfalls in developing assessment rubrics, which will help students of all levels to achieve.
2D.
Area(s) of Focus: Primary/Early Years, Middle Years, VCE Drama, VCE Theatre Studies Featured Presenter(s): Tim Roach & Jennifer Simkus Organisation: Brunswick Secondary College About the Presenter(s) Tim Roach - Tim is Head of Performing Arts at Brunswick Secondary College, and is passionate about breaking down the language of assessment, so that all students can understand what to do to achieve their next step. Jennifer Simkus - Jennifer has been teaching Drama at Brunswick Secondary College since graduating from Victoria University in 2017. She has found that the use of rubrics containing clear skill progressions has allowed her to more effectively deconstruct tasks for students, and often results in greater confidence and achievement in her students.
Area(s) of Focus: Primary/Early Years, Middle Years, VCE Drama, Tertiary, Acting/Performance Training Featured Presenter(s): Grainne O’Boyle Organisation: The Academy of Mary Immaculate
DANCING TO DIVERSITY
African Dance Workshop (All welcome, you don’t need dance experience to participate)! Most of our classrooms are full of a rich mixture of cultural diversity. Some cultural groups have become well established in Australia, others have just arrived. This workshop aims to explore how we can deliver an inclusive curriculum and how we can empower our new students through allowing them to share their cultural voice. The ‘African Dance Group’ from the Academy of Mary Immaculate, will accompany Grainne, in this workshop, to do just that. They will perform an African Dance, then teach the dance to the delegates.
About the Presenter(s) Grainne O’Boyle is a Drama and Dance teacher with over 20 years experience. She has also worked as a singer/songwriter and musician. She works as an Assessor for the VCAA as well as presenting workshops for Drama Victoria. She runs the African Dance Group at her school and believes that the key to cultural unity lies in listening and learning from them.
Through sharing their cultural knowledge and skill, they will also demonstrate what leadership and empowerment looks like for groups who are given the opportunity. After lots of fun dancing, to loud and exuberant African music, the students will briefly discuss their experiences of inclusivity and unity, and share tips with the delegates as to how this can be achieved in the class room. For the last part of the session we will look at some practical ways of embedding diversity into our Drama Curriculum. These ideas will be shared on the Drama Victoria website.
14.
SESSION TWO
2E.
Area(s) of Focus: Primary/Early Years, Middle Years, VCE Drama, Production of Plays, Directing or Stagecraft, Acting/Performance Training Featured Presenter(s): Jo Raphael, Cale MacLaren & Magda Miranda Organisation: Fusion Theatre/ Deakin University
INCLUSIVE DRAMA WITH FUSION THEATRE
Please note this a 180 MINUTE MASTERCLASS, SESSIONS 2 + 3 COMBINED
Co-presenters
Fusion Theatre is an inclusive company based in Dandenong, reflecting the diversity of the community. Since its beginnings as a drama group in 1997, Fusion has expanded to two ensembles with about 24 actors, with and without disability. The ensemble members collaborate with professional theatre makers, guest performing artists and designers to devise theatre performances based on members’ ideas, stories and imaginations. The company is committed to developing the skills and talents of its members in an inclusive environment as they work together to create and present original theatre.
About the Presenter(s)
This masterclass/workshop is not just about inclusive drama and theatre practices; it is inclusive. It will be co-presented by Fusion’s team of directors, as well as the actors with disability. In this workshop the company will model some of the methods used to build drama skills, generate ideas and develop performance. Participants in this masterclass/workshop will experience a range of activities along with the company members, who will share their experiences as actors with disability. These are ideas that can equally be applied to all drama education contexts. Fusion’s ‘cando’ approach to drama and theatre is one that creates a sense of belonging, and activates the body, mind and heart.
2F.
Members of the Fusion ensembles. Jo Raphael is co-founder and Artistic Director of Fusion Theatre, and Senior Lecturer in drama education at Deakin University. She leads Fusion’s Diversity Workshop team, preparing pre-service teachers for teaching inclusively through applied drama and theatre, which has been a focus of her research and publications. Cale MacLaren is Associate Director of Fusion’s Morning Ensemble. He is the Founding Director of 3d Arts Company, which creates opportunities for everyone to access the Arts. Cale is an accomplished community arts advocate, actor, writer and theatremaker, and has taught Drama in schools for many years. Magda Miranda is Associate Director of Fusion’s Evening Ensemble. A theatre maker and performer she brings her skills in visual art and drama to devising new works. She has led workshops internationally for actors and non-actors and has worked in many contexts.
Area(s) of Focus: Middle Years, Production of Plays, Directing or Stagecraft, Promotion or Product Launch, Entertainment/Arts Industry, Acting/Performance Training Featured Presenter(s): Bianca Bonino & Ben-Jamin Organisation: Fools in Progress Theatre Company
COMMEDIA DELL’ARTE, DUO COMMEDIA
Pulcinella, Capitano, Arlecchino and Pantalone, presented by two actors/trainers. Our performance introduces the fixed types and the history of Commedia dell’arte in a whirlwind of Commedia madness. Every part is carefully crafted and traces back to the few surviving scripts of Commedia dell’arte. The performance, although extremely enjoyable and entertaining, is based on historical documents and references giving a glimpse over the life of a 16th Century Commedia dell’arte touring company. The performance will be followed by a thirty-minute presentation and Q&A.
About the Presenter(s) Bianca Bonino / Ben-Jamin are founders and co-owners of the internationally renowned Fools in Progress Theatre Company. They trained in Commedia dell’arte with: Antonio Fava, Carlo Boso, Darren Gilshenan, Ira Sedeinstein. Since 2010 they performed and taught Commedia in NSW, ACT schools acquiring extended experience staging improvised Commedia dell’arte plays.
We are eager to share our experience as performers, trainers and researches; debunking a few myths such as the provinciality of Commedia and the reductive concept that its characters (limited to regional Italian stereotypes) hardly reflect the plurality of today’s society. Staging Commedia dell’arte canovacci offers an almost unlimited horizon of possibilities opened to modernizations and inclusion. Commedia plays are ideal spaces for diversity considering the 16th century’s reputation for hosting different ethnic communities that all inhabited the Italian Peninsula.
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SESSION TWO
2G.
WHO ARE WE? PLAYS THAT EXPLORE IDENTITY AND DIVERSITY
Please note this a 180 MINUTE MASTERCLASS, SESSIONS 2 + 3 COMBINED As drama and theatre teachers we teach for diversity, to consider cultural and intercultural understanding, and to develop empathy in our students. One of our tools for doing so is through script. In 2016, Vessel commissioned twelve short plays in 2016 in partnership with Arts Centre Melbourne. Each play is five minutes or 600 words in length. The provocation for the playwrights: Who are we (warts and all) and/or who could we be? An exploration of national identity. Each play captures the writer’s unique voice and story and response This workshop/masterclass offers the participants the opportunity to work with the project’s key creatives and writers with three distinct yet integrated perspectives: The artistic direction and genesis - what was this project a response to and why (Jim Lawson), the playwright and academic perspective (Tania Canas TBC) and the performer perspective (Pauline Wyman, Yorta Yorta woman TBC)). As a creative team the masterclass will offer participants the opportunity to experience readings, discussion, and then engage with practical activities to explore the scripts for the drama classroom with students. The intention and belief within the presenting team is that everyone, especially young people, can give voice to their vision for our future
2H.
Area(s) of Focus: Middle Years, VCE Drama, VCE Theatre Studies, Production of Plays, Directing or Stagecraft Featured Presenter(s): James (Jim) Lawson, John Kachoyan & Meg Upton Organisation: VESSEL and Australian Plays About the Presenter(s) James (Jim) Lawson work spans over three decades as an actor, a writer, director, educator and arts consultant. He is the Creative Director of Vessel, a creative enterprise that develops arts and media projects for and with humanity. In 2016 Vessel commissioned 12 diverse Australian playwrights to write a 600 word play about identity for a project entitled: Tiny plays for a Big Country (Play for Australia) - Who are we and/or who could we be? John Kachoyan - John Kachoyan is a freelance director, writer and script developer who works internationally in theatre, opera and screen. He is Literary Manager at Australian Plays. He was Creative Director MKA: Theatre of New Writing and previously Director in Residence for Bell Shakespeare. John holds an MA from the Royal Central School of Speech & Drama and trained at NIDA. He’s worked with leading new-writing theatres in London and co-founded IronBark - producing the best Australian writing for UK audiences. Directing credits include; Red Stitch, Lab Kelpie, Lyric Opera, ATYP/Under The Wharf, Rock Surfers and Darlinghurst Theatre, Finborough Theatre, OVNV/Old Vic, NYTGB and Soho Upstairs. Meg Upton - Meg Upton is a drama and theatre educator, a teaching artist, and researches in drama and theatre education. Her work as an education and teaching artist includes Malthouse, Melbourne Theatre Company, Arena Theatre Company, Polyglot, KAGE, Ilbijerri, Victorian Opera, Comedy Festival, Arts Centre Melbourne, Bell Shakespeare and St. Martin’s Youth Arts Centre. Meg has worked at Deakin University as a lecturer in arts education, curriculum and pedagogy since 2007. She regularly writes about drama and theatre education, and is currently Education Curator with Australian Plays.
Area(s) of Focus: Primary Featured Presenter(s): Helen Sandercoe Organisation: Deakin University
I DREAM OF FLYING
This workshop explores one of Jeannie Baker’s recent picture books with an environmental theme as well as suggesting a story of a boy who is in a wheel chair and seems to have little freedom of movement. The book mainly tells of the epic journey of a small wading bird, a Godwit that has the longest migration journey each year of any bird or animal. There are two intertwined stories, one of the boy and of the birds. This workshop explores the concepts and ideas that arise from the book suggesting ways that every child or participant is able to be part of the experience. This story also tackles how a boy is able to transcend his seeming limitations. A wide variety of strategies from process drama will inform the exploration.
About the Presenter(s) Helen sandercoe has been teaching and directing for over thirty years. At present, she is lecturing in Primary and Secondary Drama and Arts Education at Deakin and La Trobe Universities, Melbourne, after teaching for many years as a secondary Drama teacher. Teaching drama and creating and directing theatre/ performance pieces are a great joy. Over the years I have shared my passion through a wide variety of workshops about the nature and history of performance and rich sources for drama teaching for Drama Victoria and Drama Australia conferences and at IDEA (International Drama Education Association).
16.
SESSION THREE THU 5TH DEC, 4PM – 5.30PM
3A.
ISSUES, ISSUES, ISSUES.
This workshop focuses on Documentary drama or Issue based theatre using Epic theatre conventions such as placards, song and narration. This is a unit of work that encourages students to move away from stereotypes and recognise that all issues have 2 sides. Students explore concepts such as tableaux, asides and different ways song can be used to enhance an issue. Participants will be encouraged to explore a range of practical activities used in the classroom and will walk away with some useful resources. Our students come from many diverse backgrounds and social structures and this unit allows them to contribute on issues that are relevant to them.
3B.
Area(s) of Focus: Middle Years Featured Presenter: Simone Wright Organisation: Cranbourne Secondary College About the Presenter(s) Simone is a drama teacher who has taught both in Australia and the UK and was lucky enough to be apart of a EAL performance troupe throughout Italy. Simone has been working at Cranbourne Secondary College since returning from maternity leave in 2013 where she has developed a strong middle school drama curriculum.
CROSSROADS. YOU. TERRORIST. – A PROCESS DRAMA ABOUT TERRORISM AND YOUNG PEOPLE.
Terrorism is complex. For many young people, it may not be at the top of their concerns. How do we get engage young people in sensitive issues such as this? In line with the Conference’s theme of exploring diversity and inclusion in drama education, this process drama workshop will bring to light the different perspectives and complexities of young people dealing with terrorism and the use of social media. Based on an original play of the same title, the characters and circumstances will be introduced to the participants for exploring the diversity of perspectives. Through helping the characters, we aim to shift the perspectives of the participants by challenging their choices.
Area(s) of Focus: Middle Years, Senior Years Featured Presenter: Jeffrey Tan About the Presenter(s) Jeffrey Tan has been working as a theatre director, drama educator and arts producer since 1989. He holds a BA (Drama) from the Queensland University of Technology (Australia) and MA (Drama and Theatre Education) from the University of Warwick (Britain). He was Resident Director with The Theatre Practice (1997), Drama Lecturer with LASALLE SIA (1999), Associate Artistic Director with TheatreWorks (S) Ltd (2002), Assistant Director with the National Arts Council (2007) and Assistant Director, People’s Association (2012). He now works independently producing his own creations. Jeffrey’s recent theatre productions for 2019 include “It’s Not Romeo and Juliat’ for Ageless Theatre, ‘MY Bridge of Love’ for the Marsiling Yew Tee community’s Bi Centennial play and ‘Open Homes’ with La Boite and Backbone theatre in Brisbane. Jeffrey is currently in Melbourne, December 2019, for the Brunswick Mechanics Institute’s Theatre Residency, exploring a new cross cultural children’s play.
17.
SESSION THREE
3C.
Area(s) of Focus: Primary/Early Years, Middle Years, Production of Plays, Directing or Stagecraft, Promotion or Product Launch, Entertainment/Arts Industry Featured Presenter: Stuart Hendricks Organisation: Music Theatre International, Australasia
EVERY ROLE AND EVERY STORY ARE IMPORTANT IN BROADWAY JUNIOR!
Musicals would have to be the most collaborative of all art forms bringing together many facets of the arts industry: music, singing, acting, dancing, costume & set design, lighting & sound design. The true Superfood of the Arts! Everyone involved has a role to play (large or small) and their role is integral to the finished product – whether on stage or off. Whilst taking part in a musical, each person learns responsibility, collaboration, respect, self-confidence & co-operation – these vital life-skills are just the beginning.
About the Presenter(s) With a diverse background in music, education and business, Stuart brings a passion and dedication to the theatre community. Currently the Managing Director with Music Theatre International, Australasia – the local representative for an extensive catalogue including legendary shows ranging from GUYS AND DOLLS to LES MISERABLES to MAMMA MIA!
Seeing a need to make musicals attainable for all ages, Music Theatre International has developed musicals tailor-made for young performers. So, come join us as we explore: • What is Broadway Junior and why is it important? • Why you should ring Broadway Junior into your classroom • How our resources help you? • Broadway Junior in action – get up and have a go. See how easy it is. An introductory workshop for all classroom teachers filled with tips, tricks and practical activities. Whether you are a seasoned pro, or you’re just getting started, you will acquire new skills, learn best practices and walk away energized and inspired to tackle any musical theatre challenge.
3D.
HEALTHIER TEACHERS/ HEALTHIER STUDENTS
A practical methodology of how psychological wellbeing will support teachers and students to work productively. A journey through the Performing Arts is challenging and places an enormous amount of pressure on teachers and students. Depending on the coping tools of the individual, these pressures can translate into distress, anxiety, panic attacks, and even mental illness. Teachers and students often don’t have the psychological resources for dealing with such consequences and can feel uncertain of how to manage themselves and their students effectively.
Area(s) of Focus: Teacher Professional Learning Featured Presenter: Will Centurion About the Presenter(s) Will Centurion is an advocate for Mental Health in the Performing Arts and a qualified Counsellor/Life Coach for Actors, Singers and Dancers. Having worked as a performer for over 20 years, Will uses his lived experience and knowledge in Applied Psychology to create industry informed Mental Health services. His collaboration with Universities, Performing Arts training institutions and Theatre Workplaces aims to provide the education and resources that encourage awareness and change.
To address this need, Will Centurian has designed a workshop based upon the frameworks of ACT and Narrative therapy. This workshop provides a better understanding of some of the challenges teachers and students face in the performing arts sector and how these challenges can be navigated. The workshop is comprised two main components; the first focussing on helping teachers to understand burnout, compassion fatigue and why it is important to de-role. And secondly, focussing on strategies that will assist student’s emotional intelligence, resilience and self-care. This workshop is an evidence-based presentation, that supports the idea that when teachers have the capacity to improve their own self-care, their students wellbeing will also improve accordingly.
18.
SESSION THREE
3E.
DIVERSITY & INCLUSION IN DRAMA EDUCATION
In a Melbourne Playback performance the audience’s stories and experiences are turned into on the spot theatre. Through dialogue with a skilled playback facilitator, audience members share perspectives, ideas, moments and events from their lives that explore the broad topic of diversity and inclusion in drama education. Our team of professional actors and musicians then bring these stories to life and into focus in a way that is entertaining, surprising, illuminating and transformative. Our facilitators are trained to gather stories from a wide variety of voices in the room, giving everyone the opportunity to hear the different perspectives of people in the audience. A Melbourne Playback performance will leave an audience more aware and attuned to the complexity of experience more emotionally connected to each other and thoroughly entertained.
3F.
Area(s) of Focus: Primary/Early Years, Middle Years, VCE Drama, VCE Theatre Studies, Tertiary, Research and/paper presentations, Production of Plays, Directing or Stagecraft, Promotion or Product Launch, Entertainment/Arts Industry, Acting/Performance Training Featured Presenter: Melbourne Playback Theatre Company About the Presenter(s) Melbourne Playback is a leading interactive theatre company working throughout Victoria in the corporate, government, community and education sectors. Melbourne Playback has been creating performances, professional training and workshops, which transform, empower and entertain for over 30 years. At the heart of our work we use personal story and the principles of improvisation as ways to awaken new perspectives.
“PLAYFUL WORK AND SERIOUS PLAY” - REHEARSAL ROOM PEDAGOGY WITHIN OUR CLASSROOM.
This workshop explores the diversity of a Drama classroom and the complex and complimentary relationship between our Drama students and the curriculum we teach. Working within the guise of a year 10 Drama class, Kaitlyn and Toby will take participants through a 90-minute workshop focused towards the presentation of Sophocles’ Antigone as a whole class production. Participants will work in ensemble groups to develop and present key moments from Antigone with a focus upon the establishment of a wholeclass vision of the play’s links to modern society. Recognising the mix of abilities, interests and engagement levels that might exist in the Drama room, we seek to encourage participation through the practice of dramaturgy- giving agency not just to final performance, but decisions and direction in rehearsal, negotiation towards production areas, and critical appraisal as audience members.
Area(s) of Focus: Middle Years, Production of Plays, Directing or Stagecraft, Entertainment/Arts Industry Featured Presenter: Tobias Wilkins & Kaitlyn Trollope Organisation: Box Hill High School About the Presenter(s) Tobias Wilkins is a learning specialist in the Victorian public education system. Toby worked for Theatre in Education companies across Australia before completing his Masters specialising in the teaching of Shakespeare in 2012. He is currently undertaking his Doctorate with the University of Melbourne, where he also lectures. Kaitlyn Trollope is a secondary teacher specialising in VCE Drama. Kaitlyn has experience leading strategies towards whole school engagement, focused specifically on student wellbeing and differentiated curriculum. Kaitlyn is critically acclaimed as a directed and producer and is passionate about creating a Drama community where students feel individually valued and empowered to create industry standard work.
The workshop will harness Rehearsal Room pedagogy: a practice that positions the teacher and students towards industry related roles and contexts, developing knowledge of the profession beyond the classroom and exploring the nature of expert ensemble work. Using the catch cry: “Playful Work and Serious Play” this workshop highlights where the tensions and triumphs exist when students of all abilities are collectively challenged.
19.
SESSION THREE
3G.
Area(s) of Focus: Primary/Early Years, Middle Years, Acting/Performance Training Featured Presenter: Dan Goronszy Organisation: Dan Goronszy Arts
IT’S ALIVE! SIMPLE FOUNDATIONS FOR BRINGING PUPPETS TO LIFE
This participatory workshop introduces delegates to five foundational principles of puppetry, providing a universal shared language, whilst developing a strong connection between education and professional practice. Fun, delightful and moving, workshop participants will learn from both participating and observing; gaining first-hand experience in how focused puppetry manipulation suspends belief, and captures an audience.
About the Presenter(s) Dan Goronszy is a professional puppeteer, performer and collaborator with 15 years experience. 2019 included teaching puppet operation at VCA, performing giant puppet The Guardian at White Night, and in The Waterhole: Galapagos Islands, after Graeme Base for Melbourne Zoo. She is a touring company member of Polyglot Theatre.
Using simple materials, teams of two will create puppet creatures to work with. Though the primary focus of this workshop is not puppet making, making these puppets ensures a diversity of creatures in the room, and indicates how the principles are easily transferable to operating objects and other styles of puppets. Participants are then guided through structured and improvised scene work focusing on professional puppet manipulation techniques. Finally, delegates will explore their new foundational skills on professional puppets as they gain tools in devising nonnaturalistic theatre and other performance genres. Puppetry offers inclusive pathways into theatre making and is especially useful in engaging those who don’t wish to perform themselves. Further, through transformation, puppets can cross boundaries of language, race, gender, and ability. They can disarm, and boldly navigate territory that is not so easy for the human body. *Perfect for upper primary, and senior schools.
20.
DAY2
SESSION SELECTION GUIDE
FRIDAY 6TH DECEMBER
8.15 AM - 9.15am For anyone who wants to get in a bit earlier and/or avoid the traffic!
EB2: LICORICE ALL-SORTS
Area(s) of Focus: Primary/Early Years, Middle Years Featured Presenter(s): Nicholas Waxman Organisation: Eltham College
(INCLUDES BREAKFAST GOODIES) Drama for all experience levels! This workshop will give you a range of activities and tricks for adapting your classroom to suit a broad range of drama experience. Some students enter our class with 6 strong years of robust drama education and some come with no exposure, no interest and an inbuilt fear.

About the Presenters Nicholas Waxman is the host and producer of Drama Victoria resource The Aside Podcast. He is also on the Committee of Management for DV. Nick teaches from prep to VCE.
How do you cater for these students? Even in an elective program this occurs. After 10 years of managing this problem Nick will share some of his strategies for making the most of of your Licorice All Sorts.
21.
SESSION FOUR FRI 6TH DEC, 9.30AM - 11AM
4A.
LITERACY AND SUSTAINABILITY IN DRAMA: LISTENING, HEARING, SPEAKING, SEEKING AND ADVOCATING
Drama makes important contributions to young peoples’ lives and education. This workshop aims to provide some frameworks and experiences to assist teachers to understand and report on contributions of Drama to students’ learning across The Arts, literacy and awareness of their world and how they can act for unity and respect diversity. We begin by working together in process drama to create a shared drama experience. We will then analyse each episode of the drama for both how it contributes to the overall composition of the process drama itself, the literacy skills used by participants and how the experience enables unity and diversity. In our leadership of the analysis we will focus on the construction of literacy progressions in the curriculum, rather than specific year levels, so the workshop is relevant to teachers working in primary and secondary school settings.
4B.
Area(s) of Focus: Primary/Early Years, Middle Years Featured Presenter: Joanne O’Mara & Helen Champion Organisation: ACARA and Deakin University About the Presenter(s) Joanne O’Mara is an Associate Professor in Language and Literature Education in the Faculty of Arts and Education, Deakin University, Melbourne, Australia. An experienced English and Drama teacher, she has continued to work with young people and schools through her university research. Her research and scholarship focus on Drama pedagogy; emergent literacies and new textual practices; digital games and the spatial, social and temporal dimensions of teachers’ work. Helen Champion is the Arts Curriculum Specialist at Australian Curriculum Assessment Authority. Her work focuses on engaging with stakeholders to monitor and support implementation of Australian Curriculum: The Arts.
HOW TO LEAD PRIMARY SCHOOL WHOLE SCHOOL PRODUCTIONS
This workshop is designed for Primary Educators to learn, get tips and share ideas on how to produce a whole school production for a Primary setting. The session will provide participants with information on how to organise a production, from starting with a theme, all the way through to Showtime and how to lead your community of students, staff and parents through this process. Participants will be provided with handouts and will have the opportunity to ask questions and share knowledge with other Primary Educators with the goal of improving further developing skills to produce a successful whole school production.
Area(s) of Focus: Primary/Early Years Featured Presenter: Hayley Grindley Organisation: Antonio Park Primary School About the Presenter(s) Hayley Grindley is currently the Performing Arts teacher at Antonio Park Primary School. She leads the staff, students, parents and community to create a yearly production that involves over 500 students in each performance.
22.
SESSION FOUR
4C.
IMPROVISATION FOR AND AS ENSEMBLE PERFORMANCE
Please note this a 180 MINUTE MASTERCLASS, SESSIONS 5 + 5 COMBINED For the first hour, members of The Contingent will lead a series of structured warm-ups and practical improvisation exercises designed to build ensemble unity, and heighten spatial awareness, and live performance presence. Through these exercises The Contingent will demonstrate and allow participants to experience the explicitly and rigorously inclusive principles that underpin their ensemble training and performance practice. The Stimulus material for this workshop will include excerpts from The Contingents 20192020 Performance project, “The Outermost Edge of Sleep”, which incorporates colonial and contemporary Australian poetry and prose relevant to Unit 2 VCE Drama.
Area(s) of Focus: VCE Drama, Acting/Performance Training Featured Presenter(s): Meiki Apted Organisation: The Contingent About the Presenter(s) “Eleven daring minds assemble to dance: often confronting, sometimes outrageous, always courageous. Dare to experience The Contingent.” The Contingent are a collective of eleven different people drawing from diverse disciplines (including circus, action theatre, body weather, yoga, shiatsu, creative writing, and contemporary dance) and united by an enduring love of play. The Contingent perform nuanced, bittersweet, improvised ensemble physical theatre. For more information: https://contingentensemble.wixsite.com/contingentensemble
The Contingent will then perform a 30-40 minute stand-alone excerpt from “The Outermost Edge of Sleep”. The masterclass concludes with a Q&A focussed on practical strategies for building vibrant, inclusive, rigorous, productive, playful and disciplined performers, ensembles and drama classrooms. Participants should dress in comfortable clothing that permits movement. Spectatoronly participants are also welcome.
4D.
TEACHING LIGHTING - THE THEORY AND PRACTICE OF LIGHTING IN PRODUCTION, ESSAYS AND EXAMS
Lighting is an elusive area of stagecraft for many teachers. When it is done well, the audience will not notice its presence, but it will shape the audience’s perception of character, mood and the world of play in ways that are subtle but as effective as any other stagecraft. This workshop is designed for teachers who may feel uncertain of how to approach teaching Lighting Design as a stagecraft area to their students; It aims to equip teachers with the skills and language necessary to understand the basics of lighting design;
Area(s) of Focus: VCE Theatre Studies, Production of Plays, Directing or Stagecraft Featured Presenter(s): Richard Whitehouse Organisation: St Monicas College About the Presenter(s) Richard Whitehouse is a Theatre Studies teacher in the Northern Suburbs of Melbourne. Prior to this he was a lighting designer for fringe and arty theatre and dance. He has lit shows and events in venues such as art galleries, basements and scout halls, large scale theatres, and everything in between. He was nominated for a Green Room award for his lighting of “5 Kinds of Silence” in 2008.
- The overarching principles that all lighting design employs, whether it be in the Regent Theatre, or a tiny classroom - What makes for a “good” design? - How to write and assess a written response to Lighting Design in exams and essays - How to approach the Theatre Studies Stagecraft Exam as a lighting designer - How to creatively approach lighting design when you have little to no professional equipment
23.
SESSION FOUR
4E.
AN INTRODUCTION TO AESTHETIC EDUCATION - STRATEGIES FOR HELPING YOUNG PEOPLE ENGAGE DEEPLY WITH LIVE THEATRE
Please note this a 180 MINUTE MASTERCLASS, SESSIONS 4 + 5 COMBINED Join us for a hands-on workshop exploring the use of inquiry-based learning in your teaching practice. How can we foster a learning environment that is inviting, challenging and energising? How can we guide our students to consider multiple perspectives, to notice deeply and to engage in reflective processes? How do we create culturally responsive, inclusive classrooms?
Area(s) of Focus: Middle Years, VCE Drama, VCE Theatre Studies, Entertainment/Arts Industry Featured Presenter(s): Vanessa O’Neill About the Presenter(s) Vanessa is a playwright, performer and teaching artist with over 20 years experience. Last year Vanessa received an Australia Council Grant to undertake Teaching Artist training at Lincoln Center Education (LCE) in New York. She returned to LCE this year for their Leadership Lab, which focused on working in the fields of diversity, equity and inclusion.
Inspired by Maxine Greene’s philosophy and Lincoln Center Education’s Aesthetic Education teachings, this masterclass will be divided into two sections, punctuated by watching excerpts from a performance, which will provide stimulus for both the pre and post workshop. We will explore the benefits of encouraging students to dig deeper in their observations, to ask questions, and make connections. How can we foster these skills as habits of mind in our students so that they engage more deeply in their own work as artists and audiences? The performance that we will focus on is Malthouse Theatre’s production of Wake In Fright, as we explore ways to embed diversity, equity and inclusion within our teaching practice.
4F.
GET YOUR BOUFF-ON! A MASTERCLASS IN THE WILD & LIBERATING ART OF GROTESQUE SATIRE.
Please note this a 180 MINUTE MASTERCLASS, SESSIONS 4 + 5 COMBINED Bouffon is an ancient performance tradition which has been used across cultures for centuries. In short, a style of ‘grotesque satire’ in which outcasts mock their oppressors. The parody is clever, designed to charm the audience and then ruthlessly target what is imbalanced in the culture at large. Exploring Bouffon is a fun and liberating way for Drama students to increase their spontaneity and push themselves to discover new possibilities, as well and encouraging them to think about ways theatre can politically engage with the world around them. As a training tool, it is used as a method of encouraging students to release their childlike pleasure, break free of their inhibitions, connect and engage with each other as an ensemble and achieve a deeper and bolder connection with themselves and their work. In this 90 minute masterclass participants will be taken through a series of performance games and activities examining the basic techniques of Bouffon and how they can be used to ignite and challenge students in both performance, ensemble building and devising. This masterclass will be an exploration of an ancient performance method for the contemporary stage, and allow participants to discover new possibilities for fostering a greater sense of courage, freedom and unity in their students.
Area(s) of Focus: Middle Years, VCE Drama, VCE Theatre Studies, Acting/Performance Training Featured Presenter(s): Emily Goddard About the Presenter(s) Emily Goddard graduated from Ecole Philippe Gaulier, Paris in 2010, supported by the Ian Potter Cultural Trust and Empire Theatres Bursary. Recent theatre credits include Australian Realness (Malthouse), Noises Off (MTC/QT), Angels in America (Dirty Pretty Theatre) and Lamb (Red Stitch). She is the creator and performer of the Drama Victoria award winning Bouffon anti-bonnet drama This is Eden and has been nominated for three Green Room Awards for Outstanding Female Actor, most recently for This is Eden. She has taught Le Jeu and Bouffon for USQ, Melbourne University, Brave Studios, Drama Victoria, Empire Theatres, Hothouse, across Victorian secondary schools and to professional actors. www.thisiseden.com.au
24.
SESSION FOUR
4G.
COMMEDIA DELL’ARTE: UNITY THROUGH PLAY
A super fun, energetic, practical workshop on the traditional style of Commedia dell’Arte with Make A Scene Director, Rosa Campagnaro. A great opportunity for teachers to connect with a professional practitioner to develop skills that will foster unity and inclusion through play in the classroom. This workshop emphasises the importance of being connected to a unified ensemble. Participants will play with lazzi (gags, slapstick and improvisation), commedia stock characters and explore the actor’s process for working with traditional leather masks. Everything in this workshop is relevant for all areas of your Drama curriculum! This workshop creatively challenges participants to use movement, gesture, masks and archetypes to tell stories. An energetic workshop (so wear comfortable clothes).
4H.
About the Presenter(s) Rosa is the Director of Make A Scene and studied commedia with Venezia InScena (Italy), Bouffon (Giovanni Fusetti) and Jacques Lecoq technique (Norman Taylor). Her shows have been on the VCE Playlist: ‘Pinocchio’ (2019) and ‘The Servant of Two Masters’ (2016). Rosa served on the Drama Victoria CoM (2017-2018) and sits on the board of Lab Kelpie: An Australian New Writing Theatre Company.
PAGE TO STAGE: INCLUSIVE DEVISING FOR YOUNG PEOPLE.
Award-winning queer physical theatre company PO PO MO CO share devising techniques from their theatre making workshop for young people - Page to Stage. At the heart of this work is an urgency to empower young people to share diverse stories through embodied performance, ensemble devising and play. The workshop will also include information about inclusive practice and creating queer theatre for children.
4I.
Area(s) of Focus: Primary/Early Years, Middle Years, VCE Drama, VCE Theatre Studies, Acting/ Performance Training Featured Presenter(s): Rosa Campagnaro Organisation: Make A Scene
Area(s) of Focus: Primary, Middle Years, VCE Drama Featured Presenter(s): PO PO MO CO Organisation: PO PO MO CO About the Presenter(s) PO PO MO CO teaching artists are trained in the lineage of Jacques Lecoq via the schools of Phillipe Gaulier, John Bolton and Giovanni Fusetti. The company mandate is to produce ensemble driven physical comedy that reflects contemporary Australian society through a queer lens.
Area(s) of Focus: Primary/Early Years, Middle Years, VCE Drama, VCE Theatre Studies, Acting/ Performance Training Featured Presenter(s): Linda Nicholls-Gidley & Simon Masterton Organisation: Voco Vox
THIS IS NOT A DRILL: INCLUSIVE VOICE AND SPEECH SKILLS FOR THE CLASSROOM
Voice is a key component in drama examination performance criteria. Yet voice work is seldom the main focus in classroom skills development or a source of delight for students. Often students will be stronger in one aspect or the other, however when the voice and body work together they create powerful and engaging speech. Voice is a key component in drama examination performance criteria and a soft skill that can be developed across curriculums. Yet voice work is seldom the main focus in classroom skills development or a source of delight for students. Knight Thompson Speechwork is a rigorous but playful way of exploring the skills of speech in the classroom by way of celebrating the diverse sounds we can make. Participants will visit the mouth gym and build towards greater awareness and command of what is actually happening when we speak. This workshop is designed to access freedom of expression, and to rekindle enthusiasm about voice work in the classroom. The skills draw on concepts of collaborative improvisation and vocal health and are applicable both in the classroom and beyond.
About the Presenter(s) Linda holds a MCA-R (UOW), a PGDip–Voice Studies (NIDA) and a BA–Acting (CSU- Wagga Wagga). Maintaining a thriving private studio for over 20 years, regularly working in theatre, film and television. She is on the Editorial board of the Voice and Speech Review and was Associate Lecturer in Voice at NIDA 2011-2017. Simon holds an MA in French and Spanish from Cambridge University, a PGDip-Music Theatre from the Royal Academy of Music, and an MFA-Voice from NIDA. Simon has worked extensively over the past 20 years as a singer, actor, singing teacher, translator and voice coach. Simon is an Associate Editor of the Voice and Speech Review.
25.
SESSION FIVE FRI 6TH DEC, 11.30AM – 1PM
5A.
DIRECTING WITH PURPOSE
In this workshop Jess will have you up on your feet to participate in some classroom activities that focus on directing and the actor audience relationship. The aim is to improve students skill in making their own directorial decisions whilst also building their capacity to identify and describe directorial decisions and how these can impact the actor audience relationship. Jess herself has used these activities in both drama and Theatre Studies. In Drama it was a preparatory exercise prior to attending the performance for analysis in unit 3. For Theatre Studies it applies to both unit 3 and 4.
5B.
Area(s) of Focus: VCE Drama, VCE Theatre Studies, Production of Plays, Directing or Stagecraft Featured Presenter(s): Jess Quick Organisation: Ballarat High school About the Presenter(s) Jess Quick is a long time attendee, first time presenter at the Drama Vic conference. After ten years at Ballarat High School teaching Drama and Theatre Studies, she felt it was time to give back at this years conference. She aims to give her fellow teachers some useful classroom activities to take back to their classrooms.
KILLING DEAD WHITE MEN - PRIVILEGING FEMINIST AND INDIGENOUS DRAMA
‘Killing Dead White Men’ is a workshop which attempts to address the patriarchy embedded in theatre history, practice and teaching. It focuses on how to develop teaching approaches which value the work of female and indigenous theatre, drama and performance practices. The purpose of this workshop is not just to emphasize the continuing contributions, influences and commitments of females and indigenous groups, drama and performance to theatre but also to provide a story. Explore drama and performance from Indigenous performance to Enheduanna to Hildegard of Bingen to Isabella Andreini to Aphra Behn to Mah Laqa Bai to Franca Rame to Ximena Escalante to Caryl Churchill to Jane Harrison. The workshop starts with a death and ends with the ‘caged bird’ singing.
Area(s) of Focus: Middle Years, VCE Drama, VCE Theatre Studies Featured Presenter(s): Mark Eckersley Organisation: Santa Maria College About the Presenter(s) Mark Eckersley has recently completed a Doctorate of Education in Indigenous drama. His Masters of Education on the ‘Dramaturgy of the Australian Director’ focused primarily on privileging the work of Australian female directors. He has taught drama and theatre for over 25 years in five different countries.
26.
SESSION FIVE
5C.
HONEY SPOT
In this workshop, participants will be provided with a unit of work on Honeyspot, a play by First Nation author Jack Davis. We acknowledge the barriers Drama teachers face when implementing First Nation’s perspectives. Barriers may include lack of resources, lack of time, or fear of getting it wrong. This workshop has been designed to smash those barriers by arming participants with tangible resources and activities so they can take this unit of work back to their classroom. Honeyspot explores ‘the friendship between an Aboriginal boy and a white girl’ raising ‘issues of race in a touching story of two families who seem to have nothing in common ... until danger strikes, forcing them to face their prejudices’. The play and the unit of work is suitable for students from Year 6-8. This interactive workshop gives participants an overview of the 4 week unit and explores the content, resources and practices needed to create an inclusive classroom where First Nations’ perspectives are understood and celebrated. The resources provided include a detailed Power Point, lesson plans, script excerpts and videos. Participants will also be guided through practical activities and will create their own worked examples to take back to the classroom.’
5D.
Area(s) of Focus: Middle Years Featured Presenter(s): Kate Phillips & Kathryn McLeod Organisation: Braybrook Secondary College About the Presenter(s) Kate Phillips has taught Drama, Humanities & English since 2006, teaching in a number of public secondary schools in Melbourne. She currently teaches part-time at Braybrook College. Kate completed an honours degree in Indigenous Theatre at La Trobe University and is interested in including the work of Indigenous writers across the curriculum. Kathryn McLeod is a Drama, Media and English teacher at Braybrook College. Kathryn completed a Master of Creative Writing from the University of Sydney and a Master of Teaching from Deakin University. She is passionate about creating understanding, empathy and entertainment through Drama education and storytelling.
Area(s) of Focus: Primary/Early Years, Middle Years, VCE Drama, VCE Theatre Studies, Production of Plays, Directing or Stagecraft, Entertainment/Arts Industry, Acting/Performance Training Featured Presenter(s): Zoe Rinkel Organisation: Arts Centre Melbourne
ADD SOME HIP HOP TO YOUR DRAMA
Hip-hop culture has always been, and continues to be, a forum through which people can express opinions, raise issues, and have their voices heard. In Australia, hip hop offers artists from diverse backgrounds with important conversations to start, a platform to promote hip-hop’s core values of respect, inclusion and individuality. In this workshop, teachers will discover how to use hip-hop lyric writing to engage students in storytelling and performance. With the rise in the hip-hop theatre genre, there has never been a better time for teachers to consider how hip hop can be used to develop original, performative writing in drama.
About the Presenter(s) Zoe Rinkel is Venue and Program Manager of The Channel, Arts Centre Melbourne’s dedicated learning space. The Channel program offers a range of creative workshops, community events, artist talks and live performances to school groups, families, emerging creative and the wider arts community, encouraging ongoing and meaningful engagement with the arts. Zoe also runs a street art education program out of Melbourne’s laneways.
Hip-hop in the classroom helps develop students’ confidence, selfesteem and self-expression, whilst deepening their understanding of form, symbol, narrative and role. In this workshop, participants will be encouraged to think about issues that affect them and impact their lives. Participants will be led in crafting those ideas into lyrics and have the opportunity to record their lyrics with a backing beat, experimenting with rhyme and flow. During the workshop, teachers will get practical, hands on experience in: • Learning about the hip-hop genre • Writing tips and techniques • Idea generation and using language in interesting ways • Use metaphors, similes and symbolism
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SESSION FIVE
5E.
DRAMA VS THE HETEROSEXUAL MATRIX: THE NECESSITY OF PROMOTING QUEER PERSPECTIVES AND CHALLENGING HETERONORMATIVITY IN THE DRAMA CLASSROOM.
Queer voices are inextricably linked to theatre and performance. In a world in which such voices are dangerously overpowered by the Heterosexual Matrix, to exclude such voices in Drama education is to do a disservice to the LGBTQ+ perspectives that have driven the history of our subject. However, the teaching of queer texts and subject matter can raise its own issues: How do we teach Queer Theatre in a meaningful and respectful way? What content is appropriate for the classroom? How can we teach students to engage with this content safely? Why is it essential to explore queer perspectives in this subject in particular? Do queer texts link to state and national curriculums? How might the teaching and learning of Queer Theatre impact upon our LGBTQ+ students? And, perhaps most importantly, how can the teaching and learning of Queer Theatre contribute to positive social change outside of the classroom?
Area(s) of Focus: Teacher Professional Learning in diversity and inclusion Presenter(s): Bradley Chapman About the Presenter(s) Bradley is a national expert on gender, masculinity and sexuality in education. As a highly regarded teacher and theatre-maker, Bradley has presented his work across the country for organisations such as Drama Australia, Drama Queensland, and, most recently the National Boys’ Education Conference at The King’s School in Sydney.
This workshop will examine these concerns in depth as we explore the duty that we have, as Drama educators, to challenge social Heteronormativity.
5F.
Area(s) of Focus: Middle Years, VCE Drama, VCE Theatre Studies, Production of Plays, Directing or Stagecraft, Entertainment/Arts Industry, Acting/Performance Training Featured Presenter(s): Lyall Brooks Organisation: Lab Kelpie Inc
BECOME THE ONE
Why are we so trepidatious to have our kids exposed to contemporary, diverse stories? Why are many of us scared to tackle “tough” themes like toxic masculinity, sexual identity and institutionalised homophobia in our schools? What is our role as educators in fostering underrepresented voices and improving the diversity on Australia’s stages? In this 90-minute workshop, Lyall Brooks will take participants through practical exercises, discussions, and group and solo performance examples to ask: Can we create impactful theatre that resonates beyond the characters... and reflects the diversity and needs of our own students?
About the Presenter(s) Lyall Brooks is an award-winning performer, director, workshop facilitator, and founding artistic director of Lab Kelpie. As a new Australian writing theatre company, we seek inclusion and unity through accessibility: diverse professional theatre voices helping students maximise their theatre experience, making meaningful connections between our work and their studies. www.labkelpie.com
Based around his experience of staging 2019’s critically acclaimed Become The One – a story of the first hypothetical “out” AFL player – we will look at the application of: • comprehensive dramaturgy and honour of contexts; • both simple and innovative directorial best practise; • an informed, graceful and empathic touch when tackling the subjects that are often relegated to the theatrical too-hard basket. With particular relevance for VCE Theatre Studies, this workshop also provides rich stimulus for ALL secondary Drama and Theatre Studies teachers, and a valuable experience for directors and actors. Includes teachers’ resources. Published script available for purchase at the workshop and from the Lab Kelpie trade stand.
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SESSION SIX FRI 6TH DEC, 4PM – 5PM
6A.
Area(s) of Focus: VCE Drama, VCE Theatre Studies, Entertainment/Arts Industry Featured Presenter(s): Heidi Irvine Organisation: Frankston Arts Centre
LIVE THEATRE IS DEAD
As a contemporary performing arts centre, Frankston Arts Centre is committed to programming that is diverse and inclusive, and honours the live and the lived experience. Join Heidi Irvine, Team Leader, Programming and Engagement from the FAC, to explore and interrogate the following in 60 minutes of punchy, participatory discussion. How do we program theatre and develop programs that reflect the environment we see when we walk down the street? How do you - as educators - help us make this happen? What would you like your students to see on stage and experience in terms of participatory programs?
About the Presenter(s) Heidi Irvine is currently Team Leader Programming & Engagement at Frankston Arts Centre. Prior to this Heidi was the Producer of Education and Youth Programs at Queensland Theatre (Company) for over 5 years. After graduating from Charles Sturt University, Bathurst with a Bachelor of Arts (Communication - Theatre/ Media) in 2001, she embarked on a pursuit to discover her place in the Arts Industry. Heidi moved to Japan and taught English conversation and Drama for young children, students and adults. This adventure resulted in finding a place in the world of Drama education and Heidi spends much of her time creating opportunities for schools, teachers, young people and community to engage in the Creative Arts. Heidi also holds a Postgraduate Degree in Education from Queensland University of Technology (2005).
How can we work within the community to change perceptions of live theatre? We all know the wider cultural learning that happens during a visit to the theatre. Theatre and Drama in their very nature are inclusive mediums‌ so what stops us from making that happen? We might not have the answer to it all by the end of the session, but our provocations and conversation will hopefully inspire and promote participants to ask more of arts centres, theatre companies and live arts organisations.
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SESSION SIX
6B.
PRESENTATIONS & RESEARCH PAPERS SESSION
1. Heide Student Performance Project 2020
2. Cultural Diversity and Drama Education
Tara Daniel has managed student performance projects in several public art gallery settings, including PICA (the Perth Institute of Contemporary Arts), the NGV and the Heide Museum of Modern Art. Showcasing these projects as case studies, Tara will discuss the development of a model that sees students responding to art works, devising original material and performing in gallery contexts alongside the art. The presentation also acts as a call out for interested drama classes to participate in the 2020 Student Performance Project at Heide.
This paper will share the findings from Patrizia’s recently completed M.Ed entitled “Cultural diversity and drama education within an Australialn context” that examined a unit of work taught to a secondary drama class. The paper will highlight literature regarding young people from diverse cultural backgrounds and Intercultural understanding in Australian curriculum.
Presenter: Tara Daniel Tara Daniel is an experienced arts educator across the fields of drama, art and dance. Tara trained at WAAPA and VCA and has taught for NIDA and the Arts Centre Melbourne, as well as in secondary school contexts. She is a VCAA assessor and has written Drama and Theatre Studies resources for Theatre Works and Regional Arts Victoria. She managed education programs at PICA and is currently at the Museum Educator at Heide MOMA.
Presenter: Patrizia Ferrara Patrizia Ferrara (B.Ed, M.Ed) is a secondary drama teacher. Her research interests include cultural diversity, multiculturalism, drama education and reflective practitioner reseach. Area(s) of focus: Area(s) of focus: Primary/Early Years, Middle Years, VCE Drama, VCE Theatre Studies, Tertiary, Research and/paper presentations
Organisation: Heide MOMA Area(s) of focus: Middle Years, VCE Drama, Promotion or Product Launch, Entertainment/Arts Industry
6C.
Area(s) of Focus: VCE Drama, VCE Theatre Studies Featured Presenter(s): Marg Arnold Organisation: VCAA
PLAYLIST 2020
An introduction to works on the VCAA Playlist 2020
About the Presenter(s) Marg Arnold is the Curriculum Manager for Performing Arts at the Victorian Curriculum and Assessment Authority.
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SESSION SIX
6D.
EVALUATION FROM EVERY ANGLE! EFFECTIVE EVALUATING WRITING IN VCE THEATRE STUDIES
Despite increasing information published in recent years, evaluative questions still seems to pose the most challenging aspect of the VCE Theatre Studies exam. This session will aim to provide a series of tools to break down evaluating in written form for students, along with providing a pack of resources which will include key evaluative terms and written examples of how they have be used.
6E.
About the Presenter(s) Trent has been a teacher for 12 years in private and public schools. Trent has previously worked as a VCAA Assessor, has previously been a Vice President and VCE Theatre Studies representative for Drama Victoria
POLYGLOT THEATRE THEATRE CRAFT FOR TEACHERS
Join artists from Polyglot Theatre for a participatory workshop that delves into the company’s child-led approach to creativity. Using simple materials like paper and tape, explore techniques to create images, scenes and costumes, as well as working with scale and puppetry. This workshop will explore ways to generate ideas with students and foster creative expression in an environment of experimentation and fun.
6F.
Area(s) of Focus: Middle Years, VCE Theatre Studies Featured Presenter(s): Trent Bockman Organisation: Mentone Girls’ Grammar
Area(s) of Focus: Primary, Middle years Featured Presenter(s): Polyglot Theatre About the Presenter(s) Polyglot Theatre is Australia’s leading creator of interactive and participatory theatre for children and families. The company works in diverse contexts ranging from international arts festivals and performing arts venues, to intercultural collaborations, to complex community arts projects, to residencies in schools, and more.
Area(s) of Focus: Primary/Early Years, Middle Years, VCE Drama, VCE Theatre Studies, Tertiary, Research and/paper presentations Featured Presenter(s): Andrew Byrne, Rachel Forgasz, Danni Hradsky & Jane Carter Organisation: Braybrook College
PUTTING ‘DEVISING PERFORMANCE WITH FIRST NATIONS CONTENT IN SCHOOL SETTINGS: ADVICE FOR TEACHERS’ INTO PRACTICE
‘Devising Performance with First Nations Content in School Settings: Advice for Teachers’ is the result of five years hard work and collaboration between Ilbijerri Theatre Company, practicing First Nations performing artists, Drama Victoria, Monash University and practicing Drama teachers. It has been trialled during the 2019 Drama Victoria Theatre Festival, and we are very excited to launch the full document at this conference. This session will provide a practical, hands-on introduction to ‘Advice for Teachers’ and how it can be used in schools. Drama activities will be used to explore each section of the document, and then time will be given for you to discuss and plan applications for your own classrooms.
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SESSION SIX
6G.
THE INTERNATIONAL ISLAND: CREATING COMMUNITY FOR VICTORIAN IB THEATRE TEACHERS
Outside of the international school community, one can feel isolated teaching IB Theatre. There are plenty of available resources for IB Theatre teachers but accessing them can be difficult or not always possible. The aim of this workshop is to explore a structure and timeline for the two-year course, methods for approaching the four assessment tasks, discuss teaching a combined IB/VCE class and the examining the connections that exist between them, and share resources. Furthermore, this will be a great opportunity to connect with other IB Theatre teachers so that we can share best practice and problem solves any issues that people are facing regarding the Diploma Program. This can hopefully allow the development of a network of IB Theatre teachers who can support each other and ensure we are not alone on the International Island.
Area(s) of Focus: International Baccalaureate Featured Presenter(s): Nicholas Mawson Organisation: Geelong Grammar School About the Presenter(s) Nicholas Mawson is a Drama and Theatre Teacher at Geelong Grammar School. He has taught IB Theatre at the DP level for 10 years and is an examiner for the Research Presentation. Furthermore, he has experience teaching combined IB and VCE classes.
SOCIAL EVENT Thu 5th Dec, 6pm – 9.30pm
DRAMA VICTORIA AWARDS & LEGENDS NIGHT Join us as we announce and celebrate our 2019 Drama Victoria Education Award winners. Help us welcome our new ‘Legends’ and enjoy a performance of “The Greatest Love of All”- A performed research play based on the Drama Victoria MAMA Project, Written by Dr. Jane Bird, Kelly McConville and Dr. Richard Sallis (University of Melbourne).
$40pp Drinks and Canapes included
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PRICING Early bird pricing only available when booking both days on or before 9/10/2019 Member rates apply to members of Australian state associations and other countries (proof required). Concession rates apply to unwaged members and pre-service teachers only (proof required).
R E G I S T R AT I O N E A R LY B I R D
T W O DAY
O N E DAY
MEMBERSHIP TYPE
COST
Member (2 days)
$410
Non-Member (2 days)
$520
Member
$480
Non-Member
$620
Member Concession
$310
Presenter
$230
Member
$300
Non-Member
$395
Member Concession
$195
Presenter
$115
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