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Emma Campbell Photo: Angelo Sgambati
The Voices Project: The One Sure Thing
atyp teacher resources
february 2012
This Resource Kit has been designed as a classroom tool to assist with the preparation,
evaluation and analysis of the Australian Theatre for Young People (atyp) production:
The One Sure Thing.
The notes and activities have been divided into three components:
Before you see The One Sure Thing
The Performance: Behind the scenes of The One Sure Thing
After you see The One Sure Thing
They are designed for students from Years 11-12; however some of the activities could be
adapted for younger year groups. NSW BOS Syllabi have been used as a guide for this
resource kit. It is recommended before using the recommended websites in this kit that
teachers first visit the sites to assess suitability of content for your particular school setting.
We hope you find these activities useful and that they enhance your creative arts
experiences in the classroom.
Heather Clark
Education Manager
Australian Theatre for Young People
atyp SEEKS TO CREATE EXCEPTIONAL THEATRE EXPERIENCES THAT ENGAGE YOUNG AUSTRALIANS AS ARTISTS
AND AUDIENCES
atyp is driven by the belief that the arts have the power to transform lives, enrich communities and
ultimately impact on the future of our nation. The power of stories and storytelling, of sharing experiences
and seeing life from another‟s point of view, are integral to everyone‟s growth and development.
Our work is motivated by the need to improve access and opportunities for all young Australians to
participate in the arts and to encourage them to share their stories, regardless of economic, geographic or
social barriers. We provide a supportive, creative environment for artists of all ages to take risks, engage,
challenge and test ideas and, in doing so, uncover their creative potential.
All atyp programs generate stories told by young people via the development, production and promotion
of new writing, and the maintenance of the dynamic creative hub that connects young people with
experienced professional artists locally and nationally.
Before you see The One Sure Thing
What is The Voices Project?
Getting Comfortable with the “D” Word
Individual Project: Performance – What the Markers Say
A Writer‟s Inspiration and Reflection – Brooke Robinson
In Rehearsal
The Performance: Behind the scenes of The One Sure Thing
The Creative Team & Cast
Interview with Director – Tanya Goldberg
Interviews with the Writers
Interviews with the Cast
Get Involved!
After you see The One Sure Thing: Written Responses
Initial Reaction
Design Elements
The Elements of Drama
Write a Review
After you see The One Sure Thing: Practical Responses
Spatial Awareness
Audience Awareness
Building and Maintaining Energy
Directors in Action
Acknowledgements
table of
contents
Alistair McIntosh Photo: Claire Harris
All of the monologues that you will watch in this performance were created through our
young writers‟ program, Fresh Ink.
Fresh Ink is for writers hungry for a career in theatre. The program helps writers build skills
and the confidence to step into the industry. Emerging writers are matched with
experienced mentors who help bring out each writer‟s own voice. When the scripts are
ready, we support writers through creative development workshops and public readings
to link them to other companies and artists in the theatre industry.
The One Sure Thing is the second annual instalment of the overwhelmingly successful The
Voices Project. Born from the need for quality scripts specifically tailored for young
actors, this collection of seven-minute monologues will challenge the way you look at
youth theatre. The Voices Project 2011: Tell It Like It Isn’t was a runaway success. This is a
unique opportunity for a first look at the scripts that young people will be performing for
years to come.
what is the voices project?
before you see
the one sure thing
Tell it Like it Isn’t explored the theme of first love. This year, The One Sure Thing takes a
look at the one thing we can count on in this life.
Prior to the show, we advise that you prepare your students for the content of the
performance. There may be some scenes that, for students who have experienced the
death of a loved one, may be upsetting. The monologues are all very different – some
cheeky, some uplifting and others quite moving. It is our intention to provide a thought-
provoking performance without exploiting the emotions of the students.
getting comfortable with the “D” word
classroom
activity
BRAINSTORM
In groups of three, make a list of the plays, novels, songs, poems and artworks
that you know that explore the themes of change, transition and death.
Share your list with the class and upload them to the interactive whiteboard or
write them up for the class to see.
PRACTICAL TASK
Group the titles into similar genres. For example, you may use categories such
as “comedy”, “tragedy” etc, or “demographic groupings”, or pieces that
move you and those that are more objective in their reflection of death. It‟s
up to you as a class to decide how to split the “works”. You may change the
groupings until, as a class, you agree how to classify them.
Discuss why you grouped the titles as you did.
REFLECTION
Answer the following questions in your Drama journal. You may also like to discuss
them as a class.
How do you feel about seeing a production about death? How do you think
you‟ll feel at the end of the show?
Choose an object that represents “transition” for you. Find a picture of it or
draw it in your Drama Journal.
Write a “stream of consciousness” inner monologue from the perspective of
the object. Write for 15 minutes. (Stream of consciousness is an unedited
progression of thoughts that you write continuously). Don‟t read over it until
after you have seen the production.
After you have seen the performance, read your “stream of consciousness”.
Compare and contrast your ideas to those that were presented in the
performance.
Bookend the experience with questions before seeing the show that can be
answered at the end of the performance.
- The playwrights have expressed the theme of death differently in each
monologue. Look for differences in style, costumes, lighting and language.
How do these interpretations work with or work against the theme?
- Look for differences in acting styles. What effect does this have on the
theme and on you as an audience member?
2011 HSC Drama markers comments were not available at preparation of these
resources. Follow the link to access marker comments when published by the NSW Board
of Studies.
http://www.boardofstudies.nsw.edu.au/hsc_exams/hsc2011exams/
individual project: performance - what the markers say (2010)
classroom
activity
BRAINSTORM
The following list is a selection of words and phrases that HSC markers use when
commenting on Individual Performances. You have 10 seconds to brainstorm and write
down what each of these words/phrases mean to you. (Your teacher can be the
timekeeper). When you complete the list share your answers with the class:
HSC students are encouraged to “focus on”:
1. “Well-rehearsed”
2. “Theatrical journey”
3. “Actor-audience relationship”
4. “Action/objective analysis”
5. “Absolute conviction and clarity”
6. “Dynamic character journey”
7. “Subtly defined complexities”
HSC students are encouraged to avoid:
1. “Running over or under time”
2. “Simplistic storytelling”
3. “Unclear or incomplete theatrical shape”
4. “Lack of audience awareness”
5. “Style unsustained”
6. “Reliance on production elements (e.g. music, lights)”
7. “Lack of spatial awareness (i.e. wandering aimlessly around the stage”
8. “Low energy, one-dimensional characters”
PRACTICAL TASK
Create two lists (i.e. “Focus on” and “Avoid”) based on the words and phrases
from the above activity that outline what you will look for in The One Sure Thing
monologues.
REFLECTION
In your Drama journal, take time to reflect on the following questions
Thinking about the comments from the markers, what do you think will be your
strengths in your IP?
What areas are potential weaknesses for you?
What will you do to address your weaknesses? Are there specific techniques that
will help you?
Brooke Robinson is the writer of Hunger
For more articles like this, go to
www.freshinkaustralia.com
Hunger started with an image of a helium
balloon; as it slowly drops to the ground,
someone rises and floats away, the two
connected as an invisible counterweight. I
knew this image took place in a kitchen
and that the person floating away was
doing so because they had lost a lot of
blood. Blood and guts and the body are
recurring themes in my work over the past
year. I'm not sure what this means, even on
a pop-psychology sort of level, so I assume
I'll keep writing about these things until I
figure out why.
Hunger places seventeen-year-old Sam in
a commercial kitchen that is also a
dystopia. It's a world of total loneliness and
disconnection and he as a kitchen hand is
desperate for approval and kindness from
the head chef.
I was interested in writing about a world I
knew nothing about – a busy commercial
kitchen. I spent some time reading blogs of
professional chefs to try and get an idea of
the way they spoke and what their day-to-
day life is like. What I read was people
who, in their quest to make the best food
and become the most popular chef,
ended up living an insular life on the fringes
of society by working very long and very
odd hours. A blog by a chef in New York
gave me a great starting point,
“... a life of broken dreams, broken lives
and living in the moment. No past, no
present, just 'get it out there' and make
sure it's HOT.”
I would make Sam's dystopian kitchen a
closed, timeless, sort of self-perpetuating
system where nothing but getting the food
out mattered – not even bleeding to
death!
As Sam cooks on the production line, he
realises he has cut himself and has dripped
blood into one of the dishes. The head
chef doesn't notice and serves the dish to
restaurant customers without Sam able to
stop him. The customers applaud the food
and soon the whole restaurant wants
Sam's dish. Aware that it's his blood that
has made the food so desirable, Sam
secretly leaks more and more of his blood
into the dishes, his reward being affection
from the head chef, something he has
never had before, possibly from anyone.
With Hunger I chose to write about death
in a blunt way by showing a death on
stage. Sam ultimately sacrifices his life for
what he sees as his only opportunity for
approval and human connection and thus
dies satisfied. He dies outside of the kitchen
and its self-perpetuating system - his death
is of little importance and the hellish world
of the kitchen will carry on unaffected.
There are three worlds in the play: the
dystopian kitchen, the bleached, calm
and almost forbidden world of the
restaurant and the alfresco dining area, a
sort of fantasy escape world where Sam
goes to die.
Sam and the head chef's is the only
relationship in the play and it is a very
utilitarian one.
Sam speaks to the head chef for the
duration of the monologue, although most
of the conversation exists in his head and
only a fraction is actually said aloud. We
get the idea that Sam has a lot of these
one-way conversations with his boss.
Maybe he has conversations – real or
imagined - with other people outside of
the play, but this is the one that matters.
For me, Hunger is a play of images and
rhythms. I hope that line-by-line I've
somewhat captured the sense of urgency
and mania of a commercial kitchen and
that the images are a truthful albeit
unrealistic way of portraying death.
a writer‟s inspiration and reflection
classroom
activity
DISCUSSION
Writers use many forms of inspiration to get started. Brooke Robinson was inspired by
the image of a helium balloon slowly deflating. She then imagined its opposite (or
counterweight), a person rising and floating away.
Bring in photos, magazines and web images that can be displayed in your
classroom.
In groups of 4, select 5 images that interest you.
Discuss the images and decide on a “counter” or contrasting image. For
example, the image may be of an old tree stump and your counter image may
be a newborn baby. You don‟t need to draw a picture of the contrasting image,
simply write it down.
Present your images and counter images to the class.
PRACTICAL TASK
Individually, select one of the images/counter images. What themes emerge
from these two opposites? What could the images represent?
What characters spring to mind when you look at the images?
In what setting or environment could you place your character?
On a continuum, map your character‟s journey from one image/point to the
other. Think about the things that change your character.
E.g.
The above journey can become a metaphor for a character‟s journey.
Something old and dying is given new life.
You may like to include obstacles on the continuum. Also, the journey may not
be linear. Try showing the journey (narrative) in different ways (e.g. circularly,
retrospectively or as a mosaic).
REFLECTION
How does creating your own character and character journey help you with your
preparation for your IP (performance or otherwise)?
Our cast members rehearse two evenings a week and Sundays. They are all under 26
and some of them are school students. Evening rehearsals allow our young actors to
work and attend school during our season.
Photo:
Photos: Claire Harris
in rehearsal
classroom
activity
Have a look at the pictures below of the cast in rehearsal: What do you think is happening in each scene?
What are the characters feeling/ thinking?
PRACTICAL TASK
With your classmates, physically recreate the actors‟ positions and facial
expressions.
Hold the position and then improvise a monologue from that starting place.
Remember, there is no right or wrong in this activity. Have fun with where
you can go in the improvisation!
Alistair McIntosh
Charlotte Hazzard
Patrick Richards
Lucy Coleman
The One Sure Thing atyp Creative Team atyp Artistic Director Fraser Corfield
Director Tanya Goldberg
Production Manager Liam Kennedy
Stage Manager Asha Watson
Designer David Fleischer
SX Design Kingsley Reeve
LX Design Verity Hampson
Assistant Director Liz Arday
Rhys Keir Photo: Claire Harris
The One Sure Thing atyp Cast
At atyp we make theatre by young people, for young people. Our cast members
range from 16 to 26 years of age.
That‟s What I Am Now Patrick Richards
Twisted Shaun Foley
Hunger Rhys Keir
The Circle of Life Alistair Mcintosh
The Last Post Emma Khamis
La Conversacion Charlotte Hazzard
Stick Emma Campbell
Senseless Kate Campbell
Ben Thomas, I Love You Julia Rorke
Prince Willy Lucy Coleman
the performance:
behind the scenes of
the one sure thing
interview with director – tanya goldberg
We’re thrilled that you’ve been available to
direct The One Sure Thing at atyp. Could
you tell me how this has been different to
some of the other shows you’ve directed?
A show of monologues has a whole
different set of challenges from a standard
play. The through-line of the whole needs
to be constructed/imposed, rather than
mined from the text, since there isn‟t just
one text. Each piece needs to be
interrogated and explored, with each
actor, but every actor also needs to inhabit
the world of the ensemble. So there are two
different areas of focus: the individual
pieces, and the greater piece that
together they create.
What do you look for when auditioning
young actors?
The same things I look for in any actor: their
natural instincts and tendencies, their ability
to be agile with choices, any ticks and
habits that get in the way, how thoughts
and body and voice come together to
communicate ideas.
The theme of the show, first experiences of
death, could provoke quite strong
responses in your audience. How do you
ensure that you don’t exploit that response
(or do you)?
I think theatre is an invitation to
participation not exploitation. Good
theatre should leave you choosing to
participate in the questions it poses, it
shouldn‟t let you sit back and then wonder
what you‟re going to eat for dinner. That
can happen in lots of different ways. If an
audience is valued, that is, the piece has
been made explicitly to share with them,
then participation can flourish.
How do you direct essentially quite
individual pieces and give them a sense of
cohesion?
See the first answer! Also, a unifying design
helps keep disparate pieces in the same
visual world, and the way the ensemble
travels from one piece to the next helps the
audience make that journey too. Finally, I
don‟t think that difference and
contradiction per se is a problem – after all,
we humans never behave consistently. We
change our minds constantly, yet we are
still the same person… I like that potential
for contradiction, it allows for richness and
complexity.
What have been the challenges in directing
10 individual performances?
Dealing with different actors, different levels
of experience and understanding, and
dealing with very different pieces, some of
which are simple, others which would
challenge even the most accomplished of
performers. Flexibility and patience are
essential!
What advice would you give to aspiring
young directors?
Read: books, plays, magazines. See:
theatre, movies, art. Hear: all different kinds
of music. Live in the world. Eat good food.
Get clear on your passions. Follow them.
Don‟t ignore the details.
interview with writer – georgia symons
Georgia wrote the monologue, Twisted.
How did you come up with your idea for your
monologue?
When I was starting out, I thought that the
best thing to do to get ideas flowing to write
a monologue on the topic of death would
be to brainstorm some ideas about death as
a concept. Pretty soon, though, I could tell
that was getting me nowhere. And so
instead, knowing that the monologues were
to be performed by teenagers, I started
brainstorming about youth instead. Some
phrases I came up with were „hormones‟,
„fun‟, „hidden depths‟, and „inability to
connect actions and consequences‟. I was
pretty intent on writing a darkly comic piece,
and so connecting these ideas and phrases
back to death through the prism of comedy,
I found my idea.
What was the process involved in developing
your character?
When I write a character, I usually think of
one particular person I know who most
closely resembles the character I‟m trying to
write, and whenever I get stuck I try and think
what that person would say or do in any
given situation. The process for this
character, though, was slightly different. I
had three different reference points which I
thought would come together to create a
more multi-faceted whole. For the Australian
teen idioms and general word placement, I
kept my younger brother Jono in mind
(thanks, Bro!) To make that character a little
more outrageous and larger than life, I would
occasionally cast my mind back to the
character of Nathan from the TV show Misfits.
Then, as more of a guiding principle than a
specific reference point, I tried to infuse the
whole character with a hidden but powerful
intellect. I wanted the character to be
calculating, and aware of exactly how to
push people‟s buttons.
What was the most challenging part of the
process of scriptwriting?
As always, the challenge was not in writing
the script in the first instance, but rather in
cutting and changing that draft. At first you
can really see the flaws and pitfalls of your
work, but the more drafts you do, the less
material you can find to cut or alter, and the
less aware you become of what is and isn‟t
working - especially, I find, when you‟re
having to work on that one piece of writing
all day, every day, for an extended period of
time.
What advice would you give to aspiring
scriptwriters?
If you‟re only a few drafts in but can‟t see
what needs fixing, leave your script alone for
a while. Save it in a folder on your computer
or put it in a desk drawer, and leave it there
for at least a week. Once you‟ve been out
doing other things and not thinking about
the script, the next steps you need to take
will become much clearer.
Have you had an opportunity to collaborate
with the director, Tanya Goldberg, and the
actors? If so, what has that been like as a
writer?
The writers were all invited to the first day of
rehearsals, where we sat around the table
with Tanya, the actors, and all of the
creatives involved. First we heard the actors
read each of our pieces, with a brief
discussion of its themes and people‟s initial
thoughts after each reading. Then we had a
design presentation, and Tanya shared with
us her thoughts going into the rehearsal
process of what the show might look like and
how it would be put together. It was an
incredibly exciting day and gave us writers
all something to look forward to.
Unfortunately, as there are ten writers on the
project, it hasn‟t been possible for us to
attend rehearsals, but I think we‟re going to
get to go along to a tech rehearsal, which
I‟m looking forward to!
Carolyn wrote the monologue, Stick.
How did you come up with your idea for your
monologue?
The theme of the 2011 Fresh Ink National
Studio was death and loss, and while we
talked a lot about the loss of loved ones
during the week, no one really seemed to
want to talk about their own mortality.
I was diagnosed with Crohn‟s disease in 2010,
and am living now with a chronic illness, I‟m
often surprised by how uncomfortable
people can be with acknowledging the
challenges faced by those with medical and
physical disabilities. Beyond examining some
of my own experiences, the monologue is
about leading the audience on a journey
through the challenging landscape of
chronic illness.
In Stick I wanted to fairly explicitly raise a
couple of important questions: is it possible to
ever truly understand someone else‟s pain?
What are we allowed to find funny? Are we
obliged to try and make other people
comfortable when we are suffering?
What was the process involved in developing
your character?
While the monologue is to some extent
autobiographical, in developing a distinct
character for the monologue I tried to think
about how the experience of chronic illness
would be different for someone younger
than me. To do this I used the five stages of
grief – denial, anger, bargaining, depression,
and acceptance – as a rough guide and
thought about how each of those stages
might be experienced by a teenager.
One of the difficulties in writing monologues is
that it is often a person‟s interaction with
other people that is most important in
defining character. Here I found the
challenge was developing a strong sense of
the people around Louise: her immediate
audience, the support group, but also her
family.
What was the most challenging part of the
process of scriptwriting?
Beyond developing character and
establishing the relationship between
characters, I always try to think about what it
means for something to be performed for an
audience. The difficulty lies in imagining not
just what something means to your
character, but also how different people in
the audience will perceive that character.
I find this to be the most challenging, but also
the most rewarding part of scriptwriting –
when something you‟ve written really
connects with the audience.
What advice would you give to aspiring
scriptwriters?
I‟m really not sure I‟m in the position to
provide advice, as I‟m learning more about
writing every day, but what I would suggest
to writers starting out is to write as much as
you can and try not to fixate on the end
product. Often I‟ve written half of a script
and abandoned it, only to find that
something about it can be used in a different
play. And it‟s great to be able to switch
between projects when you get blocked.
Emma Campbell Photo: Claire Harris
interview with writer – carolyn burns
Carolyn wrote the monologue, The Last Post
How did you come up with your idea for your
monologue?
I was on Facebook really late one night, and
I noticed friends were still posting comments
on the page of someone who had passed
away a while ago. I looked at this person‟s
Facebook page and started thinking about
the relationship between Facebook and
death. For those who use it, Facebook
chronicles our lives in such detail, that it
makes sense for it to be a kind of „online
memorial‟ after we die. The theme of piece
developed from there; the characters are
based on people I have seen or people I
know, and the setting is based on a small
country town where I grew up.
What was the process involved in developing
your character?
I grew up in a small country town, so Rose is
based on various people I have known. All
Rose‟s friends are as well; Kevin was the
character I came up with first. He‟s that guy
who always takes the risk, jokes about dying
but seems invincible. They all live in the same
street – Ryan, Alex, Ed, Rose and Kevin. I
remember in my town there was a strong
sense of „neighbourhood‟ that I haven‟t seen
so much in the city. My own best friends
lived on my street as a kid. The characters
who never appear in the monologue are as
real and important as Rose. She‟s grown up
with them, they‟ve shaped the way she
thinks, and who she is.
Being the only girl in a group of guys isn‟t an
issue for Rose. The „same street‟ connection
transcends age and gender. Perhaps they all
„dated‟ Rose in kindergarten, perhaps one or
more of them will develop feelings beyond
friendship at some point soon.
Rose is a character totally open to
interpretation. But there are some things
about Rose that are very clear to me. She‟s a
problem solver. She‟s pretty sharp and she‟s
really loyal. She has a boyish sense of humour
but that doesn‟t make her a „tomboy.‟ The
way she handles herself with Ed suggests
she‟s been through some personal tragedy
before.
Some questions that I asked myself during
the process, and that I‟m still considering –
does Rose play sport? Does she hang out
with the boys at school or just outside of
school? How does Rose cope with her grief
when no one else is around? What would
someone think of Rose just by looking at her
Facebook? Does she have many, or any,
girlfriends?
What was the most challenging part of the
process of scriptwriting?
The biggest challenge for me was to find
language appropriate to both the
enormous, universal subject matter, and the
seventeen-year-old who is discussing it. It‟s
great to use poetic images and phrases in
writing. But realistically no school-aged girl
who is crippled by grief and loss is going to
speak in iambic pentameter. For me it was a
process of finding language that works when
the character DOESN‟T have the language
to express what they are saying. The most
important communication happens in the
pauses and long silences.
What advice would you give to aspiring
scriptwriters?
If you have an idea, write it down – on a
napkin, on a wall, in your diary. Just write and
don‟t be afraid of the rubbishy stuff that
comes out – work through it and you will
interview with writer – sarah gaul
come to the material you actually want.
Draft, draft, draft, draft. Save a copy of
everything you do. Try everything that is
suggested to you, take advice, try it and
keep what works for you. Challenge
everything you write and be meticulous.
Consider how every phrase moves the piece
forward or speaks about the character. Write
the backstories, because what isn‟t
mentioned in the work, the characters that
don‟t appear, the stuff that has happened
just before and just after, can be really
clarifying. Use your own experience and
stories, because they will be more authentic
than anything you make up. Don‟t
underestimate how much the audience
reads into the work, and don‟t imagine that
one interpretation of your work is more
„wrong‟ or „right‟ than another. And
remember that any script that you write is for
an actor. A script is a blueprint for something
that lives and breathes onstage, that is
performed by real people in real time in front
of other real people. That‟s what makes it so
exciting!
.
Emma Khamis Photo: Claire Harris
Alex wrote the monologue, Senseless
How did you come up with your idea for
your monologue?
Access for people living with disability is
something that I am passionate about, and
something I wanted to write about. There
are many Australians who live without
access to basic things the wider community
take for granted. I wanted to write about
someone who is faced with isolation, and
has to find a new way to connect to their
community.
What was the process involved in
developing your character?
I played around with different voices, trying
to find a fit. Once I had the voice, the rest of
the character felt more focused. It‟s
important to ask questions of your
character, flesh them out.
What was the most challenging part of the
process of scriptwriting?
Self-assessment is really crucial. Being open
to feedback, and deciding which feedback
is relevant and which feedback is not.
What advice would you give to aspiring
scriptwriters?
If you see a show that you love, get the
script and read it. It‟s the best way to learn
about structure and pacing, and other
techniques.
Have you had an opportunity to collaborate
with the director, Tanya Goldberg, and the
actors? If so, what has that been like as a
writer?
It‟s really exciting when a director works on
your piece, because they bring with them
fresh viewpoints and ideas. You see the
progression from first rehearsal to opening. A
script takes on a new kind of life when other
people have been exploring it.
interview with writer – alex cullen
Kate Campbell Photo: Claire Harris
interview with writer – alexandra macalister-bills
Alexandra wrote the monologue, La
Conversascion
How did you come up with your idea for
your monologue?
My Nan had Alzheimer‟s. She had been in
a home for years before she died and
had long forgotten who we were or who
she was. When she died we were on
holidays in New Zealand and for Dad
deciding whether to return home or not
was an incredibly tough decision. I never
set out to recreate that story; I merely
wanted to work with the ideas of absence
and loss. I travel a lot and someone dying
or becoming ill while I‟m away has always
been something I‟m afraid of. I started
wondering how I would deal with a similar
situation to my Dad‟s, how someone even
younger would, what would be the
arguments on either side, what would be
the „right‟ thing to do. This dilemma of
what to do became the central question
in La Conversación and what I built the
monologue around.
What was the process involved in
developing your character?
My character was born from the situation
she was in. Before I knew anything about
her I know she would be dealing with
death from a distance and confronting
the choice of whether to return or not.
She needed to be young as she was
designed for 17-year-old actors. Once I
knew she was on the phone to her sister I
began imagining fragments of the
conversation she would be having and
tactics she would use to avoid the
elephant in the room. From there I began
piecing together more details about her
background, her personality and her
relationships. I think because I didn‟t know
the answer to the dilemma she was
facing I decided she wouldn‟t either; she
would avoid the issue entirely. She
became distracted, overly enthusiastic,
naïve and a little insensitive, basically the
type of traveller I am terrified of being.
She is not a bad person; she was just fed
by my own insecurities!
What was the most challenging part of the
process of scriptwriting?
Death and I haven‟t had too many
confrontations so when I was told the
theme of our monologues was „Death
and Passing‟ I was afraid. I was worried
that my lack of experience would mean I
couldn‟t do justice to a theme that was
bound to raise emotions in the other
writers, let alone audiences. I had to
retrace my previous dealings with death
and figure out what aspects of those
experiences I could build my writing upon.
I realized that although the circumstances
of Nan‟s death were fairly unique, the link
between absence and loss was not. I
began to understand that I couldn‟t
dismiss my own experiences as
comparatively meaningless. Instead I had
to be confident that I could utilize them to
develop a concept and character others
would find intriguing.
What advice would you give to aspiring
scriptwriters?
Never dismiss an idea before you have
explored it. Don‟t underestimate yourself
or compare yourself to other writers. Write
your own stories in the way you feel they
should be told. Submit to every magazine,
blog, competition, internship and theatre
company you can even if you don‟t think
you‟ll succeed, sometimes you surprise
yourself.
interview with writer – alysha herrmann
Alysha wrote the monologue, Ben Thomas,
I Love You
How did you come up with your idea for
your monologue?
We were all given the theme of death and
dying and I toyed around with the theme
from a lot of different perspectives before
finding the final idea for Ben Thomas, I
Love You. I brainstormed all the personal
experiences and feelings I‟d had in
relation to death to discover which of
those I most wanted to explore.
I became really fascinated with the idea
of a character that was holding onto
something physical; a memory, a trinket
they didn‟t want to (or couldn‟t) let go of.
Thinking about the theme we‟d been
given of death and dying, I started thinking
about the times I‟d been to funerals in my
own life and other people had talked
about the deceased person as though
they were a wonderful paragon of virtue –
to the point I often didn‟t recognize the
person they were talking about anymore.
Which is where this monologue started to
take shape – what if someone you loved
died and shortly before they died or
directly after they died you discover
they‟d done something terrible; something
so terrible that it matched none of your
ideas of that person; something so terrible
that it would make you hate them and call
into question your whole life with them?
How would you reconcile that? How would
you talk and think about them? What
would his or her funeral be like – someone
that you‟d loved your entire life but now
you hated?
It was from those questions that the idea
for Ben Thomas came.
What was the process involved in
developing your character?
In my early drafts I focused a lot more on
Ben‟s character and telling his story and it
was only through redrafting that Alison
became clearer. Having said that, those
early drafts were really important in
clarifying who Ben was, to be able to find
who Alison was and why this relationship
mattered to her. It was really important to
me that Alison didn‟t become a robotic
character and I wanted her to have this
sense of losing control and perhaps having
actions that didn‟t quite make sense. I
think sometimes when people write
characters there‟s this really strict idea that
the character has to be „consistent‟ which
of course they do, but I think it‟s also really
important to remember that real people
aren‟t always consistent, sometimes we
don‟t make sense and our actions aren‟t
easy to explain. Real life and real people
are complex and we never get the full
story, which is something I really wanted
people to feel with Alison.
What was the most challenging part of the
process of scriptwriting?
The most challenging part of writing Ben
Thomas, I Love You was grappling with my
own self-doubt and finding ways to
overcome my inner censor. During the
writing process I found myself deciding
that the monologue was going to be bad
and poorly written before I‟d ever put pen
to paper and that was really crippling for
me. Once I overcame that, the whole
process was a lot easier and a lot faster!
What advice would you give to aspiring
scriptwriters?
Tell the story only you can tell. Reach out
to your peers and the wider arts industry,
for connection and for development.
Engage with life from the core of who you
are – that‟s how you‟ll find great material
and tell stories that are meaningful and
relevant to others.
interview with writer – alice cooper
Alice wrote the monologue, Circle of Life
How did you come up with your idea for
your monologue?
To be honest, I just began writing. I
actually sat down to write something
completely different - a humorous, largely
unspoken monologue to be performed by
a female. Instead a male appeared on
the page and it ended up being quite
sad, so I‟m not sure what happened
there! I had just been for a long bushwalk
and came back and started writing, so
perhaps the fresh air and exercise had
something to do with it - but I really don‟t
know.
What was the process involved in
developing your character?
The character I wrote largely came out of
a strong desire to create an accurate
portrayal of the person he was speaking
to: his four-year old brother. This aspiration
was the single most influential thing in
creating the character, thinking about
ways a seventeen-year-old boy would go
about communicating a difficult topic, his
mother‟s death, to someone who is
significantly younger and thus processes
the world in a very different way. With this
clear goal in mind, the character
somewhat wrote itself.
What was the most challenging part of the
process of scriptwriting?
I think starting is always difficult. This
monologue was the exception to the rule
as it felt relatively easy and natural to
begin. Normally though, as a perfectionist,
it‟s hard to start, as I feel that it won‟t be
perfect the first time, or moreover that the
ideas in my head won‟t meet
expectations. Redrafting can be tricky
too, especially if you really like a section
and then you realise, for the greater good
of the piece you need to let it go. I‟m
learning to not be so precious, so starting
and redrafting is becoming a little easier,
but only a little!
What advice would you give to aspiring
scriptwriters?
As an aspiring scriptwriter myself, there are
a couple of things that I‟ve learnt that
help me. Firstly, don‟t put too much
pressure on yourself to be perfect (I realise
this sounds hypocritical coming from a
perfectionist) and allow yourself to simply
write. I think initially when starting
something, just write a lot even if it doesn‟t
make much sense when put together, I
think you need to get things out there on
paper and then you have somewhere to
edit from. That‟s what I keep telling myself
to do anyway. Also, in a practical sense, I
find an egg-timer (or similar) can be useful
when I‟m stuck - I set it for ten or twenty
minutes and force myself to write non-stop
for that time and see what happens. One
of the mentors we had for Fresh Ink this
year said something very wise, “It‟s too
hard to think and write at the same time;
write first, then review it”. I try to follow that
too. Another useful thing I try to keep in
mind when writing is something Peta
Murray said to me at the National Studio. I
was explaining an idea to her and finished
by saying, “Oh, but I don‟t think it will
really work”, to which she replied, “Create
before your criticise”. Rosie Dennis, who
has been my mentor for Fresh Ink, has
always encouraged an attitude of trying
things first and not getting too attached
to ideas. That way it‟s easier to drop them
if they are not serving you well.
Lucy (21) plays Elsa in Prince Willy
Why did you audition for The One Sure
Thing?
I saw last year‟s monologues‟ production
and it was great! Plus atyp always puts on
a great show and I was keen to be a part
of it.
The theme of “death” could be
perceived as quite heavy and
depressing. What has it been like
preparing for the role? Do you need to
de-role after rehearsals and
performances?
Death doesn‟t come into my monologue
as much as it does the others. The
monologue starts in the big, bright,
happy world of Elsa and gets a little
heavy towards the end, but Elsa is more
confused about what is going on towards
the end and there are never any actual
references to death itself. So when I‟m
preparing for my role, it‟s more about me
taking myself into the heightened, over-
excited world of Elsa.
How does your character change and
how do you reflect this change in your
performance?
Elsa in on a quest to marry Willy and fulfil
her dreams of being a famous actress.
She comes up against hurdles the whole
night but nothing deters her from going
after what she wants. When her plans
aren‟t working out the way she wants,
Elsa acts out and hits Willy. Her world
begins to fall down around her. Still trying
to cling onto whatever hope she can,
Elsa begins to see her dreams fade and
disappear. When she realises that Willy is
in serious trouble, her focus finally shifts
and her mood changes to confusion/
guilt and wanting to help. The
monologue is left on an ambiguous note
as to what actually happens to Willy. But
Elsa‟s dreams have definitely gone down
the toilet (sic)!
What advice would you give to young
actors preparing for the HSC Drama
performance?
Pick a piece that really resonates with
you; a monologue that has themes and
events that you are interested in
exploring. This way you a) won‟t get
bored of it half way through working on it,
and b) will be passionate about
researching and performing it. Then go
for it! Don‟t hold back, learn your lines
and let loose! Most of all have fun!!
interview with cast member – lucy coleman
Emma (17) plays Louise in Stick
Why did you audition for The One Sure
Thing?
I graduated high school last year, and my
HSC Drama IP was a piece from The One
Sure Thing’s predecessor, Tell it Like it Isn’t.
Having read countless monologues, the aim
of the project – to create and encourage
quality writing for young actors to play
young characters – is much needed and
warmly welcomed from the perspective of
a young actor. Being involved with that
process is what prompted me to audition.
The theme of “death” could be perceived
as quite heavy and depressing. What has it
been like preparing for the role? Do you
need to de-role after rehearsals and
performances?
When I was researching Crohn‟s disease for
my role, it did become hard, reading about
what people went through with a relatively
unknown disease with no cure. I read some
personal accounts of living with the
symptoms and talked to a girl who had
been recently diagnosed. Realising the
effect of being diagnosed with a chronic,
incurable disease and how it impacts not
only the individual and their life, but how
their family lives, was an eye-opening
experience.
Having said that, the writers of the
monologues have successfully written them
in such a way that the pieces have
elements of light and dark in them.
How does your character change and how
do you reflect this change in your
performance?
Stick very much explores Louise‟s reactions
and feelings towards her disease. She
experiences a range of emotions, including
an element of denial, but eventually is able
to be very vulnerable and honest to herself
(and the audience). It‟s very much about
submerging yourself in those emotions and
feelings, and either putting yourself in the
situation and simulating how you think you
would react, drawing on your own
experiences, or creating a world of given
circumstances for your character, which is
what works best for me.
What advice would you give to young
actors preparing for the HSC Drama
performance?
Find a monologue that you love and won‟t
completely hate by the end of the year;
there‟s nothing worse than forcing yourself
to perform a piece you despise. I‟ve seen it
happen before and it‟s just not the same.
Don‟t get lazy with your GP and IP, but
don‟t work them beyond a point of no
return, either.
interview with cast member – emma campbell
Alistair (19) plays Liam in Circle of Life
Why did you audition for The One Sure
Thing?
My agent was contacted by atyp, I
only recently started living in Sydney
full time so it was nice to finally have
an opportunity to be involved in an
atyp project.
The theme of “death” could be
perceived as quite heavy and
depressing. What has it been like
preparing for the role? Do you need to
de-role after rehearsals and
performances?
To an extent, but I think the average
role an actor is cast in is already
around 80% you. The other 20% comes
from another place, the text, other
actors etc, and so while you may be
fully immersed in your character there
is still a lot of yourself in most roles you
play and I find that it's finding those
pieces of you that makes a character
really come to life.
How does your character change and
how do you reflect this change in your
performance?
My character has fairly subtle changes
within the piece, but I have found that
in my case the more significant
change has happened prior to the
piece, and the way that is reflected in
the monologue is hugely significant.
My character‟s change within the
piece is more to do with his brave and
almost paternal bravado he puts on
for his brother and how that
strengthens and weakens as the piece
goes on, letting us in and out of his
head and reflecting the impact of his
mother‟s passing on him.
What advice would you give to young
actors preparing for the HSC Drama
performance?
Exactly what they don't want to hear!
Choose wisely, work hard and don't
waste any time on your individual
performance. The harder you drill your
piece the better and come the big
day you'll breeze through it. Your
performance is certainly one area of
your HSC you can't afford to
procrastinate in, and the band 6 will
do all the talking for you come
December.
interview with cast member – alistair mcintosh
Patrick (19) plays Jaz in That’s What I Am
Now
Why did you audition for The One Sure
Thing?
Having performed in Tell it Like it Isn’t last
year I was more than a little eager to be
involved in The Voices Project for a
second time and I am always interested
to work with new directors. Tanya
Goldberg has a very strong history in this
department so not auditioning really
wasn‟t an option.
The theme of “death” could be perceived
as quite heavy and depressing. What has
it been like preparing for the role? Do you
need to de-role after rehearsals and
performances?
The theme could certainly be construed in
such a way and, to be honest, it was my
initial impression. However, I think the
selection of pieces cover many facets of
one‟s experience with death. We have
characters who are having to face their
own mortality or having to deal with the
passing of another or, in some cases,
being the direct cause of that „passing‟
and I think the tone shifts dramatically
enough between these concepts to keep
the show dynamic.
In terms of preparing for my role the first
thing I did was hit the serial killer films.
David Fincher‟s Seven and Zodiac
among others have been a huge help but
in the latter half of rehearsals we shifted
my piece to a more absurdist and in
many ways more sinister tone and so I
went on a hunt for people who smile a lot
but are incredibly insincere. Children‟s
television hosts were the perfect find.
Fortunately I haven‟t had to do any „de-
roling.‟ While the content of my
monologue is undeniably dark there is
also a beautiful sense of humour through it
and I‟ve tried to avoid being too serious
so that I don‟t lose the comedy.
How does your character change and
how do you reflect this change in your
performance? I think the greatest change that Jaz
experiences, has occurred well before the
monologue. It‟s quite clear that the shift
from perfect young woman to
pharmaceutical serial killer happened a
while ago and her intention remains
largely the same throughout the piece.
However what does change is her
understanding of herself and her „duty to
God‟, if you will. She begins to realise
exactly why she‟s doing what she‟s doing
resulting in an almost explosion of
enlightenment at the end.
What advice would you give to young
actors preparing for the HSC Drama
performance?
I think the best piece of advice I can give
is to love your chosen piece. Don‟t select
a piece that you think will get you the
marks but you don‟t really feel a
connection to. Remember that you will be
drilling this monologue for 9+ months and
you need to be able to keep it dynamic
and fresh that whole time. Finally, have
fun with it, mess around and try every silly
idea that pops into your head. If it doesn‟t
work, so be it, but sometimes these crazy
moments can help you discover
something truly special.
interview with cast member – patrick richards
How do you audition for an atyp show?
All atyp auditions are advertised on our website www.atyp.com.au and in our e-
newsletter. Once they are advertised call atyp to book an audition time 02 9270 2400.
atyp‟s productions provide students with the opportunity to work alongside
professional directors and creatives in staging a show, providing an opportunity for
them to learn from people who are actively working in the industry.
get involved !
What was your initial reaction to the performance? What sticks out in your mind?
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Would you recommend the performance to a friend? Why / why not?
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Costumes
Describe the costumes. How was costume used to portray character? Was the use of
costume successful? Why / why not?
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Lighting
Describe the lighting. How was lighting used to set the scene and define the space?
Was the use of lighting successful? Why / why not?
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Set
Describe the set. Why do you think the designer used school lockers for the set? Was
the movement of the lockers by the cast effective? Why / why not?
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initial reaction
design elements
after you see
the one sure thing
written responses
Sound and Music
How was sound and music used to create atmosphere?
Identify a moment where the sound/music affected you as an audience member.
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Comment on how the performance used the elements of drama:
Tension: Where were the moments of
tension in the overall performance?
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Which moment held the most tension
for you?
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Recreate the tension in the moment as
a tableau.
Focus: The One Sure Thing is a
collection of monologues with all
actors on stage all the time. How did
the director draw the audience's focus
to the action she most wanted you to
see?
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Identify a moment that was really
successful.
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Space
How did the actors use the stage
space?
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How did the set reflect the theme of
“first experiences of death”? What
was the most interesting aspect of the
use of space?
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Movement
How was movement used to portray
each character? How effective was
the use of unified movement? Why?
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Symbol
Can you identify any symbols/motifs
used in the production?
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What were the most successful symbols
used?
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Mood / Atmosphere
Describe the mood of the piece.
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elements of drama
What sort of feeling did you have at
the end of each monologue? Did it
change? Why/why not?
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Where were the high points in the
performance?
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How did you feel at the end of the
performance?
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What devices were used to create
mood throughout the performance?
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Draw a mood map that shows the
emotional journey of the overall show:
Character / Role
The show has 10 actors. How did the
cast portray character?
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How successful was this?
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Identify 2 characters that stood out in
your mind? Why were they so
memorable?
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Actor-Audience Relationship
What was the role of the audience in
the performance?
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How did the characters relate to the
audience?
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The brief for the writers was to create
characters that Year 12 students could
relate to. Did you identify with any of
the characters?
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Why/why not? _____________________________________
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A review is an important part of theatre criticism. It gives an account of the
production with the writer's opinion of the success of the performance. Become an
atyp theatre critic! Use the scaffold below to write a review of The One Sure Thing.
Send it to [email protected]
We'll publish well written reviews on our website.
How to write a review:
Remember to:
- Paint an accurate picture of the production for someone who has not been
there
- Give a personal opinion about the success of the performance
You may wish to approach your review writing by following guidelines:
1. Statement of the details of the production, where, when, by who.
2. Synopsis of the overarching plot of the monologues (without giving away
the ending!!!)
3. Background of the show, importance of the production (including the
background of the scriptwriting process).
4. Information about the style and genre of the piece.
5. Analysis of the mood and atmosphere created by the cast/designers.
6. Analysis of the choices of the director.
7. Analysis of the performances of the actors.
8. Analysis of set, costume, lighting and design aspects and how these relate
to the themes of the show.
9. Your personal opinion supported by examples to justify your opinion.
10. Recommendation and / or overall rating.
Charlotte Hazzard Photo: Claire Harris
Remember to make it concise and clear.
Try to write your review in 300 words.
We look forward to receiving your reviews!
write an atyp review
Spatial awareness is the ability of the actor to be constantly aware of where he/she
places him/herself on the stage. The following activity is designed to help you
develop your sense of “placement” within the performance area.
Shaun Foley Photo: Claire Harris
spatial awareness
classroom
activity
after you see
the one sure thing
practical responses
PRACTICAL TASK
Begin walking around the space with your class. Imagine that you are all
moving on a finely balanced plate and the class must be spread evenly over
the floor to keep the plate from falling. Keep walking around. Fill the gaps as
you see them. When the teacher beats a drum, freeze. Look around to see if
you are equally spaced.
Moving to different types of music, initially walk around the space again. At
your teacher‟s direction, walk forwards, backwards, sideways. Walk quickly,
slowly, on the ball of your feet, on the heel, on the sides of your feet.
Add the directions “stop”, “lie down”, “kneel”. With the music you may use
any of those directions as you please. You may copy what you see someone
else doing, or you may choose to do your own combination of the specific
movements.
Split the class into two groups. Have one group “perform” for the other and
then swap over.
REFLECTION
What did you notice when you were performing? How did it feel to use the
space fully? How did you respond to other members in your group as you
moved?
As an audience member, what did you notice about the movement? What
had the most impact? Where were the most prominent spaces on the stage?
Which positions lost focus? What could there have been more of?
Audience awareness is a difficult skill to develop as an actor. If the script requires
naturalistic acting, overt audience interaction isn‟t suitable. However, an awareness
of the audience is still required. When we speak one-on-one to people, we adjust our
speaking to and awareness of who we are addressing. As an actor, you should be
aware of how an audience is responding to your performance. Good actors will be
flexible in their performance, bringing the audience with them and engaging them in
the “dialogue” of theatre.
Patrick Richards Photo: Claire Harris
audience awareness
classroom
activity
BRAINSTORM
Which actors from The One Sure Thing had strong audience awareness?
How could you tell?
How can you develop audience awareness?
PRACTICAL TASK
Split the class into two groups: one group is audience and one performs
Performers find a space on the “stage” and perform a simple action (e.g.
brushing teeth, peeling a banana etc.)
Audience spends at least two minutes looking at the different “actors”.
Which actors seem to have the greater audience awareness? Why?
Swap groups and repeat the activity.
REFLECTION
In your Drama journal, discuss what “audience awareness” is. On a scale of
1-10, measure your own audience awareness. How will you increase and
develop it?
Similar to “audience awareness”, an actor‟s energy is difficult to define. Read the
following link on developing your energy as an actor:
http://www.jbactors.com/actingreading/tenactingtips/actorsenergymasters.html
(Teachers: please read the article for some interesting class-room activities. The mix
of psychology and acting is particularly useful.)
building and maintaining energy
classroom
activity
BRAINSTORM
As a class discuss the following questions:
What is “energy”?
How is energy different to intensity?
Why do you need “energy” on stage?
What is the effect of shifts in “energy” – both within one actor‟s
performance and between different actors?
PRACTICAL TASK
Say the following lines from Stick, by Carolyn Burns, with varying levels of
energy. You may like to say them all with the same energy or change the
energy within the excerpt.
Louise: So I‟ve got five minutes? Okay.
I‟ve got the talking stick.
What am I supposed to talk about?
Pause
What about the weather we‟ve been having?
Pause
Do I have to talk for the whole five minutes?
Perform your lines for the class.
As a whole class, stand in a circle and create a low energy sound and
movement that can be repeated. Gradually build the energy until as a
group you intuitively find an ending.
REFLECTION
What was the effect of different levels of energy?
What was it like to perform the different levels of energy? How did you
generate the different levels of energy?
Directing a performance can often enhance your skills as an actor, particularly with
the overall through-line of a piece, spatial awareness (blocking), energy levels and
audience awareness.
Tanya Goldberg Photo: Claire Harris
directors in action
classroom
activity
PRACTICAL TASK
Follow the link to the Sydney Theatre Awards
http://www.sydneytheatreawards.com/2011.php
Write down the nominations for BEST DIRECTION OF A MAINSTAGE
PRODUCTION and BEST DIRECTION OF AN INDEPENDENT PRODUCTION in
2011.
Did anyone in your class see any of the nominated performances? If so, ask
them what they thought about the production.
Who were the winners? (Winners are in bold type)
Choose one of the nominees and write a one-page outline on their:
- Training
- Past productions
- Style of direction
- Tips that they have for directors
- Tips that they have for actors
REFLECTION
What can you apply from the above research to your own IP?
How will that improve your IP?
This Education resource has been created by atyp‟s Education Manager, Heather
Clark. The classroom activities are an amalgamation of her 15 years Drama and
English teaching experience and training.
Some useful websites:
http://www.sydneytheatreawards.com/2011.php http://www.jbactors.com/actingreading/tenactingtips/actorsenergymasters.html
http://www.boardofstudies.nsw.edu.au/hsc_exams/hsc2011exams/
atyp runs an extensive student workshop program during school terms and holidays.
See our website http://www.atyp.com.au/index.php/workshops
A big thank you to all of the respondents who have contributed to this resource.
A special thanks to Kerrie Noonan from The Groundswell Project: using the arts to
promote resilience and well-being through all phases of life.
http://thegroundswellproject.com/
acknowledgments