Drama and Theatre
Year 11 and 12 IB Theatre Collaborative Exam Performances
The Year 12 Collaborative Performance was such a distinct, challenging and rewarding experience. Physical theatre of this duration, scale and skill was a new experience that pushed our class a lot. The distinct demands of this task meant that we had to take risks, say yes and keep up the momentum of devising. We were all a bit hesitant and worried about the task but we were motivated by the continually astounding pieces of our peers. Devising such abstract and varied pieces was really valuable; in creating these new narratives, we pushed ourselves through convoluted theatre-making intentions and outside our comfort zones, and we pushed ourselves physically through tough lifts, sleep deprivation and countless rehearsals. The last few rehearsals with production (lighting, sound and visual effects) were the most rewarding, I was honestly a bit worried about the performance being too weird and confusing, but seeing our performance onstage with such rich imagery was very exciting and comforting.
What was even more rewarding was the reactions and feedback from the audience because our class really moved them in different ways. “Perfecting the Art of the Circle” was not only seamless, stunning and symbolic but a really heart-wrenching portrayal of having a family member with dementia – so much so that one viewer said that her outlook on people with dementia was changed by this performance, and that she would tried to reach the person inside the isolating fish bowl of dementia.
“My Life, My Love, My Cello” moved the audience with the striking physical shapes, lifts, facial expressions and the use of Jacqueline Du Pré’s music. The ensemble’s representation of the frustrating disconnect between Du Pré’s passion for playing and her deteriorating motor skills pulled at the heartstrings.
My group’s performance “Cicada” constructed the contrast between the drudgery of work life and the childhood freedom of play (or as theatre theorist Jacques Lecoq wrote, ‘le jeu’). Our physical use of rhythm and pace, as well as eerie lighting, sound and visuals, made the audience gasp and laugh at different moments. One audience member remarked days later that the performance really stayed with them and another reflected that our connection of the cicada’s life cycle to adulthood made them think about how little time we have to live, play and experience the world.
As a young theatre maker, this project made me consider how even our school productions can create impactful, unique stories. This was a great opportunity to expose ourselves to different, non-realistic theatre types and to design lighting, visual and stage design. We learnt the maturity needed to adapt the performances, compromise with each other and apply feedback. However, even with these skills, none of these performances would have been nearly as polished and well-executed without the unending effort, expertise and dedication of our Theatre teacher, Ms Smith, the technical expertise of Mr Hummerston and the creativity of Izzy for the amazing makeup artistry. Theatre is an incredibly time-intense, challenging and gratifying subject, the commitment of everyone involved created something beautiful on Friday night.
Charli Waterland
Year 12 IB Theatre Student
As a young theatre maker, this project made me consider how even our school productions can create impactful, unique stories. This was a great opportunity to expose ourselves to different, non-realistic theatre types and to design lighting, visual and stage design. We learnt the maturity needed to adapt the performances, compromise with each other and apply feedback. But even with these skills, none of these performances would have been nearly as polished and well-executed without the unending effort of Mrs Smith, the dedication of Mr Hummerston and the creativity of Isabelle the makeup artist. Theatre is an incredibly time-intense, challenging and gratifying subject, the commitment of everyone involved created something beautiful on Friday night.
Last Friday, the IB Theatre classes of 2024 and 2025 had the incredible opportunity to take part in an IB collaborative performance as the practical application of our Collaborative task. As a year eleven student it was amazing to be given the chance to perform and interact in the same space as the year twelve performance pieces, just to be able to witness the standard of performance that we will allegedly be able to produce at this time next year. It was enlightening to witness just how much we still have left to learn about in the IB theatre course and what such a skillset could be used to create with a year’s more experience under our belts.
I know from a personal standpoint that I was speechless the first time I watched the year twelve pieces, and the effectiveness of what they managed to achieve with all of the different mediums and techniques that were so fluidly incorporated into their performances.
Additionally, it was a terribly foreign experience to have to engage in an IB ‘talk-back’ for the first time, and I know for certain the my year eleven theatre cohort struggled to begin with when trying to figure out how to manipulate our questions in a way that produced valuable outcomes in reference to the IB syllabus, but also framing them in such a way that our audience members with no IB experience would still be able to understand and contribute. Overall, the evening was terribly exciting as a first time experience, and I am more than enthused to be able to engage in another next year with even more skills and understanding than now.
Tali Feldman
Yr 11 IB Theatre Student
Kathakali Dance & Theatre Workshop
On Monday morning we had the privilege to learn from IB examiner and Kathakali expert, Fenella Kelly. She came into Redlands via Zoom to do a workshop on Kathakali dance and theatre, which is a traditional Indian style of dance and theatre and comes from the south, Kerala. The word comes from katha (story) and kali (play) and started in the 17th century, based on two main Hindu epics, Mahabharata and Ramayana. The storyline is conveyed through song, movement and percussion (the Triad) and often lasts all night long. The singers sing a line traditionally in Sanskrit or now Malayalam, and the actors respond with a series of mudras (hand movements), foot movements and navarasas (facial expressions). The mudras link together to create sentences of dialogue. The percussionist will accompany the actor by creating a beat. The audience may not understand the language but they can follow along with the acting (and also that they are probably familiar with the story) to understand.
We started the morning off with some theory where we learned about the roots of kathakali (strongly rooted in Hinduism and martial arts) and then we were able to get up and do some practical work. Fenella explained to us that the session always started and finished with a salutation and then we did a warmup into our bodies. Kathakali requires a strong foundation and great flexibility so we experimented with that – I found my body wasn’t used to the foreign movements which was a big challenge! We then worked with footwork, mudras and navarasas to create a narrative. This workshop really helped me learn about how strongly culture influences performing arts- it isn’t something I think about often in the Western styles of performing arts. Kathakali also had a unique aspect that moved the actor from laukika (ordinary perception) to alaukika (extraordinary perception) in a spiritual transformation, and we learned that this art form requires the actor to not be ‘human’ but ‘other’. For all students interested in becoming a better actor or performer, I would highly recommend in engaging with theatre traditions from other cultures to keep an open mind and diversify your skills. Thank you to Fenella Kelly for this amazing workshop and to Ms Smith for organising this incredible opportunity!
Remie Gibbs
Year 11 IB Theatre Student
Matt Cameron, Ruby Moon Playwright Interview
Last Friday on the 24th of May, the HSC Drama students and I were presented with the opportunity to speak with the renowned playwright Matt Cameron, the writer of the absurdist play we have been learning this term: Ruby Moon. We were given the chance to ask questions to Matt about his career as a playwright and his interpretations of Ruby Moon twenty years after he first wrote it. I embrace this opportunity to further, not only my understanding of the play itself, but also how the play was received in the theatre industry and how it became the prominent play it is today. Hearing Matt explain the experience of the play’s first performance to slowly becoming the well known piece of theatre it is now, exhibited the persistence it requires to succeed within the theatre industry as a playwright. I found this very inspiring as a person who wants to go into the world of theatre after high school. Furthermore, Matt explained to us how each of the characters of Ruby Moon were inspired from people he had met through his life, ranging from the actors involved in the first production of Ruby Moon to his own mother. The method Matt drew from people in his life has given me a new way to create characters by capturing various aspects of people. In conclusion, having the opportunity to ask Matt Cameron about his experiences as a playwright and background information on his absurdist play Ruby Moon was an amazing experience that provided me with valuable information I will use in the future of my schooling and within the drama space.
Jaiden Murphy
Yr 11 HSC Drama Student
Kathryn Smith
Acting Subject Coordinator of Drama and Theatre
ksmith@redlands.nsw.edu.au