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School Dance by Matthew Whittet A production by Windmill Theatre Presented by the Arts Centre Melbourne’s Performances Program 2013 Years 9 – 12 ARTS CENTRE TO INSERT PICTURE 1 The Arts Centre Melbourne’s Performances Program is dedicated to fostering the arts by giving schools the opportunity to see a diverse range of excellent theatre in fully produced form. These teachers’ notes have been designed to address, in the first instance, VCE Drama Unit 3, Outcome 3, Performance Analysis because School Dance has been selected to the Drama Playlist for 2013. For students in Years 9 and 10 who may also be attending, these notes address aspects of AusVELS, Level 6, specifically Discipline based learning, The Arts – Drama, English, and the Strand, Personal Physical & Social Learning. They also reference the general capabilities of literacy, critical and creative thinking, personal and social capability, and ethical understanding that are inherent in the new Australian Curriculum. Please note: The Year 9-10 learning activities of these notes specifically address thematic aspects of School Dance. Lower secondary teachers of Theatre Arts and Drama should feel free to also make use of the VCE Drama resources in these notes as required. Teachers’ notes by Meg Upton with additional material from Windmill Theatre and from Sydney Theatre Company Program notes. NOTE: Please remember to arrive 30 minutes before the starting time of the show. Contents ABOUT SCHOOL DANCE .................................................................................................................... 3 ABOUT WINDMILL THEATRE .............................................................................................................. 3 THEATRE ETIQUETTE.......................................................................................................................... 4 1980s POP CULTURE .......................................................................................................................... 5 LEARNING ACTIVITIES AUSVELS & THE AUSTRALIAN CURRICULUM ................................................................................. 6 THEME #1: SELF-ESTEEM .................................................................................................................. 7 THEME #2: COURAGE ......................................................................................................................... 7 THEME #3: FRIENDSHIP ..................................................................................................................... 8 THEME #4: LOVE ................................................................................................................................ 8 THEME #5: ESCAPISM ........................................................................................................................ 9 REVIEW WRITING ............................................................................................................................... 9 VCE DRAMA ANALYSIS & EVALUATION ............................................................................................................... 10 STRUCTURE & WORLD OF THE PLAY ........................................................................................... 11 PERFORMANCE STYLES ................................................................................................................ 13 THEATRICAL CONVENTIONS ......................................................................................................... 15 DRAMATIC ELEMENTS .................................................................................................................... 16 STAGE CRAFT ................................................................................................................................. 17 REPRESENTATION OF CHARACTERS ........................................................................................... 20 THEMES ................................................................................................................................. 20 RESOURCES ................................................................................................................................ 21 2 ABOUT SCHOOL DANCE Luke and Matt are waiting outside of the school dance. They can hear the music from inside as the dance starts. They’re waiting for Jonathon who makes up the third of their friendship. He arrives and they wait...as they wait they are all caught up in their own terror. Luke has the nightmare of a violent father; for Matt it is his aversion to his own body; too skinny, stupid glasses and a chest that looks like it will never become an adult chest. Jonathon, well he hates being alone, having to face his own thoughts in silence. And then there is the terror of the school bully, Derek Sturgess who has Jono in his sights. Enter Jono’s sister Joanie who decides to help sort them out, and finally there’s Danika, an ‘invisible teenager’ like Matt who decides to return to the real world and go to the school dance. Characters: Matt, he’s 15, although he doesn’t look it - Matthew Whittet Luke, also 15. Luke likes dancing, and he is pretty good at it - Luke Smiles Jonathon, even though he is taller, he is only 14 – Jonathon Oxlade Narrator/Joanie/Danika/Random Girl/Hannah Ellis – Jude Henshall Derek Sturgess, the bully – Jim Rose Creative Team: Director – Rosemary Myers Writer/Performer – Matthew Whittet Designer/Performer – Jonathon Oxlade Original Sound Design/Performer – Luke Smiles Lighting – Richard Vabre Animation – Chris More Movement – Gabrielle Nankivell Costume Makers – Robyn Jones & Martine Micklem Wig and Make-up Design – Jana DeBiasi Performer – Jim Rose ABOUT WINDMILL THEATRE Windmill Theatre creates and presents incredible performances that captivate their audience’s imagination and resonate deeply. The company’s artistic vision has created a unique and distinctive house style of theatre that makes true adventure and creative ingenuity synonymous with the Windmill name. Windmill artists are inspired by the vibrancy, sophistication and inventiveness of young people and the exhilarating challenges they pose to creating theatre of genuine relevance in this modern time. In meeting this challenge Windmill Theatre positions theatre for children, young people and families in a dynamic national and international conversation that is defining the future of theatre practice. Since their inception in 2002, Windmill Theatre’s enduring purpose has been to continue to create incredible shows, and tour them nationally and internationally. Windmill Theatre continue to inhabit new media spaces and participate in the development of innovative means to connect artists and audiences to tell, create and share stories. More information about Windmill Theatre can be found at http://www.windmill.org.au/about-us 3 THEATRE ETIQUETTE What does it mean to be a theatre audience? If this is your first time seeing live theatre here are a few tips. Theatre is ‘live’ and the actors are real You can hear and see the actors, and they can hear and often see you It is a dynamic experience, each audience is different and the actors can feel this and they respond to it How to get the most out of the theatre experience: Arrive on time - there are no advertisements or trailers in live theatre! If you miss the start you may not catch up with what is happening Turn off your mobile phone and/or iPod. You won’t need them and if your phone rings it will disrupt everyone There’s no interval so make sure you go to the bathroom before you go into the theatre. You don’t want to be that person who climbs over everyone to get out during the show…you really don’t An usher will help you find your seat so you need to follow their directions How do you know when the performance begins? The lights will dim and/or you might hear a voice over or sound. That’s your cue that it has begun – time to be quiet Because the show is live it is important that: - There’s no photography - You don’t speak loudly (remember the actors can hear!) - No eating (it’s only 75 minutes and you can last, plus it’s distracting) - Stay in your seat Feel free to laugh during the show, and applaud or even cheer at the end. These tips are aimed at allowing you to get the most out of the performance and for the actors and the other audience members to feel the same. You are all in it together! 4 1980s POP CULTURE What do you know about the 1980s? School Dance emerged from the creators’ experiences growing up as awkward teenagers in the 1980s. Check out these 1980s iconic objects and popular culture references that appear in the production The Smurfs – toys and television show (1981-1990) The Smurfs was a television show first aired in America by Hanna-Barbara in 1981. It was based on a Belgian comic series. Smurfs are small blue fictional creatures that live in mushroom houses in a forest. There are more than one hundred Smurfs, whose names are based on adjectives that emphasize their characteristics, e.g. 'Jokey Smurf', who likes to play practical jokes on his fellow smurfs, 'Clumsy Smurf', who has a habit of creating havoc unintentionally, and 'Smurfette' – the first female Smurf to be introduced in the series. Figurines, dolls and other Smurf merchandise became a huge and popular success. My Little Pony – toys and television show (1983 – 1995) My Little Pony was an entertainment franchise developed and marketed primarily to girls. It began as plastic pony toys which featured colourful bodies and manes and a unique symbol on one or both sides of their flanks, referred to in the two most recent generations as "cutie marks." My Little Pony was revamped at least four times with new and more modern looks to appeal to a new market. The ponies were ‘collectable’ and had names such as Blue Belle, Butterscotch, Cotton Candy, Snuzzle, Blossom and Minty. Tinky Winky from Teletubbies (1997-2001) Although not strictly 1980s, Tinky Winky makes it in as schmaltzy kiddy program character. Also known as the purple Telebubby, Tinky Winky has a triangle on his head and carries red luggage. His character caused controversy due to allegations that his behavior, bag and body colour have homosexual qualities. Mogwais from Gremlins (a film, 1984) From the Steven Speilberg film Gremlins; ‘Never expose a mogwai to bright light (especially sunlight which will kill it), never get it wet (which will make it multiply) and, most importantly, never feed it after midnight’. In the play the mogwai is the furry creature in The Land of Invisible Teens that everyone is scared of. 1980s Fashions Link: http://www.liketotally80s.com/top-80s-fashion-trends.html All the costumes in the production reference the 1980s. So what was popular then? Skin tight pants, parachute pants, shoulder pads, mini-skirts, leg warmers, huge earrings, big hair, fingerless gloves, perms, stirrup pants, acid wash jeans, oversized tops, high stop sneakers, doc martins, flat top haircuts, bubble skirts, scrunchies… School Dance – Spotify Playlist http://open.spotify.com/user/118813000/playlist/0A3Ph3nilYji2xJ0Xwh7mG Listen to the soundtrack and recall how it contributed to creating the world of the play. Link: http://www.liketotally80s.com/80s-culture.html 5 LEARNING ACTIVITIES SCHOOL DANCE AND AUSVELS The Victorian Essential Learning Standards (VELS) have been aligned with the Australian Curriculum as an interim measure, known as AusVELS. Teachers who wish to consider how the production references and is relevant to the Strands, the Domains and the Dimensions of AusVELS, please consider the following table. Strand – Physical, Personal & Social Learning Strand – Discipline Based Learning Strand – Interdisciplinary Learning Interpersonal Development - Building social relationships - Working in teams The Arts – Drama The Arts – Visual Arts - Creating and Making - Exploring and Responding Communication - Listening, viewing, responding, presenting Personal Learning - The individual learner - Managing personal learning English - Reading and viewing, writing, listening and speaking Design, Creativity & Technology - Designing, producing - Analysing & Evaluating Thinking Processes - Creative thinking - Reflection & evaluation The Australian Curriculum - General Capabilities: Literacy, Numeracy, ICT, Critical and Creative Thinking, Personal and Social Capability, Ethical Understanding, Intercultural Understanding – teachers may find that many of these terms are not dissimilar to those they are working with now. Each activity below includes a combination of the AusVELS and general capabilities as focus points for student learning 6 THEME #1: SELF-ESTEEM Visual Arts, Creative Thinking, Personal Learning In the play each of the boys creates a persona or imagines themselves being in another place in order to help them escape from some challenging circumstances. These personas assist them in building their selfesteem and personal confidence – even if they are only imaginary and it is only for a short time. Imagine if you had a secret persona or character - who would they be? What powers would they have that you wish you had? Brainstorm some ideas around this idea and create a profile Design your secret persona – sketch, draw, use digital technology and generate a poster THEME #2: COURAGE Critical and Creative Thinking, Writing, Literacy, Ethical understanding In School Dance, Matt desperately wants to ask Hannah Ellis to dance but he lacks the courage. Jono wishes he could stand up to Derek Sturgess, and Luke wants to stand up to his dad. These require acts of courage, some more than others. In this activity you are asked to help out a friend: Your friend wants to ask someone out. Like Matt, they like them heaps but lack the courage to ask You are going to write Instructions for asking someone out Think carefully about a step by step approach to this What did you see in the show that could help? What is your own experience? Think about this step-by-step eg. What to wear, what to say, rehearsal processes, where to find the person, possible responses etc. etc. You can make this light hearted and fun Share your instructions with the class OR role play some of the instructions in pairs 7 THEME #3: FRIENDSHIP Critical thinking, Literacy, Personal and Social Capability Jono, Matt and Luke are three close friends thrown together by their mutual feeling of being ‘outsiders’. They look out for each other, support each other and end up rescuing each other. Their friendship is very important. This activity is aimed at exploring ‘friendship’. Interview either a parent, grandparent or other adult about friendship – you may like to record this on your smart phone or tablet so you can listen to it later Who was their first friend? Where did they meet them? How did they become friends? What did they used to do together? Did they ever fight? Did the friendship change? Are they still friends? Why or why not? Get as much detail as possible then write up a report about the adult’s perspective on friendship Share these stories back in the classroom and find similarities and differences with the idea of friendships from the past How do the adults’ experiences compare with contemporary friendships? How does social media impact on ‘friendship’? Has it redefined the word ‘friend’? THEME #4: LOVE Drama – Creating & Making, Exploring & Responding In School Dance, love is something that Matt thinks he feels with Hannah Ellis but ends up feeling it with Danika. Love is something that is pretty much absent from the boys’ lives even at home. This exercise explores love but in a fun way. Research a range of 1980s romantic comedy (rom com) movies. What are the main plot lines? What types of characters? What challenges? How do they usually end? What are the soundtracks like? In small groups of four or five, create your own ‘rom com’ that has fourshort scenes – an accidental meeting, the awkward first date, the break up, the happy ending Choose a 1980s song as your soundtrack Rehearse your ‘rom com’ and then perform them to the class including the soundtrack and possibly some theatrical elements you saw in School Dance 8 THEME #5: ESCAPISM Drama – Creating & Making, Exploring & Responding The play explores the idea of leaving reality and entering a fantasy world in order to escape from some fairly negative realty. In small groups create a classroom scene – types of students, a teacher, a particular lesson etc. In the first scene, the main character dreams of ESCAPING and being somewhere else or being someone else – a super hero, a movie star, in outer space – be creative In the second scene, using the magic of transformation, the classroom scene slips into an alternate reality and our main character ESCAPES In this new world, the students and teacher become new characters The final scene, the classroom scene begins to interfere with the alternate reality and the two worlds become mixed up – how might it end Perform these short plays and share the ideas that each group arrived at Critique the different ways that dramatic elements were used, how transformations were achieved. Review writing Critical thinking, Literacy Write a review of School Dance. Your review is aimed at letting others know about the show and discussing the strengths of the show and the aspects you thought might be less successful What was the main story? What were three aspects of the show that were outstanding – story, acting, music, staging - Why? What was an aspect of the show that you felt didn’t quite work? Why? Would you recommend the show? To whom? An overall rating out of ten. 9 VCE DRAMA – ANALYSIS AND EVALUATION This section specifically focuses on Drama Unit 3 - Analysing Non-naturalistic Performance. School Dance is a non-naturalistic performance and your task is to analyse how and why it is nonnaturalistic, and evaluate the effectiveness of certain choices using the following KN and KS as a focus. Key Knowledge This knowledge includes • ways in which performance styles that are not dependent on life-like representations of everyday life and theatrical conventions are used in performance; • ways in which characters are represented in non-naturalistic performance through the actors’ use of expressive skills including voice, movement, facial expression and gesture; • ways in which dramatic elements, theatrical conventions and stagecraft are manipulated to enhance nonnaturalistic performance; • the language of drama associated with performance styles, traditions, and practitioners from contemporary and/or cultural traditions relevant to non-naturalistic performance. Key skills These skills include the ability to • analyse the representation of characters within a non-naturalistic performance; • analyse and evaluate the manipulation of dramatic elements, theatrical conventions and stagecraft within a non-naturalistic performance; • analyse non-naturalistic performance styles within a production; • use appropriate language of drama to analyse and evaluate a non-naturalistic performance Here we go … 10 STRUCTURE AND WORLD OF THE PLAY We decided to set our show in one of these infamous school halls. Its interior allows us to slip between multiple realities and offers a theatrical freedom that parallels the make-believe, anything-could happen feeling of the school halls of our teenage years – Jonathon Oxlade, Designer Using this quote from the designer, the following questions explore how the world of School Dance was created in the performance 1. The ‘infamous school hall’ How was the world of a school hall created on stage – consider the stagecraft areas of set, props, costume, sound and lighting 2. We share a lot in common. We’re all in our mid-30s, grew up as kids of the 1980s, work in the theatre, are into pretty geeky things and were all outsiders as teenagers. Oh, and also, we’re all complete idiots! In our own special way. So ingredients were now starting to emerge. I had a starting point. Three teenage boys who don’t fit in – Matt Whittet, Writer How does the play introduce the three main characters? How does this introduction set up the world of the play? How did you initially respond to Luke, Jono and Matt? Why? 3. The creation of ‘multiple realities’ How many different perspectives/stories or realities were presented on stage? For instance how is the friendship of Matt, Jono and Luke presented? How is each of the boys personal worlds presented to us? How is space and stagecraft used to present these individual worlds? How is silence used? What is the significance of a single door? The remote control in Luke hand? How is school life represented? How is Derek Sturgess, the school bully, introduced? 4. The designer talks about a theatrical freedom that parallels the make-believe, anything-could happen feeling. What aspects of the story are make-believe? What is it about the world of the play that allows us as an audience to believe that ‘anything could happen’? How is this established and maintained throughout? 5. The Land of the Invisible Teen is presented as a world-within-a-world, one where Danika hangs out and Matt disappears into How is this world created on stage? What stagecraft is used? What spatial choices are made? How does projection/animation work in this world? What do the invisible teens look like? Do the characters use particular non-naturalistic conventions and expressive skills in this world? Voice? Movement? Focus? 6. The Point The Point is a place where the three boys go to escape and to dream. The show suggests that it is out of town and higher up How is The Point created? How does lighting and use of space allow us to believe that the boys are at The Point? 11 7. Everything in the world of School Dance is either a direct reference to the 1980’s or some kind of weird hybrid we’ve invented– Jonathon Oxlade, Designer The overall aesthetic of the world of the play is 1980s pop culture and fashion These are evident in the design elements Use the above quote to prompt a list of some specific 1980s references you saw and heard in the play What about the use of expressive skills to create this world? How is movement used in a way that suggests a 1980s era? Is the language used of a 1980s era? 8. It was a pleasure to build a world that has such a strong aesthetic from music film clips, specific colours, cartoons and toys. It’s a world where superstars wore lycra with tube socks and used roller-skates as a viable mode of transportation. Needless to say costuming this showing was a blast for us all – Jonathon Oxlade, Designer Discuss this comment by the designer What aspects of the world of the play were like music film clips? For instance there are several scenes where the characters lip synch to 1980s songs (see playlist reference below) What do you recall about characters wearing lycra and looking like superstars or superheroes? 12 PERFORMANCE STYLES The overall performance style in School Dance is non-naturalism. Within that overarching style, the production also uses aspects of: Magic realism/fantasy Dance & Stylized movement Physical theatre Comedy Narration and a self-referential style (characters knowing they are performing) Magic Realism/Fantasy What happens when a highly detailed, realistic setting is invaded by something too strange to believe? Magic Realism is a genre where magic elements are a natural part of an otherwise mundane, realistic environment. Fantasy is a genre that takes place in imaginary worlds where magic happens and the supernatural is present. What aspects of School Dance incorporate these ideas? Consider the ‘invisibility’ of Matt Luke’s sudden transformation into a 1980s action movie voice-over dude The sudden magical appearance of ‘bleeps’ to take out the swear words The slippage into The Land of the Invisible Teen The sudden appearance of the Unicorn The imagined personas of Jono, Luke and Derek Sturgess The evil Mogwai (from Gremlins, 1984) How Danika and Matt become visible again Other moments that you recall as having magical or fantastical qualities Dance & Stylized Movement There is considerable use of dancing and stylized movement in this production and a choreographer / movement coach, Gabrielle Nankivell, is part of the creative team. There are aspects of 1980s dance styles, as well as other more abstract moments i.e. where movement symbolizes or represents. Consider how the following scenes in the play use movement and dance: Hannah Ellis in her pink dress and big hair dancing at the school dance Jono and Luke providing the stylized background choreography for Matt complete with gymnastic ribbons Luke as He Man as he defeats Derek Sturgess and rescues Jono and Matt from The Land of the Invisible Teen The final scene with the four characters at the school dance What other moments do you recall where movement and dance were used to explore the story or ideas in the play? 13 Physical Theatre School Dance also uses aspects of physical theatre in the exploration of ideas and to tell the story. What is physical theatre? It is a form of theatre that primarily uses physical means to tell a story. Consider the following scenes from the production and how physical theatre was used: The boys riding the BMX bikes Danika physically responding to Matt repeating her name The personification of the Unicorn Derek Sturgess beating up Jono What other moments can you recall where there was strong use of physical theatre? Comedy School Dance is often very funny. It uses different comedic styles including - physical, verbal, visual, the unexpected, and juxtaposition as forms of humour. Some of the comedy is quite cheeky. Consider how each of the following is comedic forms/conventions are used in the play: Geeky/nerdy characterization Voice overs and ‘bleeps’ Physicality i.e. dancing, bike riding Fart jokes Stillness and silence Dialogue Costume, make-up and hair Appearance of the strange or unexpected What other aspects of comedy did you notice? How do the comic elements contribute to the non-naturalistic style of the performance? 14 Narration and self-referential style 1. The play uses the mechanism of a narrator to initially introduce the characters and then at points throughout to further the story. While narration can be seen as theatrical convention, it may be useful to treat it as a style, particularly if you think about the relationship between the narrator and the actors that develops across the production. How would you describe the role of the narrator in this production? Why don’t we see them? Why do you think this choice has been made? Does the narrator control any of the action or do they describe it? How do the aspects above contribute to the non-naturalism in the production? 2. Towards the end of the production, the narrator is rejected by Jono, Matt and Luke. After they ask her to butt out she says: ‘See how long you last without narrative cohesion’ How is this exit created via stagecraft? What do the characters then do for a narrator? How does this contribute to the SELF-REFERENTIAL style? What do the characters do that allows us to know they know they are performing? Why is this non-naturalistic? THEATRICAL CONVENTIONS 1. The performance styles in School Dance offer a rich exploration of non-naturalistic theatrical conventions. How are each of the following explored in the production? Transformation of time and place Exaggerated movement Disjointed/parallel times/flashback Caricature Pathos Song Stereotype Direct address and Aside Multiple narratives Ensemble Chorus 2. Consider your discussion here based on prior discussion about theatrical styles and the use of stagecraft, for instance: How are nerds/geeks caricatured? How are the female characters caricatured – Barbie Dolls, Mean Girls, bossy older sister? How does the female actor create so many different characters? Does she transform? Does she go off stage and return as a new character? Is this transformation? What stereotypes are created in this show? How are multiple locations created – school, home, The Point, The Land of the Invisible Teen? How would you describe the way memory works in the show? Is it flashback? Parallel time frames? Do you feel empathy or sympathy as generated through ‘pathos’? Do the characters use direct address to the audience and when? How many different narratives are occurring within the production? What moments of ‘chorus’ effect are there? Are these Greek, Vaudeville, Brechtian versions? Or their own version? Evaluate these aspects of the production – were they effective? Did they enhance the nonnaturalistic style of the production? 15 DRAMATIC ELEMENTS All theatre uses particular dramatic elements as the basis for its creation. In Drama Unit 3, particular dramatic elements are listed as being relevant to ‘non-naturalism’. How is each of the follow dramatic elements explored in the production: Contrast – between characters, between stories, between comedy and drama? Conflict – inner conflict, intra conflict, meta conflict? Climax – for each character, for the overall story? Space –the use of intimate space, vast space, the endowment of space with different meanings for different characters and for different purposes? Timing - fast paced scenes, contrasting timing, slow motion, repetition? Rhythm - in the music, sound design, movement? Focus - on whom, within the show, individual actor focus, audience gaze? Symbol – what was symbolic and how was it made so through words, gesture, stagecraft elements, props such as the remote control, lighting, sound, costume? Sound - sound effect, composition, the 1980s-soundtrack-of-our-lives? Mood – the comic juxtaposed with dramatic/tragic? 16 STAGE CRAFT Set Design 1. The set is a realization of a school hall set up for the school dance or social with an elevated stage, curtains, mirror ball, balloons, parquet flooring, exit signs and entrances to the boys and girls toilets Is this a realistic set? If so, how does it contribute to the performance styles of the production? Can there be moments of realism or naturalism in a non-naturalistic production? If so, how does the premise of a school hall work in terms of non-naturalism? What is the symbolism of a school hall? How is it used to create other locations and places? 2. A toilet cubicle for Joanie and Danika appears. Danika is played by Luke in costume How does this set item appear? Is it realistic? Representational? Non-naturalistic? What does it symbolize within the story? 3. The mushroom Smurf House is part of The Land of the Invisible Teen How does it enhance the magic realism in the production? How do the actors engage with this set piece? How does it affect their use of expressive skills? How does this set play with a sense of ‘scale’ and distortion? 4. The doorways into each boy’s home are used very specifically to reveal their home lives. Consider how a single door as a set item can have several meanings and operate symbolically within the play. 5. The BMX bikes are a symbol of the 1980s How do the bikes enhance the non-naturalistic conventions? How do they appear? How are they used? How do the bikes enhance the development of the characters? Sound/Composition 1. I went to lots of Blue Light Discos in the 1980’s and by the 90’s I was DJ’ing at them. The music I remember being played was of course 80’s pop music. For ‘School Dance’ it was a natural choice to have an eclectic mix of licensed tracks from this decade as the base for the soundtrack – Luke Smiles, Sound design 2. How do these 1980’s songs provide a soundtrack for the show? What is their effect? Did you enjoy them? Why/why not? I approach making soundtracks for live theatre in much the same way as I would for film. Foley, prerecorded dialogue, sound design, original score and licensed music are combined to create the deliberately ‘cinematic’ soundtrack of School Dance – Luke Smiles, Sound Design Discuss the different elements of the sound used in School Dance that the designer lists above – did you hear these different elements? How did sound work to create The World of the Invisible Teen? The presence of Derek Sturgess? What moods were created using sound? Would you agree with the designer that the sound for School Dance is like a film soundtrack? 17 How did sound work to enhance the non-naturalistic style of the production? Lighting Richard Vabre’s lush lighting design is crucial part of the telling of this story – Rose Myers, Director. The lighting achieves many things in this production as the director states. Discuss how lighting was used in the following scenes; The school dance itself – what particular aesthetic The toilet cubicle – how does it create location The three boys own homes, just inside their front doors – how does it create subtext? The entrance of Derek Sturgess The BMX bike riding extravaganza up to The Point How else does lighting work to contrast the real world and the fantasy work, inner fears with outer fears? Animation 1. Director Rose Myers describes the animation and video for the show as ‘evocative’. In the image above you have an impression of how the animation and video was working in conjunction with the other theatrical elements. What was the purpose of the animation? What world did it create? How would you describe the overall mood of the animation? What did it evoke? How did the actors interact with the video screen? How did the animation contribute to the non-naturalistic style of the production? 18 2. The animated world on the screen includes figures of lost teenagers. How does the animation work symbolically within the production? Costume The designer has made a point of using the 1980s as a source to inspire the costumes – acid wash jeans, denim skirts, hi-top shoes, white belts, high heels, head bands…the list goes on. Consider how Jono, Matt and Luke are dressed and how it enhances their particular character How does Hannah Ellis dress at the school dance? Does her costume ‘heighten’ her character? Does it make her more caricatured? Consider the use of costume in the ‘real world’ and then in the magical or fantasy worlds’ – contrasts, exaggerations, colours, styles For instance what do the invisible teens wear? What does this symbolize What is naturalistic about some of the costumes? What is inherently non-naturalistic about some of the costumes? 19 REPRESENTATION OF CHARACTERS By now you will have established that the production of School Dance explores a range of theatrical conventions and dramatic elements from the non-naturalistic performance style. You may agree that there are also moments of naturalism in order to evoke pathos. This section of the notes explores the characters in the show. 1. But as well as being painful it is also very funny and the fact that we all relate to it on some level means we want these characters to win – Rosemary Myers, Director How did you respond to the three main characters in the production? Did you have a favourite? Why? Do you agree with the director that we, as an audience, want them to win? 2. Choose two contrasting characters from the production – one could be in the ‘real world’ and the other could be in the ‘fantasy world’. They could be different versions of the same person. Now choose a specific scene to discuss in more detail. Discuss how each character used their expressive skills in this scene How would you describe their voice, what type of moment did they use (dance, stylized movement) were their facial expressions natural or exaggerated, did they use gesture and did it have any symbolism? Did your chosen characters represent particular ‘types’? What ‘type’? Did the character have a particular ‘function’ in the production ie To rescue, to provoke, to love? Evaluate the use of expressive skills – were they effective in conveying the character? How did they contribute to the non-naturalistic style of the production? THEMES Some of the themes that School Dance explores are violence, bullying, identity, self-esteem, courage, love, friendship, trust, escapism, popular culture How does each of the following statements/descriptions of the production explore some of the key themes? Discuss how the use of stagecraft and expressive skills explored the themes in the performance I began to delve into our collective, and horrifically awkward memories of youth. Of what it’s like to not belong. To be riddled with demons that are too hard to talk about. With anyone. And how the only thing that ever got you through these moments were like minded friends. Other outcasts in the hormonal wasteland of adolescence – Matt Whittet, Writer All of us remembered the bubble of childhood breaking and our awareness of the social pecking order being particularly acute during our teenage years. It’s a growing consciousness of the beautiful people accompanied by the brutal realisation you are not one of them – Rose Myers, Director We wanted to explore the experience of being at the bottom of that pecking order to examine the self loathing, threat of violence and the ultimate self discovery that exists there – Rose Myers, Director Quotes Source: Sydney Theatre Company Program January, 2013 20 RESOURCES A School Dance promo: http://www.youtube.com/watch?v=fLCU6s3EdkI Reviews Arts Hub - March 10 2012 http://au.artshub.com/au/news-article/reviews/performing-arts/school-dance-188128 Sydney Morning Herald - Jan 14 2013 http://readnow.mediamonitors.com.au/ReadNow.aspx?45AoubyBJO7 Sydney Daily Telegraph - Jan 16 2013 http://readnow.mediamonitors.com.au/ReadNow.aspx?45C1c5yBONN Articles The Land of Invisible Teens – Elissa Blake, Sydney Morning Herald, Jan 11 2013 http://www.smh.com.au/entertainment/the-land-of-invisible-teens-20130110-2chbt.html Adelaide Festival: School Dance - Samela Harris, The Advertiser (Adelaide Now), March 7 2012 http://www.adelaidenow.com.au/entertainment/festivals/school-dance/story-fnb4gl49-1226292370874 Interviews Time Out Sydney - Interview with Matthew Whittet, Writer and Performer http://www.au.timeout.com/sydney/theatre/features/11667/school-dance-matt-whittet-interview Revenge of the Nerds – Interview with Matthew Whittet by Benjamin Cooper and Dee Jefferson http://www.thebrag.com/2013/01/28/theatre-interview-school-dance/ Video interview with Matt Whittet for Real Time TV by Keith Gallasch http://www.realtimearts.net/feature/realtime_tv/10938 Images Production Images – Flickr http://www.flickr.com/photos/sydney_festival/sets/72157631553665364/detail/ Production Photography by Tony Lewis 21