Connecting to Learning in the DP: Theatre

Year 11

Our wonderful Year 11 Theatre students have been developing their Solo piece during sessions. They have been inquiring critically into the many characteristics of theatre theorists. From Steven Berkoff to Peter Brook, students have created work that is a reflection of their curiosity and imagination.

During this lockdown period, students shared their self-devised Solo work through the medium of  Zoom. This took considerable courage and focus. They should feel proud of their achievements and the way in which they have continued to apply themselves with dedication during their studies. 

Rebecca Bettiol

DP Theatre teacher

rebecca.bettiol@preshil.vic.edu.au

Year 12

Year 12 Theatre students’ final task is the Solo Theatre Project and, despite its title, a lot of the work needs to happen in collaboration with classmates, mentors and in a theatre space. Sadly [and exasperatingly] COVID has meant the inability to workshop, rehearse in the space and collaborate, however, I can happily report that this term it has still been solo-a-go-go!

Essentially, the project asks students to choose a theatre practitioner, delve deeply into their work and techniques through research and practical exploration, then choose and/or devise text and an eight minute performance to explicitly demonstrate skill and understanding in that technique, as well as making explicit design and technical production choices. Accompanying this is a 3000 word report which relies on the active research and reflective cycle. There’s no denying it’s a relevant, invigorating and demanding piece of work to conclude two years of learning and a meaningful project through which to demonstrate their passions and skills; even useful as a portfolio for interviews and course applications I think!

Huntah:

Kantor Tsdauez was a Polish artist, playwright and dramatic theorist… During the war he founded the underground independent theatre company centred around themes of rejection and trauma. The first exploration I underwent was building on the concept of burdening which Kantor mentions in his manifesto…

Zara:

"When it comes to being ‘human’ and ‘real’ on stage, we are reminded that the mind, body and emotions are intricately intertwined. The body, thoughts and emotions always change together. To work with emotions, Yoshi Oida starts from the outside and works inwards to provide a truthful performance..."

Saskia:

"… In a later session my theatre teacher and I discussed playing the different characters whilst still saying the same lines. I like this idea because it is more of a challenge and will give me more of an opportunity to experiment with  different tempos, shapes and volume..."

Lee:

"The aim of Berkoff’s Total Theatre is to create extreme moods and scenarios to give the audience an overwhelming experience, leading to emotions of shock, amusement, fear, amazement or disgust … The script I chose to apply Berkoff’s theory to is Lyrebird by Tyler Coppin, which is a one-man, biographical depiction of the life of Australian ballet prodigy Robert Helpmann…

Sam Kosky

DP Theatre teacher

sam.kosky@preshil.vic.edu.au