Abstract
The focus of this chapter is on how teachers can and do play a critical role in selecting, scaffolding and sustaining theatre attendance for young people. Both the potential for developing less experienced young people’s understanding of theatre form and the extension of the responses of more experienced young theatre goers are explored in this chapter.
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Notes
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The Higher School Certificate is the final examination for NSW secondary school students.
References
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Costantoura, P. (2000). Australians and the arts: What do the arts mean to Australians? Sydney: Australia Council.
Grady, S. (2000). Languages of the stage: A critical framework for analysing and creating performance. In H. Nicholson (Ed.), Teaching drama 11–18 (pp. 144–159). London: Continuum.
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INTERLUDE
INTERLUDE
6.1.1 Case Studies 11 and 12
CASE 11: Up Jumped the Devil inspired by the songs of Nick Cave
COMPANY: OzFRANK Theatre
VENUE: Cremorne Theatre, Queensland Performing Arts Centre
CASE STUDY PERFORMANCE: Friday, 30 October, 2009 (also 24 & 25)
SEASON: 23–31 October 2009
KEY INFORMANTS:
John Nobbs and Jacqui Carroll, Creator/Director/Actor
Janelle Christofis, Program Development Manager, QPAC
Caroline Dunphy, Actor
Belinda McCartney, Education Manager, QPAC
AUDIENCE DETAILS: On all three nights the classic, sombre look of the Cremorne Theatre and its foyers were peppered with spikes, mohawks, body piercings and black lace. A young generation of Goths and pseudo-punks flooded the space. People attended with friends, with siblings, with family. On the second of the case study nights, two Year 11 drama groups were in attendance.
Pre-show audience surveys | 63 |
Post-show interviewees | 24 |
6 month interviewees | 9 |
RESEARCH TEAM:
Partner Chief Investigator: Penny Bundy
Chief Investigator: Bruce Burton
Lead Research Assistants: Erika Piazzoli, Dianne Fenlon
State Project Officer: Andrea Burton
Research Assistants: Amy Bradney-George, Morgan Bundy-Wright, Gabrielle Castle, Ali Clinch, Martina Cross, and Sarah Woodland
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Young people valued Nick Cave’s music. They enjoyed being confronted by content that they saw as different, interesting and new; content that was culturally and socially relevant to them. They appreciated being intellectually and aesthetically challenged.
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Young people’s engagement in this work was influenced by the immediacy of the whole event. They spoke of perceptions of new, of contrast and of truth. They commented upon images that remain with you emerging from contrast, contradiction, the costumes, props and sets.
CASE 12: World Theatre Festival
COMPANY: Brisbane Powerhouse
The Productions under study and the number of respondents for each were:
The Eisteddfod by Lally Katz performed by Stuck Pigs Squealing (8)
Performance Anxiety devised and performed by Brian Lucas (6)
Wondermart (5) and Etiquette (15) by Ant Hampton and Silvia Mercuriali, Rotozaza (UK)
66A Church Road – A Lament Made of Memories and Kept in Suitcases by Daniel Kitson (2)
The Ballad of Backbone Joe by Suitcase Royale (Melbourne) (14)
CASE STUDY PERFORMANCE: Saturday, 13 February 2010
SEASON: 2 February – 13 February 2010
KEY INFORMANTS:
Lee Cumberlidge, Producer
AUDIENCE DETAILS: What was especially notable about the interviewees gathered for this case study was the large number of theatre workers who were attending Festival performances. 14 of the 35 interviewees were theatre workers, tertiary students or senior secondary school Drama students. The adult interviewees included active Brisbane based theatre workers, actors and writers attending the National Playwrights’ Conference, interns working with theatre companies and theatre students from tertiary institutions. A number of respondents attended more than one production.
Pre-show audience surveys | 54 |
Post-show interviewees | 37 |
6 month interviewees | 12 |
RESEARCH TEAM:
Partner Chief Investigator: Bruce Burton
Chief Investigator: Penny Bundy
Lead Research Assistant: Patrick Mitchell
State Project Officer: Andrea Burton
Research Assistants: Erika Piazzoli, Ali Clinch, Martina Cross, Nadia Vanek, Craig Wood, Morgan Bundy-Wright, Tiara Shafiq, Nikki-Ann Tuarau
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The theatre workers and tertiary theatre students who were interviewed indicated that the opportunity to see a range of theatre not normally available in Brisbane was a major attraction. There was also an assumption that more exciting performance work was likely to be found at a festival.
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The Powerhouse venue is an exceptional and key attractor for the respondents. Many interviewees spoke in superlatives about the range of performance and non-performance related experiences that can be had there.
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Ewing, R., Fleming, J., Burton, B., Stinson, M. (2014). Young Audiences from the Educators’ Perspective. In: O'Toole, J., Adams, RJ., Anderson, M., Burton, B., Ewing, R. (eds) Young Audiences, Theatre and the Cultural Conversation. Landscapes: the Arts, Aesthetics, and Education, vol 12. Springer, Dordrecht. https://doi.org/10.1007/978-94-007-7609-8_6
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