Drama Tuesday - Perth Festival

 Connecting our students with the Arts in their society

https://www.perthfestival.com.au/media/uqgd5kdp/creative-learning-brochure-2022.pdf?utm_source=wordfly&utm_medium=email&utm_campaign=PF_ConnectCL_Launch&utm_content=version_A 

The Perth Festival which runs in late Summer in Perth, has announced the program for teachers and students ahead of a Festival launch in November.

It’s always exciting to have an insight into the Festival delights. 

Also wonderful is the  commitment to engaging young people and their teachers. The arts in schools are not separate from the wider reach of the arts in society. It is important that young people see from an earlier age the opportunities for connection. 

As the Australian Curriculum The Arts (ACARA, 2014) reminds us: 

In making and responding to  artworks, students consider a range of viewpoints or perspectives through which artworks can be explored and interpreted. Responding in each arts subject involves students, as artists and audiences, exploring, responding to, analysing, interpreting and critically evaluating  artworks they experience. Students learn to understand, appreciate and critique the arts through the critical and contextual study of artworks and by making their own artworks.

A vibrant arts culture in the wider society is essential for effective  arts education in schools. There needs to be a symbiotic relationship between arts learning and arts making and enjoyment in our community. 

There are also  TEACHER PROFESSIONAL LEARNING opportunities.

Drama Tuesday - If We Were Villains

 The Never Ending Quest – Stories of Drama Education

Let’s be clear from the very start – If We Were Villains (Rio, 2017) is a murder mystery (I will try to avoid any spoilers!). My interest in  this story is the specialist Shakespearean theatre and acting school context: the people and the setting.

The action takes place in a small liberal arts/performing arts college in an undisclosed location in the Mid-West in driving distance from O’Hare in Chicago. The action focuses on the seven remaining fourth year students in the Shakespeare Acting cohort. 

The author has neatly skewered acting types (and stereotypes) – hero, villain, tyrant, temptress, ingenue, supernumerary, observer (though along the way, the roles change). These are the seven who have survived the end-of-yearly purges. Richard, pure power, six foot three, carved from concrete, black eyes, thrilling bass voice, playing despots and warlords. Meredith, supple curves, skin like satin, designed for seduction. Wren, Richard’s cousin, ingenue, girl next door, waif thin, Filppa, tall, olive skinned, cool, chameleonic. James, quintessentially heroic, handsome like a Disney Prince. Oliver (who narrates the story) sees himself as average in every imaginable way.

The staff are also deftly drawn – Gwendolyn, the bangle leaden, redheaded stick figure hippie acting teacher; Frederick, the chalk dust laden theatre history and text don; and, Camillo, the physical action, combat and movement teacher. And the distantly inspirational Dean of the Academy: I encourage you to live boldly … make art, make mistakes, have no regrets; we expect you to dazzle us and we do not like to be disappointed. (p. 36). The hothouse climate of selective acting schools is strongly evoked.

This group of students are all that are those remaining in the  elite program. The dark hints of savagery in the process are present from the start. Final year students focus on The Tragedies – following on from Third Year focused on The  Comedies – a Midsummer Night’s Dream production with Oliver and James as Demetrius and Lysander clad only in striped boxers and undershirts.

Their unfolding school year is effectively sketched.

The acting classes for the year begin with a ritualistic personalised purging interrogation in acting class leading to revelation and self discovery at the hands of Gwendolyn. How many times do we read accounts of acting schools setting out to break down and then re-build individuals. In so many acting school approaches this sort of blood sport is mandatory. Cathartic and cleansing and cruel. Questionable.

The text study class is full of fusty philosophy and dusty epithets. The first combat class gives a sound description of the business of the illusions of stage fighting – setting up for later as the rules of the game are disrupted when things get out of hand. The ordinariness of observations such as “being Monday, we all lined up to be weighed”, touch on the unspoken assumed practices of this sort of training.

Productions provide major plot points in the mystery and there are also well-drawn examples of creative challenges for acting students. Twice in the plot development, students are set “secret assignments”. For Halloween, each of the main characters are given roles from the Scottish Play and the instruction to learn the lines and talk to no one else about their role. On the night, they are told to turn up to the lake side with their provided costume and, without any rehearsal, play their given roles. This impromptu and high risk task is an adrenaline rush, calling on skill and trust. Oliver is assigned to play Banquo. The tensions revealed in the exercise set in motion significant plot developments. 

The second example of this is when the students secret assignment involves Romeo and Juliet for the Christmas Masque Ball. Oliver here plays Benvolio, reinforcing his status as the sidekick mate, at the edge of the main action. Passions unfold and swirl around him yet provide him with insight into his growing power as an actor. 

Major plot developments are embedded in two productions: Julius Caesar and King Lear. 

Another major feature of the writing is the frequent resort to the characters quoting from the wide Shakespearean cannon at apposite moments in their lives. As tempting as it is to skim them, each quotation is apt and pertinent to the character development. And serve as reminders us of how annoyingly obsessive and insular the lives of actors in training can be. They converse in their own language (borrowed language!) to the exclusion of all others. The quotations are wide ranging – and are a good primer for “best bits of the Bard”.

There is a deep wisdom put into the mouths of the characters. 

Do you blame Shakespeare for any of it?

I blame him for all of it.

It’s hard to put into words. We spent four years – and most of us years before that – immersed in Shakespeare. Submerged. Here we could indulge our collective obsession. We spoke at a second language, conversed in poetry and lost touch with reality a little.

Well that’s misleading. Shakespeare is real, but his characters live in a world of real extremes. They swing from ecstasy to anguish, love to hate, wonder to terror. It’s not melodrama, though, they’re not exaggerating. Every moment is crucial.

A good Shakespearean actor – a good actor of any stripe really – does not just say words he feels them. We filled all the passions of the characters we played as if they were our own. But the characters emotions don’t cancel out the actors – instead you feel both at once. Imagine having all your thoughts and feelings tangled up with all the thoughts and feel feelings of a whole other person. It can be hard, sometimes, just sort out which is which.

Our shear capacity for feeling got to be so unwieldy that we staggered untruths, like Atlas with the weight of the world.

The thing about Shakespeare is, he’s so eloquent … He speaks the unspeakable. He turns grief into triumph and rapture and rage into words, into something we can understand. He renders the whole mystery of humanity comprehensible.You can justify anything if you do it poetically enough. (p. 248)

It’s important not to read too much into all of this. As I said the start – never forget that this is a mystery novel. It is designed to thrill and charm us. Yet, there is also something to tell us about acting schools. The small interchanges are revealing. (Often the text is laid out like a play script)

Meredith: “Welcome to our art school. It’s like Gwendolyn always says, “when you enter the theatre there are three things you must leave at the door: dignity, modesty, and personal space.

Philippa: I thought it was dignity, modesty, and personal pride.

Oliver: She told me dignity, modesty, and self-doubt.

All three of us were silent from moment before Philippa said Well this explains a lot.

Do you suppose she had three different things for every student she talks to me? Oliver asked. (p. 261)

Through the whole novel there is a melancholic recognition of Hamlet’s words:

“There is special providence in the fall of a sparrow." 

Yes, I did enjoy the mystery. I also enjoyed the portrait of the acting school and the people who live there. 

Is this a fair portrayal? 

I open our discussion to stimulate the debate.

Currently, there is turmoil in many of the known institutions – acting schools amongst them. It is reasonable, in these times, to question the practices of some, maybe all, drama schools. What lies behind the seductive images of Lotus Eaters and sirens? Why are some drama schools churning and turning themselves inside out over casting, choices of texts and practice? It is important to remember that there is a climate of disruption in the wider academy that has found its way into acting schools. 

What could be the way forward for these troubled spaces?   

Oh, and,  who killed the actor? It’s a mystery. Or, tongue in cheek, to quote from Shakespeare in Love :

Philip Henslowe: Mr. Fennyman, allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster.

Hugh Fennyman: So what do we do?

Philip Henslowe: Nothing. Strangely enough, it all turns out well.

Hugh Fennyman: How?

Philip Henslowe: I don't know. It's a mystery.

Bibliography

Madden, J. (Writer). (1998). Shakespeare in Love. In. United Kingdom: Universal Pictures, Miramax, and The Bedford Falls Company.

Rio, M. L. (2017). If We Were Villains. New York, NY: Flatiron Books.

Drama Tuesday - Spaces of Performance

 Connecting drama students with their immediate world

There is a useful introduction to outdoor theatre included recently in the TheatreFolk site:

https://www.theatrefolk.com/blog/theatre-history-introduction-to-outdoor-theatre/ 

Drama has many spaces. It can be performed in purpose-built theatres. It can be performed in streets. with ingenuity, almost any space can be turned into a place to play. We teach our students ways about Spaces of Performance and recognising the challenges of making drama in found spaces.

Many schools in Western Australia have amphitheatres included in their design. Too often they become repositories of litter or passion pits for over excited students. Rarely, if ever, are they used for drama. 

There are obvious challenges in using an outdoor venue.

• The weather is always a risk. It can rain or you and your cast can swelter in the heat/cold/wind.

• There are technical challenges for lighting, sound equipment. What do you need so that your performers can be seen and heard? How do you run power? How do ensure that cables are safe (and safe in the weather)?

• There’s also security to consider – does an outdoor performance mean that you have to bump in/out all the technical equipment each time you perform?

• Sight lines and safety for audience (you don’t want to have someone’s Gran tumble down the steps).

• Most importantly, what do you need to do preparing and rehearsing your students for the space:

• Voice and projection

• Vocal safety and health in outdoor settings

• Protection from sun and wind

• Managing props and costumes (costume changes when necessary)?

Overall, there are many things to consider when you work alfresco. But the rewards for your students are many. 

There is also an important benefit in that students are helped to consider that drama doesn’t always have to be performed in a purpose-built venue. 

And that there are opportunities for drama in their immediate geographic location if they are open to them. 

I was reminded of this reason for thinking about exploring spaces of performance in the local community. 

Amphitheatre, Geraldton, Western Australia

I took this photo during my time as Consultant for Drama. I had been working in a local secondary school and the drama teacher complained to me about the lack of local theatre for her students to visit. She went on to add that her school did not have a performing arts centre or theatre space and she taught in an “ordinary” classroom. For most of my time teaching in schools, I too taught in classrooms where the furniture was pushed back and we competed with the ambient noise from other classrooms. In that situation, there is only one thing to do: to reach out to the local community. In Merredin, we worked with the local Repertory Club and used their space, the Cummins Theatre a refurbished picture palace (that had been at one stage moved brick by brick from Coolgardie). At Armadale SHS, we found a performance space in the Pioneer Village, a replica music hall. Down the road from Armadale, the drama teacher at Kelmscott SHS performed Alex Buso’s play MacQuarrie in the courtyard outside the canteen.  

Breathtaking under threatening skies

It is not the space that makes the drama.

What matters is how we fill the space. 

After I finished my conversation with the teacher, I had some time before getting back on the plane and drove around the local area. Outside the local Council buildings – 200 metres from the school – there is a full amphitheatre. I wondered if that teacher had ever thought of walking her drama class to the amphitheatre to explore ways of bringing Greek and Roman drama to life.

Drama spaces are waiting to found and filled by students.

The Theatre at Epidaurus

Foreman Funnies - Part 2

Drama Tuesday - Reflections on international drama education

First World Congress Oporto, Portugal July 1992

In July 2013 during the 8th World Congress on Drama/Theatre and Education in Paris, France, I was elected as President of the IDEA Executive Committee and re-elected in  2017 during the celebration of 25 years of IDEA held at the University of Evora in Portugal. It was fitting that this celebration was held in Portugal because in July 1992, during the First World Drama Education Conference in Porto Portugal, IDEA was founded. I was one of the lucky ones who was in Porto at the founding of IDEA and have been to all 8 of the congresses. As well I have represented Drama Australia at IDEA meetings in Montpellier, Budapest, Bergen,  Belém. 

International Collaboration in 1992

Seven years as IDEA President has been challenging. During that time two planned congresses – Ankara, Turkey (2016/2017) and Beijing, China (2020) – have been cancelled because of civil unrest in Turkey and the Coronavirus COVID-19 Pandemic. 

During my time in this role I have visited many places and had the opportunity to learn more about the wider world of drama education. 

A short video presentation of my report can be found at https://vimeo.com/manage/461230241/general.

My final report to the IDEA General Council can be read at

https://www.ideadrama.org/Documents-for-IDEA-2020-GCM 

I have worked with a dedicated team of volunteers who have spent long hours in ZOOM meetings (before the Pandemic and during) in pursuit of the aims of IDEA. I thank them for their ongoing commitment and voluntary work.

In this post I make some observations about Drama Education from an international perspective.

The world of drama education is wide

There are many different approaches to drama education. Although I have a suspicion that the original proponents of an international drama education association, thought that their vision of drama education would emerge as the dominant model, the congress in Porto quickly established that there is not one way of drama education. 

The full title of IDEA is a clue. The clumsy construction in English  is drama/theatre. If you look to the titleWords and definitions can be slippery. Some words do not have ready translations. One person or country’s drama is in another worldview theatre. In fact, in some places, there is no direct or easy translation of the term drama. 

But it goes deeper than just words and definitions. In the French speaking world, there is the concept of partenariat where drama education is a partnership between classroom teacher and actor/professional/teaching artist and theatre expertise lies with the professional partner. By contrast the model adopted in the United Kingdom, New Zealand, Australia and Canada, for example, is based on a dedicated trained drama teacher. In a similar vein, there are places that assume there will be drama in the school curriculum; there are many places where that is not happening (see discussion below). Drama education is not solely found in school settings. It is in communities, associations, political action and the streets.

In some countries and cultures, local approaches are seen as the only approach. IDEA has had to negotiate a wide definition of drama and theatre education. This is noticeable in the aims of IDEA

There is another aspect of this wide church of drama education: the role of dominant language in sharing and limiting communicating about practice. Often there is exemplary practice happening beyond the world of English. As IDEA has shown there are drama educators in the Scandinavian countries that parallel what has happened in English speaking countries but with a unique identity and flavour. Similarly, the walls of language prevent outstanding practice in Turkey being shared with the wider community. English may be the dominant language of the Internet, but there many languages of drama and we need to recognise and acknowledge this multiplicity.

It is only when you are in-country that you can understand local perspectives. World-views are powerful. Don’t we say that the essence of drama is when we step into someone else’s shoes. Nowhere is that more evident than when we talk about the world of drama education. 

Drama in the Arts

Drama education is an integral part of arts education. The history of arts education, however, has seen drama accepted as part of a wider mandate for arts education. This has been a hard won battle (and continues to be so in many places where the dominant arts education narrative is written by music and visual (fine) arts. Drama education has been the giant knocking at the door (Stinson, O’Toole & Moore. (2009). Drama and Curriculum: the giant at the door. 10.1007/978-1-4020-9370-8). 

The concept of the Arts as a field of curriculum finds voice in writers such as Peter Abbs (1987) in Living Powers The Arts in Education. In the Australian context since the Hobart Declaration on Schooling  (1989) there has a commitment to with The Arts as one of the eight curriculum learning areas model. Drama has had a place at the table when it came to writing the Australian Curriculum: The Arts (ACARA, 2014). Just as the implied mandate of the Arts in schools is not realised in practice in all schools (see, for example discussion in, Ewing, 2020) the place of drama in all Australian schools s not necessarily secured.

The situation beyond Australia is similarly mixed. 

The impact of the pandemic in the united States shows contraction of arts education opportunities. In Greece the government announced that for 2021, the arts would not be offered for senior secondary students. The success stories of the arts and drama in the Welsh curriculum and in Romania are counterbalanced by what is happening in England. 

Drama educators must continue to be the giants knocking at the doors of curriculum demanding to be let in. 

There is a role for IDEA in this world wide claim.

IDEA was a founding member of the World Alliance for Arts Education WAAE  (https://www.waae.online/) and continues to support the work of the alliance drawing together ISME, the International Society for Music Education, InSEA, International Society of Education through Art, and WDA, the World Dance Alliance

IDEA and the wider world of Drama and theatre

A question to ask about drama education and theatre and drama is: why is there a need for IDEA when there are other organisations like ITI/ASSITEJ/etc working in the field with similar objectives? What is distinctive about the mandate of IDEA?

While IDEA has affiliations with ITI the mandate of this United Nations/UNESCO body is  broader than IDEA’s aims. Similarly the focus of ASSITEJ is on theatre makers and making while undoubtedly sharing an interest in young people. 

When IDEA was funded, there was a need for the specific and particular concerns of drama and theatre educators to be heard.

IDEA has long sought to strengthen its ties with UNESCO. Despite the troubled current situation of UNESCO, underfunded since the withdrawal of the USA, there is value in reaching out to the members of UNESCO to further the aims of IDEA. 

Drama Swings and roundabouts

In some places there are good news stories about drama education particularly in schools. There are sad news stories. In Iceland, Drama is included in the primary curriculum – a victory to be celebrated. In Finland, despite a long campaign from FIDEA, the Finish member of IDEA, drama in school has yet to be realised. 

It cannot be said that there is a universal entitlement for all for drama education. The struggle continues.

Some concluding thoughts

Seven years working voluntarily for an international organisation across languages, cultures and locations has been challenging. 

It has been rewarding and sometimes frustrating. There is work is still waiting to be done. There have been some small gains and victories; many disappointments. 

The richness of our professional lives is a reflection of our capacity to belong. Through IDEA (and similar) I have been a member of a guild of drama educators, learning from each other, enriching each other.  

I particularly thank my family for supporting my time in IDEA. Members of my family have accompanied me on the IDEA journey. My son Phillip was with me in Budapest for a General Council Meeting in 1997; my second son, Ben was with me in Kissumu Kenya in 1998 and in Belém, Brazil in 2010; my daughter Hannah was with me in Ottawa, Canada in 2004 and in Hong Kong in 2007. Finally, my wife, Liz, was with me in Frankfurt November 2019 (taking time from her busy career). More importantly, they have supported the travel i have undertaken (I stress, mostly taken at our own expense as funds within IDEA are limited and funding for travel in universities and institutions have long since dried up). As I move to the role of Immediate Past President, I leave with a sense of knowing that I could not have offered or done more. Even though there is always more to do, I pass the mantle to those who follow in the hope that I have contributed to our successes and survival into the future, stronger and more resilient. IDEA 

Bibliography

Abbs, P. (Ed.) (1987). Living Powers: The Arts in Education. London: Falmer Press.

ACARA. (2014). The Australian Curriculum: The Arts. Retrieved from http://www.australiancurriculum.edu.au/the-arts/introduction

Ewing, R. (2020). The Australian Curriculum: The Arts. A critical opportunity. Curriculum Perspectives, 40, 75-81. doi:https://doi.org/10.1007/s41297-019-00098-w

MCEETYA Ministerial Council on Education Employment Training and Youth Affairs. (1989). The Hobart Declaration on Schooling. Ministerial Council on Education, Employment, Training and Youth Affairs Retrieved from http://www.educationcouncil.edu.au/EC-Publications/EC-Publications-archive/EC-The-Hobart-Declaration-on-Schooling-1989.aspx

Drama Tuesday - Play and Drama

We are putting on a play! say the excited school students. 

Let’s study the play! says the English Literature teacher. 

Enter HAMLET and Players in Act 3 Scene II of Shakespeare’s Hamlet. And the test for Claudius set by Hamlet lies in the performance of the players. As Hamlet says:

…the play's the thing

Wherein I'll catch the conscience of the King

The https://idioms.thefreedictionary.com/play+a%2Fyour+part says that to play (one's) part is to do what one should and is expected to do within a group in order to achieve a particular result; to perform one's role.

"Play Your Part" is a song by Canadian singer Deborah Cox. 

A “play” is a term in American football. 

Wikipedia says: A play is a work of drama, usually consisting mostly of dialogue between characters and intended for theatrical performance rather than just reading. The writer of a play is a playwright.

In the film business, the shooting script is is called a screen play.

Around the world, there are theatres called the Playhouse

And there are many more references to play. Find and share them. 

There is a clear link between Play, Drama and Theatre. I would argue that drama and theatre are nested porously within the wider filed of activity that is play. 

So much of what we do in drama and theatre calls on our capacity for play, purposeful play. We explore ideas and feelings; we experiment with forms and approaches; we derive pleasure and satisfaction (that old fashioned term: fun).

It is useful to remind ourselves about play. 

Defining play is difficult. It has many definitions, characteristics, types and approaches. 

The dual nature of play is important to understanding drama. Play and drama are both simultaneously part of life and experience and separated from it. There are rules and conventions but also opportunities and unscripted or improvisational moments. Drama and Play are social. They engage our physical, thinking and emotional capacities. 

The connection between play and drama can be powerfully argued. 

The Australian Early Years Framework (ELF) Belonging, Being and Becoming, has a specific emphasis on play-based learning. It builds on the United Nations Convention on the Rights of the Child that recognises children’s right to play. Play-based learning is a context for learning through which children organise and make sense of their social worlds, as they engage actively with people, objects and representations. 

It can be argued that drama is also a powerful learning medium where we make sense and meaning of our world as we experience it actively engaging with people and roles and representations of our experiences. 

In closing I share two images  taken a long time ago when I was in Porto, Portugal, July 1992 for the First World Congress on Drama Education (the founding of IDEA, the International Drama/Theatre and Education Association). On a rare afternoon of walking in the city, down by the dock area, I saw kids playing with old tires. The rubbish on the street of abandoned rubber tyres, had been appropriated by these kids and made into play. Two sticks of wood, the rubber tyre, energy and above all imagination to see the possibilities. This sense of play is exhilarating (in what looked like a low socio-economic setting). What looks like simple object play has the capacity to extend into imagination and role. 

Play is vital for understanding drama and theatre. 

In play we find our capacity for creative improvisation, imagination and exploration of form. 

Let’s play more!

The Australian Early Years Framework (ELF) Belonging, Being and Becoming 

can be found at https://www.education.gov.au/early-years-learning-framework-0 

Drama Tuesday - We learn drama by making drama – a Process Drama example

We learn Drama by making Drama. By using the Elements of Drama such as role, situation, voice, movement and tension, we learn how drama tells stories in our bodies.

In this short video I share with you some drama making from a workshop I ran in Baoding, China, in November 2019. 

We used drama to bring to life the story of the Magic Lotus Lantern, a traditional story. We used drama strategies to build a series of dramatic action episodes exploring key moments in the story. This is a Process Drama.

In the traditional story of the Magic Lotus Lantern, on  the  Huashan Mountain there lived a guardian, the beautiful goddess Sanshenmu who had a brother Erlang who wanted to control his sister. 

We visualised the scene on the mountain. We created the mountain in the drama space using lengths of coloured fabric and sounds using our voices and recordings.

Our Process Drama explored the relationship between brother and sister in role and out of role. We edged into the drama using physical activities of gatekeepers. We improvised scenes between siblings in everyday life.

We moved back into the story narrating how Sanshenmu had a magical treasure – a lotus lantern whose light could scare away all evil. We embodied using symbol as a fundamental building block of drama.

In the story, one winter, a scholar Liu Yanchang, a human, visited the temple and saw the image of Shenmu and was struck by her beauty. He thought that she was so beautiful he would ask her to be my wife. Shenmu was also struck by the authentic love of the young scholar. But she knew that it a deity like her could never fall in love with a mortal. Liu Yanchang left Shenmu not knowing she was pregnant.

Skipping ahead in this account, Erlang angered by this love story, stole the Magic Lotus Lantern and banished Shenmu to live inside a dark cave buried under a mountain. There she gave birth to a child.

We created the dark cave and the birth of the child. 

Liu Yanchang returned after his success in the examinations but when he came to the Shenmudian temple he found it deserted. Just as he turned to leave, he heard a baby crying.

He was puzzled at finding a baby in the temple. Bu t then he found Shenmu’s letter written on the silk and knew that the baby was Chenxiang. He took the child and raised it, teaching him to read and write as any mortal would. But he kept the secret of Shenmu from Chenxiang. 

However, one day, the boy discovered the silk letter. He went searching for his mother.

The child grew and fought his uncle Erlang and won the Magic Lotus Lantern an d used it to break open the mountain and rescue his mother. 

I will let the drama speak for itself.

We learn drama by making drama.

Acknowledgment: The workshop was run for Cambridge Education, Baoding with Early Childhood educators and organised by IDEC, Berijing. 

Bibliography

The following resources unpack Process Drama

Bowell, P., & Heap, B. S. (2013). Planning Process Drama: Enriching teaching and learning (2nd Edition). Abingdon, Oxon.: Routledge.

Bowell, P., & Heap, B. S. (2017). Putting Process Drama into Action: The Dynamics of Practice. Abingdon, Oxon.: Routledge.

O'Neill, C. (1995). Drama Worlds A Framework for Process Drama. Portsmouth: Heinemann.

O'Toole, J. (1992). The Process of Drama: Negotiating Art and Meaning. London: Routledge.

Taylor, P. (Ed.) (1995). Pre-Text and StoryDrama: The Artistry of Cecily O'Neill and David Booth. Brisbane: NADIE The National Association for Drama in Education.