Transcript The Mastery/Mystery Tour

Prioritising Story with Middle Years
Tiina Moore
La Trobe University
Drama Victoria 2014
 We
prefer to learn by example of
other practitioners
 Teacher learning can plateau
 Daily roles result in reinforcing
‘entity’ (unvarying attributes) over
incremental theories (effort)
Scott & Dinham: Born Not Made: the nativist myth in teacher
thinking (2008)
Tiina Moore
La Trobe University
Drama Victoria 2014
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For example:
Heathcote’s Contrasts (movement/stillness;
sound/silence; light/dark)
O’Toole/Haseman’s Elements: context, tension, focus,
place, space, time, language, movement, mood, symbol
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Nicholson’s Languages: body, voice gesture
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Brook- a person, enters… The Empty Space
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Semiotics – Performance/Production signing
Tiina Moore
La Trobe University
Drama Victoria 2014
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Brecht : Alienation techniques
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Stanislavsky : Emotional memory; ‘method’
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Boal: Games, forum theatre
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Laban’s Efforts: press, flick, wring, dab, slash, glide, thrust
& float
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Bogart’s Viewpoints :tempo, duration, kinaesthetic
response, repetition, spatial relationship, topography,
shape, gesture, architecture
VCE Drama Ensembles: Non-realism eg. transformation of
time, place and objects
Tiina Moore
La Trobe University
Drama Victoria 2014
 Games
 Theatre
Sports
 Find a Space
 Find a Partner
 Walk around the room and…
 Groups of 5: Tableau, Movement
& Caption
Tiina Moore
La Trobe University
Drama Victoria 2014
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The Cemetary Path by Leonard Q. Ross
◦ What do students need to know to
perform this story?
◦ What Mastery (technique) is needed to do
this justice?
◦ What Mystery (tension) should remain ‘a
gap’ ‘a source of wonder’ ‘ an
interrogative space?’
Tiina Moore
La Trobe University
Drama Victoria 2014