April2017
President'sReport
ColinPlant
Greetingseveryone.It'sbeenawhilesincewe'vepublishedanewsletterbutwearebackwithlotsofgreat
infointhisissue.ThankstoourneweditorCarolineMackenzieforputtingtogetherthisissue!Firstoffthank
YOUforbeingamemberoftheABCDE.Byworkingtogetherwearestrongandthefactwewereabletospeak
totheprovinceANDPERSUADETHEMTOCHANGETHEIRCOURSEaboutourconcernsaboutthelackofa
diverseDramacurriculumistheproofthatourcollectivevoicematters.
Sowhat'snew?AnewexecutivehasbeeninstalledafterourexcellentconferencethispastOctoberin
KelownaandI'dliketothankboththoseexecutivememberswhoputtheirnameforwardandtothosewho
finishedtheirterms.AnotherYouthwritecontesthasjustsuccessfullywrappedup.Planningisunderwayfor
the2017provincialdramafestival,we'rereachingouttopost-secondaryinstitutionstoseehowtheyare
preparingfutureDramaeducators,we'remonitoringthenewcurriculumasitrollsout,ourscholarshipis
beingofferedagainandourbigbashisstartingtocometogether.Whatbigbashyouask?
We'returning50!Itishardtobelievebutourorganizationishavingaspecialbirthdayin2017andwewill
haveabigpartythiscomingOctoberatourconferenceinthelowermainlandtocelebrate.Ifyouknow
anyonewhohaseverbeenamemberoftheABCDEorsomeonewhoshouldjoin,wearegoingtohopefully
haveabigcelebrationofourorganizationthisOctober.DetailswillcomebutbookOctober21/22forthis
year'sconference.
Soasyouturnthroughthisnewsletterwewouldaskyoutopleaseconsiderrenewingyourmembershipinthe
ABCDE.Ournewsletteriscurrentlymadeavailableforfreetoourlist-servbutavastmajorityofpeopleonour
list-servareNOTmembersoftheABCDE.Ifyouwanttorenew(orjoin),ittakes2minutestosignupandcan
bedoneonline.Hereisthelink:https://bctf.ca/psa/join.aspx
SoasweenterthelastfewdaysbeforeashortEasterBreak,I'dliketothankyouallforthehardworkyoudo
inBCclassroomstopromoteDramaeducation.HappyEaster!Ihopeyoufindsomechocolateandrestthis
weekend!
Best,
COLINPLANT
[email protected]
SEARS DRAMA FESTIVAL
TheSEARSB.C.DRAMAFESTIVALishappeningfromThurs.Apr.27toSun.Apr.30atDouglasCollegeinNew
Westminster.Wehave255delegatesregisteredfrom14schoolsaroundtheprovince.Thestudentsandteacherswill
see9showsovertheeveningsofApr.27,28&29,andparticipatein6workshopsovertwodays.
Theyhave17workshopsfromwhichtochoosethatcoverallaspectsoftheatre,bothperformingandtechnical.
Inadditiontotheworkshopsandshows,thedelegateswillhavetheirlunchescateredbyfourfoodtrucksandtreatedto
adinnerattheOldSpaghettiFactory.Lateintheeveningaftertheshows,thestudentsgatherforarrangedsocial
events,oneofwhichisaSteampunkthemeddanceonthefinalnight.OuradjudicatorisScottBellis,renownedCanadian
actor,directorandeducator.
Scottisaco-founderofBardontheBeachandheadinstructorintheActor’sIntensiveProgramattheArtsClubTheatre.
HehasdecadesofexperienceworkingintheatreandfilmandwearethrilledtohavehimattheFestival.
SpecialThankstoMr.WayneFairhead,ExecutiveDirectorofSearsCanadaDramaFestivalsfortheongoingmajor
sponsorshipofthisfestival.Wearesogratefulforthesupport!
Also,duringthefestival,ABCDEteacherdelegateswillattendadeliciousdinnerattheBoathouseRestaurantsponsored
byChristieLites.
TheShows:
Youthwright
JustaPhasebyKearaParsons,RobertBatemanSec.,Abbotsford
BrokenbyKiannahLloyd,NorthSurreySec.
JustFriendsbyAllyRay,BrookswoodSec.,Langley
ZoneShows
AuntLeaf,CarihiSec.,CampbellRiver
SweepUnderRug,HazeltonSec.
DonutsandBagels,MissionSec.
That’sNotHowIRememberit,NorthSurreySec.
bittergirl,TerryFoxSec.,PortCoquitlam
Handcuffed,WestCoastChristianSchool,Vancouver
AllshowstakeplaceintheLauraC.MuirTheatreonthefourthflooroftheNorthToweratDouglasCollege.Parkingis
availableonthestreetorintheundergroundparkade.
Curtaintimeis6:30p.m.eacheveningandadmissionis$10.00perpersonatthedoor.Noreservationsnecessary.
Theexactrunningorderoftheshowswillappearunderthe“schedule”sectiononsearsbcdramafest.comwebsitein
mid-April.
Wehopetoseeyouattheshows!
[email protected]
Ashland Oregon Shakespeare Festival
InOctoberofthisschoolyear,studentsfromWLSeatonSecondarySchoolinVernonandOkanaganMissionSecondary
inKelownajoinedforceswiththeirteachers,LanaO’Brien,KayleighMaceandRyanGrenieronaroadtriptotheworld
classOSF-theOregonShakespeareFestivalinAshland.Itisa14hourdrivefromtheOkanagan,sowestopnearSeattle
Onthewaydownandback.
WhenwefinallyarriveinAshland,wehitthegroundrunningandheadstraighttoamatinee(viaaquick
traditionalsipattheLithiafountainknowntoimprovehealth-thesulphurouswaterisn’tverytastywhichmakesfor
somegreatphotos).OurfirstshowwasGreatExpectations,onastunningrepresentativesetthatwasagorgeous
poeticbackdroptotheclassicDickensstory.ThateveningwesawHamletinthealwaysgloriousopenairElizabethan
stage.TheirhardrockversionofHamletwasedgyandfresh.
ThefollowingdaybroughtusGilbertandSullivan’sYeomanoftheGuardupdatedasaCountryandWestern
musicalcompletewithaDollyParton-esquesheriff.ItwasstagedinaPromenadestylewiththeaudiencesittingonthe
stage,amongtheset,andhavingtomovewhendirectedtogetoutofthewayfortheperformersastheymoved
throughthestory.Thebarwasopen-onstage-throughouttheshowifonesodesired.(wink,wink).Theaudiencehad
ablast!!Theshowwasdynamicandcolourfulandhysterical.Intheevening,wewerebackintheElizabethanwhich
hadbeentransformedfortheallblackcastproductionofTheWiz.Thisgospelrevivalre-tellingoftheWizardofOz
storyhadusdancingandclappingandsingingalong.Thisshowwasmadeevenmoreexcitingbecausethestudentshad
aworkshopwithoneoftheactorsintheafternoonbeforetheshowandtheyfellinlovewithhim,ofcourse!So,when
heenteredthekidswentnutsandtheirenergyspreadthroughthewholeaudience.Followingtheshow,theactorstold
usthatwewerethebestaudiencetheyhadhadallseason!
Weclosedour5showsinthreedaywhirlwindtourbysplittinguptoseeeithertheallAsiancastofthenew
VietgoneorTimonofAthens.Itwasextremelyinterestingtolistentothekidsdescribetheshowtheyhadseentotheir
friendswhosawtheothershow.Bothproductionspushedenvelopes,createdartisticdiscomfortandinspiredlotsof
questions.Exactlywhatgreatartshoulddo!!
WhatIloveaboutgoingtoAshlandisthatthetheatreisofthesame(orbetter)calibrethanthatofNewYorkorLondon,
butthesmalltownwithit’ssmalltownvibewhereweliterallyhungoutwiththeactorsatthelocalStarbucksor
restaurantafterashow,isacrazysurrealexperience.Thefestivalisalsoanexcellenteducationalexperience.Ihighly
recommendALLschoolstryitout.Youhavetobookyourticketsafullyearinadvance,andbesuretoalsobookthe
amazingPrologues,Talkbacks,WorkshopsandDiscussions.Thetalentarealwayssoexcitedtotalktothestudents,and
tosharetheirexperiencesoflifeonthestage.
WeattendedeveryProloguewecouldget.Itisafabulouswaytogettheaudiencereadytoseeashow
17th Goodwill Shakespeare Festival
After16incrediblysuccessfulyearsinSummerland,underthedirectionofLindaBeaven,theGoodwill
ShakespearefestivalhasmovedtoVernon!
OurnewdigswillbethelovelyVernonandDistrictPerformingArtsCentre,withworkshopsinavarietyof
churches,dancestudios,artgalleriesandschoolswithina15minuteswalkofthetheatre.Thestudent
delegateschoosetodoeitherthe9workshopdramarotationoroneofthe5intensives(Acting,Vocal,Art,
WritingorMake-Up).
18schoolsfromacrossBC,and300studentdelegateswillconvergeinVernonApril6,7and8.Morning
keynoteaddresseswillbegivenbytheamazinglytalentedCatherineLoughHaggquistandAlanMarriott.
StudentsrotatethroughthreeworkshopsperdayandshareaBBQlunchtogetheronthefirst2days.The
firsttwoeveningsarefilledwithShakespearian,orShakespeareinspired,piecesofamaximumof25minutes
perschool.SaturdayeveningistheGalaPerformancewheretheIntensiveWorkshopgroupspresenttheir
alwaysINCREDIBLEperformancesthattheyhaveworkedonoverthe3daysofthefestival.
Thisisanon-competitivefestivalwheretheonlygoalistocreateGOODWILLwithlike-minded
theatrefriends.Wearelookingforwardtomanymoresuccessfulyearstogether.
TheGoodwillShakespeareFestivalinanutshell:
APRIL6,7&8,2017
Costperdelegate$90
Homebase-thebeautifulVernonandDistrictPerformingArtsCentre.
• Workshopstakeplacewithina15minwalkfromthetheatre.
*2BBQlunchesprovided.
*T-shirt&swagbag
• 9Workshops
• Eveningperformances
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18schoolsregistered
• WLSeaton
• VernonSecondary
• Kalamalka
• CharlesBloom
• Fulton
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•
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CrawfordBay
OkanaganMission
Pemberton
Pinetree
TrafalgarMiddle
Pentiction
Rossland
LVR
JVHumphries
SalmonArm
PleasantValley
Rossland
WildflowerMiddle
•
270studentdelegates
•
9Dramarotationworkshops
• PickUpYourSwordandFight-MikePanian
• BuildingCharacterThroughMovement-MikByskov
• AuditionforFilm/TV-CatHaggquist
• Improv-AlanMarriott
• MusicandMood:AnImprovisationalCreativeSymposium-TimOsborne
• SwingDancing-CityDanceteam
• ChaChaCha-CityDanceteam
• MovementandPlay-ChloeRichardson
• ClayMaskmaking-BobKingsmill.
•
5Intensiveworkshops-willpresentattheGalaPerformanceonSaturdayevening.
• Acting-TanyaLaing-Gahr
• Vocal-BrianTate
• Make-Up-GordonHamilton
• Art-KayleighMace
• Writing-KeyannaBurgher
Curriculum Update
WhiletheK-9curriculumisnowimplemented,the10-12curriculaisnowindraftformandavailable
fortestingforthenext18months.YoucanreadtheDraftDramacurriculum
athttps://curriculum.gov.bc.ca/curriculum/10-12#[email protected].
OurPresidentColinPlantisontheFineArtsCurriculumWritingteam,soyoucanalsoCChimonyour
emailatcolinplant@shaw.caIfyouhavequestionsyoucanalsoemailColinandhe'lltrytogetyouan
answer.Overallthechangesarepositiveandtheincreaseincoursesisawinforourteachingarea.
Mostimportantthingtonote:thesedraftcurriculaatthe10-12levelareOPTIONALrightnowandwill
notbecomemandatoryuntilSeptember2018.Ifyourprinicipalisrequiringyoutoteachthenew
curriculum,pleasetalktoyourlocalpresidentaboutthis.
ColinPlant250-514-1439
SKETCHESFROMTHEHIGHCOUNTRY
TeachingDramaEducationintheRockies,
BritishColumbia,Canada.
VirtualStories1
TableTopTheatre
(Konrad)LorenzsplitalargeclutchofGreylaggooseeggsinto2groups.Onewasallowedtohatchnormally
andthegoslingsfollowedtheirmotheraround.Lorenzhadthesecondgroupofeggsincubatedandthen
arrangeditsothathewasthefirstthingthegoslingssawwhentheyhatched.Fromthenontheyfollowedhim
everywhere.Thegoslingshadformedapicture(imprint)oftheobjecttheyweretofollow.Whenhemarked
thegoslingsastowhichgroupofeggstheyhadhatchedfromandthenletthemouttogetherfroman
upturnedbox,eachgoslingwentstraighttoits'motherfigure'.Lorenz'goslingsshowednorecognitionoftheir
realmother.
TheoriesofAttachment
www.integratedsociopsychology.net/.../imprintinginducks&geese-KonradLorenz1935...
Idiscoveredhowimportantitisfortheaudiencetoconnectwiththeobjectsandtobelieveinthem.Inthis
wayIbecameacutelyawareofmyobjects,wheretheywerestaged,howtheywereplaced,ensuringtheyhad
some movement, whether it be slowly sliding across the stage or turning to empathize with Suzi, the
protagonist. I was amazed how these objects transformed into the characters from the story and how the
weightofthemessagestillcarriedthrough.
RosieWebster,dramastudent
Thesearchfornewwaystodramatizestoriesforandbystudentsisanimportantpartofourdrama
educationcoursework.Thesenotesdescribehowwetookaminimaliststorytellingideaandusedittomakea
novelandengagingvirtualstoryprojectsuitableforyoungerstudents.
Tobeginatthebeginning.OneChristmasinEngland,overfiftyyearsago,Iwasgivenamodeltheatre
thatmyDadhadmadesecretly.MybrotherandIwereforbiddentogointothegaragewhilehebuiltthe
theatrefromscratch.Itfeaturedframed,handpaintedbackdrops(hewasafinedraughtsman),English
pantomimeandMotherGoosecardcharacterswithstickstomovethemonandoffstage,allinacabinet
maker’sdove-tailedtheatrestructurewiththemiracleof1.5voltelectriclight.Onreflection,thiswasmyown
CitizenKane/MarcelProust,‘Rosebud’sled/madeleinepastryevocativemomentthatwastostaywithme.
Lastsummer(2016)IsawbasicallythesamecreationinCoventGardeninLondoninaveryupmarkettoystore
justastone’sthrowfromthehistorictheatredistrictofDruryLaneandwherethetheatrefacadeslookjust
thesameasmymaquetteallthoseyearsago.Creativeideas,liketreasureships,maygetburiedbuttheycan
alsostaysurprisinglyintact.Induecourse,andinmycareerasadramateacher,Ihadusedtheideaof
miniaturetheatrewithIntermediatestudentsexploringblockingideasforbigmusicalsusingLegofigureson
schooldeskstages.Manystudentscouldnoteasilyvisualizetheirstageblockingwithoutthesetoyfiguresto
helpthem.Now,mostrecently,Ire-discoveredtabletoptheatre(akaobjecttheatre)throughSheffield,
England’sForcedEntertainmentCompanyandtheiroriginalproductionofallofShakespeare’sthirtysixplays
performedwithhouseholdobjectsascharactersononemetersquaretables.See:
http://www.forcedentertainment.com/project/complete-works-table-top-shakespeare/1.Forme,thescale
wasthesameasever.Inperformance,thenarratorssimplytoldtheplays’storiesintheirownwordsasthey
manipulatedthecharacter-objects,asIhad.Fournarratedplaysransimultaneouslywiththeaudiencefreeto
movefromoneshowtoanother.TheproductionwasfirststreamedoverafivenightcycleataBerlinarts
festivalin2015,andsubsequentlyrepeatedinLondoninMarchof2016.Andhereisahappyreviewthat
neatlyintroducestheidea:https://www.youtube.com/watch?v=UQGlG2rhXUE2.
Asdirector,TimEtchellsexplains,thetechniqueisawayforadescribedstorytobeschematizedtoits
simplestform,like‘takingtheengineoutofthecarusinglo-fipuppets…toseethestoryasaworking
drawing…itisasvividasitisstrange.’1
Inourcourseworkwehopedthatasastoryisunpacked,everydayobjects,pepperpots,saucebottles
andthelike,wouldgraduallydraw‘character’empathy.And,intruth,wefoundthismagicusuallyhappened,
albeitinflashes,andeveninrehearsal,astheaudiencestartedtoconnectwiththeobjects.Anystorycould
eitherbelearnedbyheartorcuedfromnotes.
Keytothewholeprocess,Ithink,isthatfirstnaming,thatfirstconnectionbetweenthecharacter
objectandtheaudience;justlikeLorenz’sgoslingswhichcan’tbe‘unlearned’tofollowtheir‘mother,’andin
thesamewaythatliteratepeoplecan’tchoosenottoread,say,publicsigns.Tryit.Seeifyoucanconsciously
notdecodeandmakesenseofthenextsentence.
Wefoundinrehearsalthatobjectshadtobesufficientlydifferenttohelpidentification;forexample,
usingcoinscouldbeconfusingforanaudiencesincetheirshape,nevermindsizeorinscriptionsaretooalike
tobereadilyidentified.Theobjectsalsotendedtobeuniformlyugly.IthinkthatremainsapartoftheForced
Entertainmentphilosophyaboutexploringtherelationshipbetweenobjectsandcharacters.Wediscovered,
though,thatcastingvisuallyappealingobjects,likeexoticfruit,totellastoryengagedayoungeraudience
betterthroughthisvisualnovelty,andwithoutchangingtheessenceoftheminimalisttabletoptheatreorthe
storyitself.
Again,itisworthrepeatingthattheseobjectsreallycanmakeatruetheatricalexperience:
‘RomeoandJuliet(20:00,July2nd,2016)
Haveyoueverheardofthestoppedclockillusion?Youlookataclock,andsometimesitseemsasifafewfull
momentspassbeforethesecondhandseemstojerkbackintolife.Ourbrainliestous,asittriestomake
senseofwhatitsees,andwhatitknows.InAct1scene5,TerryO’Connorputsmore‘characters’onher
tabletopstagethanI’veseensofarintheCompleteWorks.ShebuildsuptheCapuletpartywithtrianglesof
servantsanddancingladies,greenCapulets,andredMontagueinterlopers.AndthenshetellsusthatRomeo
catchessightofJulietforthefirsttime,andit’sasiftheroomstandsstill.Andit’safewfullmomentsbeforeI
realizethatitalwayswas.Thatthegreen-tingedplasticglasseswerenotdancinginballgowns,andthelittle
glasscupswereneverbustlingaroundservingvol-au-vents.Buttheeffectofthatstillnessoutlivesthe
stopped-clockmoment,andTerrypushesredtorchRomeotowardlimemarmaladeJuliet.I’mholdingmy
breath.TheclutteredtableismutedbackgroundnoisecomparedtothesharpfocusofRomeo,halfaninch
fromJuliet,andtheirsmartwordsaboutsaintsandpilgrimsandsinfulkissessweetlyurged.Smashcuttoa
near-emptytablewithajaroflimemarmaladeonitsside.Forasecond,alone,lyinginstate.Actuallydead,in
awaythatanactornevercouldbedeadonstage.Soonaredtorchstandsoverher,andthebodiesofher
cousinandherfiancé,bothslainbyhishand.Wedonotseeit,butweknowthatheisholdingavialofpoison.
Imaginethatinafewmomentsthelimemarmaladewillstandstraightupagain,andfindherselfawidow,the
altarcandle’sbrilliantschemefoiled–aliveinacrypt,surroundedbythedeadbodiesofhermostlovedmen.
Nowondershecallsthedagger‘happy’.3
So,wefoundwell-knownstoriescouldbeenjoyedmoreastheaudience’sfocuseasilysettledonthe
characterobjectsandtheirmotivationsandneeds,whilerequiringthatlessdetailbekeptinthemind’sstory
frame.Imaginationcoulddotherest.And,assomeoneoncesaidofthevirtuesofhumanimaginationand
radioplaysoverfilmedwork,‘well,thescenery’sbetter.’
‘Landscape’ratherthan‘portrait’shapedstageswerepreferred,thoughproximitytothecameraor
audienceforcharacterscouldprovepowerful,regardlessofthestageorientation.Welearneditwastooeasy
tohaveobjectscrowdingtogether.Moreexperiencedstorytellerssimplyinventedreasonsfornon-essential
characterstoexit.Unexpectedly,stagecoveringscouldalsohelpgiveasimpletheme,forexample,acheck
tableclothforacountryandwestern‘Cinderella’story,RichardThompson’s‘TheGasTankofMyHeart’,or
plasticsheetforChrisVanAllsburg’s‘ThePolarExpress’.
Aswithtraditionaloralstorytelling,practicedpersonalizednarrativeswerealwaysmuchstrongerthan
astoryreaddirectlyfromatext.Truthtotell,studentsneedtobeawareoftheproblemsthatcomewith
storiesthatmaybepoorlywrittenortranscribeddirectlyfromascreenplay.Withoutediting,though,too
muchcontinuousactioncanconfuseayoungeraudience.
Wealsolearnedthatratherlikeworkingpuppets,characterobjectshadtobekept‘alive’through
small,slowmovements;forexample,movingintotalktoeachother,ordownstage(downtable?)fora
soliloquy;thatthesmallsizeoftheobjectsdictatethatallmovementneedstobeinslowmotion;thatan
‘injured’objectshouldnotbeupright;thattherewassometimesatemptationtoleavecharactersstatic
throughoutascene;thatstagepositioningcarriedthesameweighting,tableorstage;andthatthesame
powermaybeplacedonadownstagespeechbyaketchupbottleasfromanactor.Aspre-serviceteacher,
RosieWebster,writes:
‘Atthebeginning,Iwouldmovemyobjectstooquicklyonthestageandthenleavethemtheresitting
motionlessforlongperiodsoftime…theobjectslookeddullandlifelessanddidnotmatchthenarrationofmy
voice.WhenIwentbacktowatchmypracticefootage,Irealizedthatthesemovementsneededtobeslower
andmorenoticeable…Ialsonoticedthatevenplacingmyhandonanobjectwhenthecharacterwastalking
wasagreatwaytoshowtheaudiencewhowasspeakingataparticularmoment…Ifoundthesesmallchanges
allowedfortheaudiencetobecomemuchmoreengagedinthestoryandtosuspenddisbeliefmore
easily.’4year-of-the-jungle-suzan#878394
Theendofascenewassimplysignaledbyremovingallobjectsfromthetable.Thefollowingscene
mightbenaturallyannouncedas,forexample,‘Meanwhile,inawoodnearAthens…’
Wecametotheconclusionthatvoicecharacterizationsshouldbejoyfullyexplored.Thefocusison
theobject,nottheactor(especiallyinvideo)sonewstorytellerscanenjoytheirhappyanonymity,inthesame
wayguaranteedbymaskwork.Andafterall,whocansaywhatamustardbottlecharactershouldsoundlike?
Wewouldtakemoretimetoletfutureproductionsunfold;audienceswereonoccasionstillgettingusedto
theconceptandidentifyingwiththecharacterswhiletheplotstillrattledalongregardless.Thiswaslikelydue
tolackofexperienceintellingandre-tellingaparticularstorytobestdeliveritstensionandresolutions.We
didnotexploreavoice-overapproachandIwouldjudgeitmightbeachallengematchingstoryandobject
movementwithoutasignificantnumberofplaybacks.Thecarefuluseofmusictosetamoodcanbejustas
powerfulasinanydramawhenitisnicelymatchedtotheplot.Sonicbackgrounds,forexample,theinsect
humoftheVietnamesebushusedinRosieWebster’sperformanceof‘TheYearoftheJungle’bySuzanne
Collins,areespeciallyeffective.Shortburstsofsongcanalsobeenjoyedasacharacteraccomplishment.I
don’tthinkmusic’susenecessarilycompromisestheminimalistnatureofthework,either.Justasinmusical
theatre,itactsasareflectivepauseinthestoryandemphasizesasituationmoodoremotion;butinscale.
Videoversionswereperfectforyoungerstudentproductionteams;camerasjustneededtobesetup
tocoverthestagearea,ideallywithamonitorforthestorytellerstoensureblockingandsightlinesstayed
true.Thevideoworkteachesreflectivityinthenicestwaysinceperformerscancritiqueandupdatetheir
workeitherontheirownoraspartoftheirgroup.Autogeneratedsubtitlesareaneatadditiontovideowork,
especiallywhenpresentingnewstoriesandcharacters.
Webecameconvincedthattabletoptheatrecanserveasameaningfulstorymediumrightacrossthe
years.However,itdoesneedtobetakenintoclassroomsatthispointandhavethestudentsplaywiththe
objectsandtheirownstories.Asineverydaydramaclasses,theywillhavemanycontemporaryinsightsthat
adultsmightneverhaveevenconsideredand,ofcourse,thehappy,freshapproachofyoungartists.‘Vivid
andstrange’itmaybe,butIhopesomeoftheprofessionalpointersabovewillhelpwiththejustificationof
theworkandtheproductionnoteswesharedwillmaketheapproachmoreyourown.
And,really,Istilldon’tunderstandwhyitworkssowell…
References
1.
TimEtchellsfromhttp://www.forcedentertainment.com/project/complete-works-table-topshakespeare/
2.
BarbicanYoungReviewers-Episode#2(Rhys)-ForcedEntertainment'sCompleteWorks:TableTop
Shakespeare,March,2016
3.DavidRalffromExeuntMagazine,July,2016
4.RosieWebsterfromUniversityofVictoriaEDCI305A2016paper
Collins,Suzanne(Author),Proimos,James(Illustrator).TheYearoftheJungle.Scholastic(2013)
Thompson,Richard.TheGasTankofMyHeart–TalesFromtheVastNorthernPrairie.CaitlinPress(1991)
VanAllsburg,Chris.ThePolarExpress.HoughtonMifflinHarcourt(1985)
2016-2017ABCDEExecutive
President:COLINPLANT(Saanich)
Vice-President:HEATHERLYTLE(Smithers)
Past-President:LanaO’Brien(Vernon)
Treasurer:JENNOHLHAUSER(WestVan)
Secretary:KATIEEVERSON(Langley)
Communications:CAROLINEMACKENZIE(Victoria)
MembersatLarge:
GORDONHAMILTON(Langley)
KELLYBARNUM(Nanaimo)
TRESTONHUNTER(KootenayLakeDistrict)
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