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i ©www.shakeandstir.com.au Established in 2006, shake & stir has rapidly become one of Australia’s leading contemporary youth theatre companies. shake & stir produce an annual season of in-school and Mainhouse productions and a series of inschool workshops for primary and secondary students reaching a combined total audience of over 180,000. Inschool productions include 50-minute Shakespeare adaptations, Shakespeare compilations and a program of moral-based performances targeting key issues affecting youth. shake & stir’s Mainhouse productions extend upon the in-schools program targeting audiences both young and young at heart. In 2011, shake & stir’s Helpmann Award nominated STATESPEARE embarked on a four-month national tour, visiting theatres in QLD, NSW, VIC, SA and TAS. In 2012, shake & stir staged their adaptation of George Orwell’s 1984 at QPAC. This sold-out production received rave reviews, broke box office records and will embark on an extensive national tour in 2014. In 2013 shake & stir presented 3 Mainhouse productions. In January, the company's youngest Mainhouse production Out Damn Snot was co-produced with La Boite Theatre Company. From February shake & stir’s multi award-winning adaptation of George Orwell’s Animal Farm toured theatres nationally, returning to QPAC in May for a sold out season. In August, the company’s new production Tequila Mockingbird, will premiere at the Cremorne Theatre QPAC. In addition to a busy annual performance schedule, shake & stir theatre co has an after school drama program reaching approx 400 primary and secondary students across South East QLD. shake & stir theatre co is a privately owned company, co-founded by Ross Balbuziente, Nelle Lee and Nick Skubij that operates outside of government support. Mission: To motivate, educate & relate to youth via theatre and an infectious enthusiasm for the live arts. Bookings for our 2014 in-school season are now open. Visit www.shakeandstir.com.au for all the information. www.youtube.com/shakeandstirtheatre www.instagram.com/shakeandstir www.facebook.com/shakeandstir www.twitter.com/shakeandstir www.shakeandstir.com.au 2 contents ABOUT THE SHOW. The details, Credits and Characters. Sshh! Theatre Etiquette Cast & Creative’s Bios CLASSROOM ACTIVITES. A closer look at Realism [director’s point of view] Discussion Questions [pre & post] Visual Imagery [a picture paints a thousand words] Process Drama [rumour mill // conscience alley] Newspaper Writing [subjective VS objective] Symbolism [deep stuff] Teaser Trailer [storyboarding] Intertextuality [let’s compare] Character types [where do they fit?] Hot Seating [the big questions] HANDOUTS & WORKSHEETS. Script Excerpts [subtext & context] Analytical Profiles [get inside their heads] Character’s Purpose [what’s their motivation?] Comparative Chart [fiction // non-fiction] Symbolism [deeper stuff] Storyboards [think creatively] ASSESSMENT IDEAS. Drama English PRODUCTION IMAGES. ©www.shakeandstir.com.au 4 5 6-8 9 10 11 12 13 14 15 16 17 18-19 20-22 23-25 26 27 28 29 30 31 32-33 A note to teachers using the teachers’ notes All of the activities in this booklet have been created to be used pre or post show. Some are more suited to a Drama classroom, whilst others were created for English – but ALL can be adapted for use in your subject area. You are the teacher, you know your students best. Please enjoy the activities and the show! If you have any questions about the notes, please feel free to email the Education Manager, Naomi Russell: naomi@shakeandstir.com.au 3 About the show ©www.shakeandstir.com.au TIME: 90 mins + 10 mins Q&A WARNINGS: Recommended for Grade 10-12. This show will have medium level coarse language; sexual themes and alcohol references, in keeping with the themes and context of the play. ACTIVITIES FOR USE IN: Drama & English Directed by Michael Futcher and featuring a cast of some of Queensland's finest actors, Tequila Mockingbird visits themes of racial prejudice, discrimination and the loss of innocence in a uniquely Australian setting. After a woman is attacked in a small Australian town, the racist underbelly rears its head as the community targets a young Indian Doctor who has recently relocated to the area. Only one local man possesses the strength and conviction to uncover the truth and defend the accused in the ultimate fight for what’s right. Don’t miss this bold, brave new work examining a darker side of Australian culture lurking just below the surface. Credits Writer// Nelle Lee Director // Michael Futcher Designer// Josh McIntosh Lighting Designer // Jason Glenwright Sound Designer // Guy Webster Dramaturg // Michael Futcher Script Advisor // Ian Lawson Fight Director // Justin Palazzo Orr Stage Manager// Daniel Sinclair Assistant Stage Manager // Melanie Patella Assistant Stage Manager // Nicole Neil Education Manager // Naomi Russell Photography // Dylan Evans Featuring// Ross Balbuziente, Shannon Haegler, Nelle Lee, Barbara Lowing, Bryan Probets and Nick Skubij Characters Charlie // Richard’s son, moved away from Stanton five years ago, 16 Dan //Joel’s mate, early 20s Joel // Rachel’s boyfriend, just lost his job, early 20s Karen //Mel’s Mum, late 40s Mel //Charlie’s old friend from primary school, 15 Mitch // Charlie’s old friend from primary school, 16 Rachel // Joel’s girlfriend, early 20s Richard //Retired Lawyer who has just returned to Stanton with his son Charlie, late 40s Sameer //Young Doctor who has just moved to Stanton from India, early 20s Sue //Local pub owner, late 40s Trish //Joel’s mum, rough, late 40s 4 ©www.shakeandstir.com.au Sshh! Theatre etiquette – the do’s and don’ts shake & stir is a live theatre company and many of your students may be unfamiliar with standards of behavior for a live theatre audience. Below are some guidelines for your consideration. Please go over these points with your students prior to the performance: We encourage your students to actively participate in our performances by applauding, laughing and asking/answering questions at the end. Food or drink is not allowed during a performance as it is distracting to both the actors and other audience members. General chitchat, talking and moving around the theatre while the performance is underway is not allowed. Live theatre is different to Television or Film – the actors on stage can hear and see as well! If a student needs to leave the performance space for any reason during a performance, please ensure this is done quickly and quietly. Questions are welcome and encouraged but will be restricted to the designated 10min question time at the end of each performance. Please ensure that your students switch off their mobile phones and leave them in their bags before the performance begins. Finally - enjoy the show! 5 Meet the cast ©www.shakeandstir.com.au ROSS BALBUZIENTE // Joel/mitch For shake & stir: Ross is the Co-Artistic Director of shake & stir and has created over 20 youth productions and performed in over 1000 performances. He co-created and performed in STATESPEARE (2009, 2011, 2011 National Tour), ANIMAL FARM (2011, 2013 National Tour), 1984 (2012). Other Theatre: Romeo & Juliet (QTC), Julius Caesar (La Boite), Citizen Jane (JUTE), A Midsummer Night's Dream, Two Weeks with the Queen, The Taming of the Shrew, Little Shop of Horrors (Harvest Rain Theatre Company), Assassins (Warehaus Theatre/QPAC), Of Our Own Volition (Spangled Drongo Productions/Metro Arts), As You Like It, The Comedy of Errors, Titus Andronicus and Monkey and His Magic Journey to the West (Grin & Tonic Theatre Troupe). Ross developed and performed in an original Shakespeare compilation production Strangers on the Globe Stage London. As Director: Out Damn Snot, Statespeare (shake & stir/La Boite); Thus I Die!, Bard-Wired and Love is an Ass (University of Southern Queensland). shake & stir’s in-school productions including Romeo & Juliet, Macbeth, Hamlet, Shake Up!, Tragic Magic, Chop Logic, Bard to the Bone, I Crave My Space, Say it to My Face Book, Vacant and Popular. SHANNON HAEGLER //dr sameer chavan For shake & stir: Debut. Other Theatre: Shannon has studied a Bachelor of Creative Industries at the University of Southern Queensland (USQ) . While at USQ he featured in Captain Pathos and His Army of Imaginary Friends, All Sortz and for the annual USQ/Artworks Shakespeare in the Park Festival he has performed in A Midsummer Night’s Dream and played the title role in Richard III. Shannon is excited to make his professional debut with shake & stir theatre co. 6 NELLE LEE // Rachel /mel ©www.shakeandstir.com.au For shake & stir: Nelle is a founding member and CoArtistic director of shake & sir and is kept busy each day performing, teaching and creating youth theatre. Nelle cocreated, wrote and performed in STATESPEARE (2009, 2011, 2011 national tour), ANIMAL FARM (2011, 2013 National Tour), 1984 (2012), Out Damn Snot (2013). Other Theatre: The Crucible, Maxine Mellor's Mystery Project, Property of the Clan (Queensland Theatre Company). Complete Works of William Shakespeare by Chicks & ALICE (Harvest Rain Theatre Company). Nelle also appeared in Magda's Fascination with Wax Cats (The Forward Movement/Metro Arts Independence), Catholic School Girls (Three Sisters Productions) and Newton's Law (Strut 'n' Fret/QLD Arts Council). Film & Television: Sea Patrol seasons 2 & 3, Mortified and the feature film JUCY which premiered at the Toronto International Film Festival in 2010. Training: Bachelor Theatre Arts (Acting) from the University of Southern Queensland. Awards: 2011 USQ Alumnus Award, 2011 USQ Arts Faculty Award. BARBARA LOWING // sue/trish/karen For shake & stir: Debut. Other Theatre: Barbara is the first Queensland graduate of The Western Australian Academy of Performing Arts (WAAPA). Since her graduation in 1986, she has worked all over Australia and internationally. She has performed with Queensland Theatre Company, Melbourne Theatre Company, The Hole in the Wall Theatre Company, The State Theatre Company of South Australia, Griffin Theatre Company, St John’s Cathedral, Restaged Histories Project, La Boite, The Empire Theatre, Queensland Arts Council, Dead Puppet Society and The Performers Independent Theatre Company and has been affiliated with the Sydney Theatre Company. Barbara has contributed to the creation of over 60 new works for the Australian stage. She is also a voice over artist for radio advertisements and award winning documentaries that have been screened the world over. As Director: The University of Southern Queensland and Expressions Dance Company and is a regular tutor with The Aboriginal Centre for the Performing Arts. Awards: Theatre Critics Matilda Award for Best Actress (2007) and two MEAA/Equity awards for Best Actress and Best Ensemble Cast for Away (2007), and a Goldie Award for Best Commercial Voice Over Artist, Queensland. Barbara has been a proud Equity/MEAA member since 1987. 7 BRYAN PROBETS // Richard ©www.shakeandstir.com.au For shake & stir: ANIMAL FARM (2011, 2013 National Tour), 1984 (2012). Other Theatre: Pygmalion, Waiting For Godot, Taking Aim, The Alchemist, The Importance of Being Earnest, Private Fears in Public Places, A Christmas Carol, The Venetian Twins, Scapin, The Lonesome West, Mano Nera, The Cherry Orchard, The Road to She-Devil's Salon, The Works 2003 (Queensland Theatre Company); Edward Gant's Amazing Feats of Loneliness (with Sydney Theatre Company), As You Like It, The Wishing Well, The Danger Age, The Year Nick McGowan Came to Stay, Operator, Crèche and Burn, Way Out West, Milo's Wake, Hermes and the Naked Flame (La Boite Theatre Company/Queensland Arts Council) all for La Boite. The Composer is Dead (Out of the Box); Australia The Show! (Hothouse Theatre Company); The A to Z of Cabaret (Brisbane Cabaret Festival/Qld Arts Council); Zooillogical (Kite Theatre/Schnapper Head), Credo the Innocence of God (Queensland Music Festival); The Amazing Magician Goes Troppo (Queensland Ballet); Love's Labour's Lost, As You Like It, The Woman in Black (Harvest Rain); King Lear (Trocadero); The Legend of King O'Malley (On Giant's Shoulders); The Zoo Story (QUT); Hamlet (Matrix Theatre/QPAC). Film: The Great Gatsby, Singularity, A Heartbeat Away, Daybreakers, Triangle, The Proposition, Nim's Island, Subdivision, The Horseman, Punishment and Hildegarde. Television: Monarch Cove, Starter Wife, Fat Cow Motel, Love Weights, Farmkids. Awards: Matilda Award (2012), Two Matilda Commendations (2003), MEAA Award for Emerging Artist (2003). Training: Bryan is a graduate of USQ. NICK SKUBIJ // Charlie/dan For shake & stir: Nick co-created and performed in STATESPEARE (2009, 2011, 2011 National Tour). As a co-founder and Co-Artistic Director of shake & stir theatre co, Nick has devised, directed and performed in numerous productions, ANIMAL FARM (2011, 2013 National Tour) , 1984 (2012), Out Dam Snot (2013). Other Theatre: Nick has performed with some o Australia's leading entertainers including Zoe Ventoura, Colin Lane, Glenn Shorrock and Rhonda Burchmore. Performances include Romeo & Juliet (QTC), EUROBEAT (QPAC), Citizen Jane (JUTE), Crackle, Snap, Pop (JUTE/QTC), Surviving Jonah Salt (KEDT/JUTE), Flutter (JUTE), The 25th Annual Putnam County Spelling Bee (Oscar Theatre Co), The Fiveways (Brisbane Festival) and A Midsummer Night's Dream (Harvest Rain Theatre Company). Nick has also worked for Grin & Tonic Theatre Troupe in 2005-2006. He has performed at a number of major arts festivals including Scene Change Playwrights Festival (Tasmania), NT Festival of the Arts, Festival Cairns and Brisbane Festival. Trained in classical dance, Nick has danced with the Queensland Ballet and has choreographed and performed in various corporate dance troupes. Film & Television: Second series of Channel 7's popular children's television program TOYBOX. 8 ©www.shakeandstir.com.au The director’s point of view: Realism Michael Futcher, Director of Tequila Mockingbird has worked extensively in the style and form of Realism. Tequila Mockingbird fits within the realms of Realism, because, as Futcher states: “A realistic play is a play which is primarily written in dialogue which reflects everyday speech, and whose situations mirror real life as we normally experience it.” BACKGROUND. Realism began as a theatrical form in the late 19th century largely as a reaction to the existing forms of the day whose stock situations and often overblown melodramatics, started to become stale and hackneyed. Early exponents of the style were Zola and Ibsen, and of course, Stanislavsky (who has influenced realistic acting for nearly 100 years). Michael what is important to keep in mind when approaching Realism? - Essentially realism is about placing the actor and the character he/she embodies at the centre of the theatrical experience. - It is about the actor connecting with the role and the job of the director is to facilitate that (as well as serving the playwright’s intentions!). The actor has to be wooed and inspired into the world of the play. Michael what were you looking for during the rehearsal process? The key elements I wanted from the actors as the Director were: 1. Understanding (that is the ability to know what they are saying and why, and to identify and commit to the character’s objectives) 2. Truth (that is the ability to believe in what they are saying, to connect with the emotional life of the character) 3. Activity (the ability to remain alive on stage before, during and after a line of dialogue, the ability to create subtext, ability to be in the present moment in a scene – not thinking ahead, ability to listen to the other actor) 4. Accuracy (the ability to follow the nuances of the text and identify changes of tack in the character’s objectives and/or tactics, detail) 5. Commitment (the ability to embody the high stakes of their character, and to connect fully and imaginatively with the character’s individuality through research, observation etc) The rehearsal process is a continuous exploration of all these elements. Questions to consider: 1. In your opinion, do you think Tequila Mockingbird fits into the form of Realism? Why/Why not? 2. To what extent did the actors convey the 5 key elements that Michael Futcher asked of them? Justify your opinions with examples from the play. 3. What elements of the production mirrored ‘real life as we normally experience it’ for you? Is this different from others in your class? Compare answers. 9 ©www.shakeandstir.com.au Discussion // research questions Discuss these statements. Remember to sometimes play Devil’s Advocate to promote healthy debate. RACISM. 1. 2. 3. 4. 5. Racism is learned through age, time and external influences, therefore it can also be unlearned. Australians are only racist if they’ve been drinking. People aren’t necessarily racist, just ignorant. Was Joel just a product of his upbringing and only racist because of his mum’s views? Do you think, in general, Australian’s are intolerant of other cultures? ALCOHOL ABUSE. 1. Alcohol abuse is a major problem in Australia. 2. People make decisions that they wouldn’t usually make when under the influence of alcohol, therefore shouldn’t be held responsible for their actions. 3. There should be tougher laws for underage drinking. HUMAN NATURE. 1. Everyone is flawed and it’s wrong to think that anyone is perfect, no matter how ‘good’ they seem. 2. Everyone is a product of their upbringing, we must take people ‘in context’ of what they’ve been through. 3. We always fear what we don’t understand. 4. It’s really hard to go against peer pressure. 5. Sometimes it’s easier to just stay quiet, rather than speak out and take a stand. 6. You should always stand by your beliefs, no matter the consequences. 7. ALL the characters in the play are guilty of something. CONTEXT & INTERTEXTUALITY. 1. What references to other work exist in this play? What about references to real life stories such as ‘Dr Death’? What effect does this have on the audience? 2. What context does the audience bring to this play? How does your own understanding of the story change the way you watch and respond to it? LAW & JUSTICE. 1. Is it ever ok to take the law into your own hands? When? Why? 2. How does the media influence a trial? What cases can you think of that have been heavily influenced by the media during the trial? 3. Do you think you’d be able to stay objective if you were on a jury? Why/why not? VIOLENCE. 1. Sometimes violence is the only answer. 2. You can’t be responsible for your actions if you’re under the influence of alcohol or drugs. 3. Rank the following on a scale of 1-5 with 5 being the most damaging: physical assault, verbal assault, bullying, humiliation, verbal intimidation. Discuss the class majority. 10 ©www.shakeandstir.com.au A picture paints a thousand words PRE SHOW. Project the images found on 33-34 up on the board and ask students to stand in front of an image and say what they thing that character is thinking. What does the image say about the person? OR give them a copy of each image and ask them to write down anything they think/assume about this person based on the image alone. Ask them to make choices about their appearance, clothes, facial expression, body language. POST SHOW. Repeat the activity after seeing Tequila Mockingbird and see how different the responses are. He is wearing a suit, could indicate he looks after himself He looks quite serious and has heavy set eyebrows Not smiling His closed body language connotes that he is hiding something or has a closed personality 11 ©www.shakeandstir.com.au Rumour mill // conscience alley The following activities will help students to start to think like a character, and can be used a starting off point for a process drama, writing in role task, or hot-seating activity. 1. Put students in role as the townspeople of Stanton. One of them has just found out that a local girl, Rachel Thompson, has been assaulted. Start a rumour mill where everyone (in role) says something they know about the case. 2. Break off into pairs and get students to improvise a small scene between two townspeople about what they know. Give them 10 mins, then share some of their pieces. 3. Split the class into 2 groups and get them to stand in two lines, facing each other to create an alley. One student (or the teacher) will go into role as a different character who must walk down the alley. The rest of the class act as their ‘conscience’ and can speak aloud thoughts in their head. Once the character reaches the end, break role and get the student to explain how it made them felt. It’s really important to break the role with the students afterwards and de-brief about what was said. Some characters//thoughts to consider with the alley: - Rachel after she’s been beaten up. Sameer after he leaves Rachel’s house. Richard when deciding to take Sameer’s case. Charlie and how he feels about his Dad. Joel when he wakes up the morning after the assault. Trish when she sees Rachel beaten up. Extension Activities: Writing in Role. Students could write as one of the characters, showing a different perspective. Script Work. Use the script excerpts found on pages 20-21. Improvisation. Students could improvise a new scene from something that came out in the conscience alley. News Reports. The next activity could lead in nicely from the rumour mill, with some of these being used as the quotes as well. 12 ©www.shakeandstir.com.au Subjective VS objective Get students thinking about bias and how the media can sway people’s opinions. What effect does this have on a court case in a community? Below is an activity to help students think about something from more than one perspective. You are a reporter for the Stanton Times. You’ve just found out through hear-say that a young doctor who has recently moved to the town has been accused of assaulting a local girl, Rachel Thompson. You’ve managed to collect the following quotes from local townspeople. Read through them carefully in preparation for an article. Your Editor has asked that you write two short pieces – one that could be used if the doctor is found guilty, the other innocent. It’s your job to choose appropriate quotes / facts / opinions and decide how you will spin the articles. “She would have left the pub at around 7pm. She looked a bit tipsy and upset.” “He was sitting in the gutter with her, giving her something, looked like a hanky or something.” “She was screaming like a banshee.” “Well Sue said she ducked out to get some stuff and when she came back Joel and Dan were having a fight. She had to kick them out.” “Trish told me that she saw him hitting her real hard.” “I walked in and saw Rachel getting attacked by the Indian doctor.” “I heard that Joel was crying about the whole thing. Imagine seeing your girlfriend getting beaten up?” “I was at the pub after work and they all seemed to be celebrating something. Rachel looked pretty pleased with herself.” Extension Activity: After writing the article discuss the idea of TRIAL BY MEDIA with students. Get them to research this term if they don’t know what it means. Discuss major cases that the media has influenced and media’s role in changing public perception. Further Reading//Links: Definition: Trial by Media http://en.wikipedia.org/wiki/Trial_by_medi Media influence on Jury selection: Jayant Patel http://www.couriermail.com.au/news/jury-in-jayant-patelcase-will-be-quizzed-to-determine-whether-media-coverage-may-influence-impartiality/story-e6freon61226570224216 OJ Simpson: Not Guilty? http://people.howstuffworks.com/ten-controversial-court-cases.htm#page=1 Adam Goodes called ‘ape’ by 13 year old girl http://www.dailymail.co.uk/news/article-2331441/Adam-GoodesMoment-Aboriginal-Aussie-rules-footballer-confronted-racist-13-year-old-girl-called-ape-escorted-stand.html 13 Symbolism // motifs ©www.shakeandstir.com.au This play has many symbols and motifs hinting at something deeper below the surface. Below is a table of some of the symbols used in the play. There is also a blank one on page 29 to use with students. SYMBOL // MOTIF Set Design – old tiles Alcohol // Tequila The Pub Stanton Actors playing more than one role The drought Rachel’s tattoos Deeper meaning to discuss - The set is very symbolic and has several underlying meanings. Discuss the use of the old tiles and how they are decayed and worn – representing our public/private lives – what’s on view to the public? Some tiles are grimy and chipped away, just like some characters are grimy under the surface. - The set also is symbolic of an empty pool – the water marks show what was once shiny and new / water representing new life – which has now gone. It is also reminiscent of a drain – life draining away, water going down the drain, characters being drained. - Another interpretation is the set connoting a bird cage. Who is caged in the show? Think of a metaphor about freedom / setting people free VS being caged and held captive. Alcohol is used in the play to reveal a character’s true intentions. It also is the catalyst between passive / aggressive racism. EG: Joel is passively racist until under the influence of alcohol – when his true colours appear. Heart of the town is all based around this local meeting place – and alcohol. Which characters enter the pub? Which are shown drinking? This country town is representative of an Australian microcosm and has many stereotypical Australians. The town is going through hard times, which is also symbolic of many local towns in today’s climate. Think about the fact that the same actor played Joel / Mitch. One is forceful, arrogant, argumentative and ignorant. The other is quieter and much more innocent. Sue/Trish/Karen are all played by the same actor but are very different roles. How was this change shown symbolically? What effect did it have? Symbolically these roles can also represent the fact that we all have a little bit of someone else in us; we all can learn how to empathise; or we all have good/evil in us – but it’s our choice as to what is dominant. Not only does this show the way the town is struggling, but also represents the way life is ‘drying up’ and how old views may need to ‘dry out’. This is also shown through the set design. For many people tattoos carry great significance. The cherub is full of symbolism – it’s a symbol of an angel – protective and innocent. Another meaning that could be drawn is more biblical – some say cherubs didn’t appear until after the sin of Adam and Eve – they were a necessary angel only after humans sinned. Her bird tattoo also carries great significance. Birds are symbols of freedom – flying away, escaping. Think about the phrase ‘if you love something set it free, if it comes back it’s yours.’ 14 Teaser trailer ©www.shakeandstir.com.au Linking back to marketing and engagement this task is great for getting students to think about the purpose of theatre as opposed to books/tv/film. How is this medium different? How is it the same? Get them to storyboard a teaser trailer for Tequila Mockingbird, or another text they have studied. There is a storyboard worksheet on page 30. They must come up a unique selling point and use some the following conventions: Titles Music Voice overs Still images Footage Quotes Booking information Hook Tequila Mockingbird trailer by optikal bloc [www.optikalbloc.com.au] http://www.youtube.com/watch?v=6W4EUjhXMME 15 ©www.shakeandstir.com.au intertextuality Some of the themes found in Tequila Mockingbird can be seen in everyday life and other texts. Ask students to brainstorm any links they can think of from news items, movies, songs etc and create some comparisons to Tequila Mockingbird. Below are a few comparative examples that have been started and some blank comparison models can be found on page 28. Comparison 1: Bus Racism Incident with 55 year old woman Trish Abbot Similarities - No remorse shown from Trish - Brings other people into the conversation through pressure - Older woman attacking younger man/youth - People standing by and not always standing up for the victim - Publically sharing views that are socially unacceptable - Swearing/verbal abuse - Racism aimed at Asian cultures Bus Racism - Setting (on a bus) - She showed remorse when watching the footage back later Source: http://www.news.com.au/national-news/woman-charged-over-racist-bus-attack-in-sydney/story-fncynjr2-1226670088256 Comparison 2: ‘We grew here, you flew here’ Cronulla Riots Tequila Mockingbird Similarities - Smaller scale event Country context Fiction Racism aimed at Asian culture - People being ignorant about Australia’s past - Small-minded people assuming that anyone who looks different to them is a threat - Inequality // Discrimination - People not standing up and saying anything when they know they should: “You know how you can sometimes be haunted by your inaction? I have been ever since.” [David Koch, online article] Similar to Sue’s character in Tequila Mockingbird not saying anything when she hears/sees things in the pub - People saying things under the influence of alcohol - Violent acts of racism - Provoked by assault charges Sources: http://www.thepunch.com.au/articles/what-i-hate-about-australia-day/ 16 - Australia Day Larger scale racism Large scale violence/riots City context Factual Racism aimed at Lebanese culture http://en.wikipedia.org/wiki/2005_Cronulla_riots Characters ©www.shakeandstir.com.au Use the following headings to start a discussion with students about where they think each of the characters from Tequila Mockingbird should fit. There can be more than one answer for each, the idea is to get them discussing the words and why a certain character fits within it. Go on to discuss stereotypes and character types and why these are necessary in narrative structure. THE INNOCENT THE EMPATHIST THE RACIST THE WISE THE GOSSIP THE REBELLIOUS THE RECLUSE THE FENCE SITTER The abuser The abused The victim The follower Why do some characters fit into more than one mould? Do the characters change throughout the story? How? Character List: Charlie // Richard’s son, moved away from Stanton about five years ago, 16 Dan //Joel’s mate, early 20s Joel // Rachel’s boyfriend, just lost his job, early 20s Karen //Mel’s Mum, late 40s Mel //Charlie’s old friend from primary school, 15 Mitch // Charlie’s old friend from primary school, 16 Rachel // Joel’s girlfriend, early 20s Richard //Retired Lawyer who has just returned to Stanton with his son Charlie, late 40s Sameer //Young Doctor who has just moved to Stanton from India, early 20s Sue //Local pub owner, late 40s Trish //Joel’s mum, rough, late 40s Extension Activity: Compare two characters from the play and their role in the story telling. It may be interesting to compare two characters who were played by the same actor – how did this effect the way you viewed them? Did you have more empathy for a character because of this? Less? How did the acting styles change to show the change in characters? 17 Hot seating ©www.shakeandstir.com.au Hot seating allows the students to think more deeply about the choices the characters made in the play. It also helps them to think about what may have happened next for each of the characters – as many of the story lines are left open for the audience to make up their own minds. From an outside point of view it’s also good for them to deconstruct the acting styles/plot lines for these characters and why they were represented this way. Ask students to go into role and hot seat them with questions relating to the plot. Some example hot seating questions can be found below. If the students need a focus you could pretend they are being questioned about the case against Sameer. Charlie Why are you so angry at your father? Is it hard for you being back in Stanton? Why? How do you feel about Sameer’s situation? Dan How long have you known Joel? Is Joel a good boyfriend to Rachel? Is a good mate? Joel Tell us about your job. How long have you and Rachel been together? Where did you meet? Why didn’t you want Rachel seeing Sameer as her doctor? mel Does your mum like you hanging with Charlie? Tell us about Dr Chavan. Mitch How long have you known Charlie? Did you keep in contact when he moved away? Tell us about Dr Chavan. Describe your relationship with Mel and Mitch. What do you miss about life in the city? What happened between you and Caleb at school? We heard you were suspended over it. How did you guys meet? Why don’t you say anything when Joel (physically or verbally) hurts Rachel? Describe your relationship with your mother Trish. How long have you lived in Stanton? What happened between you and Rachel the night she was assaulted? Describe your relationship with your mother Karen. How long have you lived in Stanton? Do you like it? Why did you break into the newsagency? What did you take? How long have you lived in Stanton? Do you like it? 18 ©www.shakeandstir.com.au Rachel Tell us about your parents. Where are they now? How long have you and Joel been together? Where did you meet? Why didn’t you want to see Dr Chavan the first time you visited the clinic? What made you change your mind? Richard How long have you lived in Stanton? Why did you choose to study Law? Is it tough being around criminals? Sameer Tell us about your parents. Where are they now? What were your first impressions of Australians? Why did you choose to move to Australia? Sue What goes on at the pub on a typical night? How well do you know the people of Stanton? You seem to see a lot with your job. What are people like once they’ve had a few? Do they ever tell you any gossip? Trish You’re very protective of your son Joel. Tell us about your relationship. Why don’t you like Rachel? Has something happened between the two of you? Why didn’t you want to see Dr Chavan the first time you visited the clinic? What made you change your mind? Describe your relationship with Joel’s mum, Trish. How long have you lived in Stanton? Did you lie about what happened the night you were assaulted? Tell us again what happened. Describe your relationship with your son, Charlie. Do you think you’re a good father? Have you made mistakes with Charlie? Describe your relationship with Rachel. What is Stanton like as a town? Did you lie about what happened the night you were accused of assault? Tell us again what happened. How long have you lived in Stanton?. Do you regret not saying anything to Joel when you saw him push/yell at Rachel? Is it your business? What happened the night Rachel was accused of assault? What about Joel’s father? Where is he? How long have you lived in Stanton? Did you lie about what happened the night you were assaulted? Tell us again what happened. 19 ©www.shakeandstir.com.au Sameer Script excerpt// Rachel & Sameer Miss Thompson! Rachel Hey. Sameer I thought you were booked in to see Dr Kerr? Rachel Yeah well, you seemed to know what you were talking about last time. Sameer Ha, yes. I would hope so. And how are the ribs? Rachel Yeah better. Still a bit sore. Sameer Do you have the x-ray there? She hands it over. The good news here is that there is no sign of a breakage, so your ribs are just bruised. Rachel Good news. Sameer Yes, very good. Just keep doing the exercises and it should heal itself over the next month. Rachel So I don't need anything? Sameer Nope. Just panadol if it starts to cause you any pain. Sameer seals the x-rays and hands them back to Rachel. Sameer Alright. Is there anything else I can do for you Miss Thompson? Rachel Nope. All good. Sameer (Sameer typing up) Oh, and thank you for the tip on the bakery. Rachel Oh you went? Sameer Yes! Every day. Rachel (laughs) Yep. It's addictive. I'm trying to cut down. Starting to get fat! Sameer Oh don't be ridiculous. Rachel Well pudgy. Sameer Pudgy? Rachel Like chubby. That's what Joel calls it. Sameer You certainly have nothing to worry about. Rachel (smiles) Thanks. Sameer shows Rachel out. Sameer Bye for now. Sameer smiles. 20 ©www.shakeandstir.com.au Script excerpt// Charlie & Sameer Charlie Don't worry, Dad will get you off. Sameer I'm sure he will. Charlie Bet you never thought something like this would happen hey? Sameer Never. It was the least of my concerns. I figured I'd struggle with the language and perhaps the culture to a certain degree. I never thought... Sameer smiles. Sameer You're very lucky Charlie. Your dad is a very brave man. Charlie Yeah, he's alright. Your dad coming over for the trial or anything? Sameer No. I'm yet to inform my family. Charlie Really? Sameer I was just telling your father that I need to find the right time. Charlie But you have to tell them, right? Sameer I do, yes. Before the papers do preferably. Charlie Yeah true. Sameer You know the hardest thing about this is actually the thought of my parents when they find out. After knowing what they have given up get me here today. My father was actually against coming here in the first place. He told me, Sameer, do not go to Australia anywhere but Australia. They do not want foreigners at the moment. Especially not Indian's. I told him to stop being so racist. [beat] I will have caused them so much shame and I haven't even managed to send any money at all back to India. Charlie This isn't your fault. Sameer That doesn't matter I'm afraid. Charlie Yeah it does! Sameer I'm in this situation. Regardless of how it happened. And I need to live with that. 21 ©www.shakeandstir.com.au Subtext and characterisation Read (or preferably act out with a pair!) the 2 script excerpts and then answer the following questions: 1. What do we learn about each of the characters from these excerpts? 2. Identify the intention behind some of the lines and write down an adverb showing how you think it should be said/performed. (EG: aggressively, shyly, confidently) 3. Have a go at writing the subtext for the line (deeper or implied meaning) - what they’re thinking but not necessarily saying aloud. 4. What do we learn about characters that are spoken about by others? (Joel, Sameer’s family, Richard) 5. Try and decide what you think the character’s objective in the scene is. Is it to find out more information? To comfort? To express a particular feeling? Practical Activities: 1. Improvise with a pair what could happen next between these 2 characters –try and keep the intention of the character the same, whilst allowing the scene to play out. 2. Write a scene that comes directly before this. What have these characters just been doing? How does this affect the intention of the scene? Perform it to see how it works. 3. In a group of 3 act out each of the scenes with one as Director. Try and change the intention of the scene and play around with staging / direction and see how this affects the outcome for the audience. 4. Research Stanislavsky’s method of acting and apply some of his techniques to the scene. 5. Pretend that Sameer’s speech about his parents is a monologue and write more lines about how he is feeling. What else would he say? 22 ©www.shakeandstir.com.au Analytical profile: Rachel Thompson Age: early 20s Family Background: ___________________________________________________________________ Physical description: __________________________________________________________________ ____________________________________________________________________________________ Biggest Fear: ________________________________________________________________________ Why does she stay with Joel? ___________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ What tension exists between her and the other characters? List at list two characters with examples: ____________________________________________________________________________________ ____________________________________________________________________________________ If she could change one thing about herself what would it be? Why doesn’t she? ____________________________________________________________________________________ ____________________________________________________________________________________ Why does she lie about Sameer abusing her? _______________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ What do you think her parents are like? What has led you to believe this? _______________________ ____________________________________________________________________________________ How was she represented on stage? What effect did this have on you as an audience member? ____________________________________________________________________________________ ____________________________________________________________________________________ What made her character vulnerable? ____________________________________________________ 23 ©www.shakeandstir.com.au Analytical profile: Joel abbot Age: early 20s Family Background: ___________________________________________________________________ Physical description: __________________________________________________________________ ____________________________________________________________________________________ Biggest Fear: ________________________________________________________________________ Why does he stay with Rachel? _________________________________________________________ ____________________________________________________________________________________ What tension exists between him and the other characters? List at list two characters with examples: ____________________________________________________________________________________ ____________________________________________________________________________________ Describe Joel in 40 words or less, as if writing a description for an actor who is going to play the part: ____________________________________________________________________________________ ____________________________________________________________________________________ ___________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ What do you think his Dad was like? What has led you to believe this? __________________________ ____________________________________________________________________________________ How was he represented on stage? What effect did this have on you as an audience member? ____________________________________________________________________________________ ____________________________________________________________________________________ What made his character vulnerable? ____________________________________________________ ____________________________________________________________________________________ 24 ©www.shakeandstir.com.au Analytical profile: sameer chavan Age: early 20s Family Background: ___________________________________________________________________ Physical description: __________________________________________________________________ ____________________________________________________________________________________ Biggest Fear: ________________________________________________________________________ What made him move to Australia? What was holding him back from moving? ____________________________________________________________________________________ ____________________________________________________________________________________ What tension exists between him and the other characters? List at list two characters with examples: ____________________________________________________________________________________ ____________________________________________________________________________________ If he could change one thing about himself what would it be? Why doesn’t he/can’t he? ____________________________________________________________________________________ ____________________________________________________________________________________ Sameer speaks to Charlie about shaming his family with the assault charges. Do you think he’ll ever get over it? Why/Why not? _______________________________________________________________ ____________________________________________________________________________________ In your opinion, what happens to Sameer at the end of the play? What led you to believe this? ____________________________________________________________________________________ ____________________________________________________________________________________ How was he represented on stage? What effect did this have on you as an audience member? ____________________________________________________________________________________ ____________________________________________________________________________________ 25 Name: Analytical profile ©www.shakeandstir.com.au Age: Family Background: ___________________________________________________________________ Physical description: __________________________________________________________________ Biggest Fear: ________________________________________________________________________ Describe the character in 40 words, as if writing a description for an actor who is going to play the part: ____________________________________________________________________________________ ____________________________________________________________________________________ ___________________________________________________________________________________ ____________________________________________________________________________________ What tension exists between them and the other characters? List at list two characters with examples: ____________________________________________________________________________________ ____________________________________________________________________________________ If they could change one thing about themselves what would it be? Why don’t they? ____________________________________________________________________________________ ____________________________________________________________________________________ What is silenced about this character? ____________________________________________________ ____________________________________________________________________________________ In your opinion, what happens to them at the end of the play? What led you to believe this? ____________________________________________________________________________________ ____________________________________________________________________________________ How were they represented on stage? What effect did this have on you as an audience member? ____________________________________________________________________________________ ____________________________________________________________________________________ 26 ©www.shakeandstir.com.au Tequila Mockingbird Character Rachel ROLE/PURPOSE/MOTIVATION/ Charlie Purpose // role // motivation Mel Sameer Richard Sue Joel Dan Mitch Trish Karen 27 ©www.shakeandstir.com.au Comparison: 1: Similarities 28 2: ©www.shakeandstir.com.au SYMBOL Possible deeper meanings 29 ©www.shakeandstir.com.au 1 Storyboarding a teaser trailer 2 3 4 Shot Type: Length: FX: 5 Shot Type: Length: FX: 6 Shot Type: Length: FX: 7 Shot Type: Length: FX: 8 Shot Type: Length: FX: 9 Shot Type: Length: FX: 10 Shot Type: Length: FX: 11 Shot Type: Length: FX: 12 Shot Type: Length: FX: 13 Shot Type: Length: FX: 14 Shot Type: Length: FX: 15 Shot Type: Length: FX: 16 Shot Type: Length: FX: 17 Shot Type: Length: FX: 18 Shot Type: Length: FX: 19 Shot Type: Length: FX: 20 Shot Type: Length: FX: Shot Type: Length: FX: Shot Type: Length: FX: Shot Type: Length: FX: 30 ©www.shakeandstir.com.au Drama // Responding to theatre Analytical essay 1. “A realistic play is a play which is primarily written in dialogue which reflects everyday speech, and whose situations mirror real life as we normally experience it.” Michael Futcher // Director After watching shake & stir’s production of Tequila Mockingbird analyse the way in which conventions of Realism as outlined by the Director, Michael Futcher were used to create dramatic meaning onstage. To what extent were these realised by the actors in the production? The key elements he has stated he wanted from the actors were: Understanding (that is the ability to know what they are saying and why, and to identify and commit to the character’s objectives) Truth (that is the ability to believe in what they are saying, to connect with the emotional life of the character) Activity (the ability to remain alive on stage before, during and after a line of dialogue, the ability to create subtext, ability to be in the present moment in a scene – not thinking ahead, ability to listen to the other actor) Accuracy (the ability to follow the nuances of the text and identify changes of tack in the character’s objectives and/or tactics, detail) Commitment (the ability to embody the high stakes of their character, and to connect fully and imaginatively with the character’s individuality through research, observation etc) Your essay should also refer to key dramatic elements such as tension, mood, symbol and focus that were manipulated to help convey dramatic meaning by the actors. Refer to page 9 for more details on Realism from Michael Futcher. Analytical essay 2. “Tequila Mockingbird deals with so many huge issues – not only racial and personal prejudices but also alcohol abuse and its effect on families and community. We hope to present and critique cleverly disguised, almost socially acceptable forms of both that lurk just under the surface in Australian society.” Nelle Lee // Writer Analyse the way in which serious issues of racism, personal prejudices and abuse were presented on stage. How were the dramatic elements of symbol, mood and tension manipulated to show these darker issues? How were other elements of production such as set, lighting and sound used? What effect was created? 31 ©www.shakeandstir.com.au English // Responding to theatre Expository writing. You are a writer for the Courier-mail’s Entertainment section: Life. Your Editor has asked you to write a critical review of Tequila Mockingbird, analysing the play’s themes, characters, direction and dramatic meaning, with the focus question: Should theatre entertain or educate? Prepare an 800-1000 word review with images for publication in Saturday’s paper. expository panel discussion. “Tequila Mockingbird deals with racial intolerance but uncovers a more cleverly disguised, almost socially acceptable form of racism lurking just under the surface in Australian society; Racism that is often downgraded and accepted as us being our ocker, larrikin ‘Australian’ selves”. “We have taken universal themes and common circumstances but realised them in a way that relate directly to us as modern Australians.” Nelle Lee // Writer Respond the quotes above in a panel discussion. Refer to other texts, both fiction and non-fiction in your discussion. reflective writing. Pretend that you are Sameer and you have to write a letter to your parents explaining what has happened during your time in Australia. imaginative writing. Choose a prevalent scene or theme from Tequila Mockingbird and transform it from a script into a poem, short story or newspaper article. Be creative in your presentation and try and think of something original for the task. Think outside the box! 32 ©www.shakeandstir.com.au 33 ©www.shakeandstir.com.au 34
