Sarah Mason ... Theatre

Being involved in this program has been an amazing experience.  Although at times very hectic and challenging, working along side Giri was an enriching experience and with the participants extremely rewarding.

The workshops showed a way to set up a support framework to work through blockages and old ideas, using them as stepping stones to a new awareness and an expansion of positive image. These workshops explored the idea of changing the map we have of our self image and exercising the idea of ourselves and our limitations. At times confronting but also approached with a thought and sensitivity. A fresh introduction to theatre, the arts and disabilities.

Using tools such as the simple yet powerful paper Mache masks, strong support within a group, regular discussions throughout the workshop, instant images with the digital camera, movement, music and sound we were able to work with a wide range of abilities to explore this expansion idea.

Strengths

• The promotion of abilities rather than disabilities, showing the role of people with disabilities in powerful positions.

• The promotion of inclusion with integrated workshops and a broad spectrum of the community participating.

• The program’s design to make workshops available to the community at large by holding them during the day, after work, evenings and weekends.

• Pre planning, flexibility by mentoree and mentor; preparing for workshops with a range from 4 to 30 people with various abilities.

• Support between mentor and mentoree ie; problem solving, teamwork, drawing on each others different skills & debriefing sessions after each workshop.

• Working within a focussed setting at Witchetty’s, and also outside in the environment enabled different elements to come into play with the workshops. Workshops indoors were directed more intimately with strong support framework and more focussed outcomes whereas outdoor workshops involved larger groups with a more relaxed approach and aims for the outcomes.

• The venues both indoors and outdoors; Witchetty’s for the large space to move around, the welcoming carpet floor, stage, lighting, sound system and general facilities; Telegraph Stn and Stanley Chasm for open spaces and outdoor workshops also all abilities facilities. (Stanley Chasm not completely accessible to wheelchairs though).

• Staring with small steps and a simple approach gradually building it into something larger.

• Keeping a journal, a record of feedback and general notes on the workshops.

• Regular discussion throughout the workshop to reflect and become aware of the importance of each activity

• Feedback sessions were an invaluable source of information and thanks to the contribution of thoughts and ideas from the participants.

Weaknesses

• The support workers role in this program; when support workers felt as if they were not involved in the workshops an element of inclusion was lacking.

• Community awareness of the project

• Low attendance of some workshops

• Heavy schedule for all involved in working on the project.

• No prior knowledge of the amount of time involved on the mentorship during the one month period; no time framework showing the mentees minimum requirement.

Opportunities

• New culture of connection; sharing and trust

• Community awareness and promotion of the abilities, widening the communities perception of people with disabilities therefore promoting inclusion.

• Further training for support workers, volunteers, artists and community workers in the arts and abilities.

• Future projects with other mentees combining visual arts, theatre, dance and music.

• Performance with footage and photos from the workshops.

• Weekly movement classes combining dance and theatre.

• Networking with other theatre groups that already exist in town

• Workshops with other mixed ability groups from interstate.

• Involvement in local and interstate festivals

Threats

• Burn out; due to heavy schedule, time consuming project, over planning & flexibility

• Lack of funding

• Lack of commitment to communications between service providers ie; regular public forums, inter organisational training etc.

• Community seeing the projects as a service only for people with disabilities, reducing the level of inclusiveness.

Participants Feedback:

Recommendations:

• To access a larger part of the community by promoting ALL ABILITIES and promotion of the project to reach more people and organisations.

• Have a clear format, font and calendar for the program, with 2 or 3 different formats aimed at different sectors in the community eg; professional training highlight sent to management level of organisations.

• Integrating theatre, singing and movement into peoples daily activities. Breaking rigid patterns and putting fun into daily routine. Hold "In House" workshops, for people with disabilities in residential care.

• Hold weekend workshops structured between morning and afternoon sessions with high and low and mobility and integrated workshops, inclusive for all.

Participants Comments:

A thoughtful and sensitive approach to theatre skills, very inclusive and gentle. Giri and Sarah worked well together under adverse circumstances (number size) yet made everyone feel special. It was delightfully fun for everyone. Nique Murch

Thanks for the supporting us to become closer to who we really are. Claire Chenowyth

I'm so glad I came. I've found the right group. I feel creatively expanded and relaxed. Maureen Marsay

Resource Kit

Elements of a workshop:

THEMES: What can be discovered in a session.

Each workshop had a different theme or focus depending on the level of mobility, response and energy of the group. some of the themes we explored were:

"The journey of expansion”, “gentle and sensitive”, “fluidity”, “discovery of sound”, “humour”.

DIRECTORS ROLE: The director experiments with the dynamics of a group, steering them from low energy points to high points, working with flow and adding necessary breaks, working with connection and continuity, exploring different paths of movement and concepts, The director can be either a part of the activities, gently shaping the flow of the groups energy and dynamic or the director can be the observer offering an outside perspective, shifting the focus, extending and expanding important aspects, opening awareness, adding focus and building on outcomes.

Workshop activities:

STORY JOURNEYS AND VISUALISATION

Evoking imagery and relaxation at the beginning of a workshop creates a safe space to be in, enhancing the focus of the body (using awareness of breath and how the body feels) , the mind (with awareness of imagery) and the space where the workshop is taking place. Setting up the space with cushions and matts is an inviting space to come in and be part of something. Story journeys can be about a wide range of things depending on what the focus of the workshop will be, environmental, internal, elemental extending adding more levels, places, animals, sensations etc. Being guided through a story allows relaxation and comfort.

Icebreakers & Circle Work (building up levels of comfort and familiarity)

The maximum point of tension is at the beginning of a workshop, so it is important to build comfort levels as soon as possible. Icebreakers are a great way to initiate the group.

• The Sorting Box; present an imaginary big box to the group. Inside they can place any thoughts or worries into. At the end of the session they can either leave them behind or pick them up again to find that the sorting box has sorted through. Put the box aside and show where it will be if any one needs to collect them at the end of the workshop.

• My name is Joe and I like ice-cream (everybody repeats)

• My name is Joe and do an action steps into circle and bows (everybody follows)

• Use simple musical instruments like shakers so that one person makes a noise, everyone follows

• Circle Jazz; one person begins “bee bop ba bee bop” everyone copies, next person “bop bop dee doo”

• Pass the clap; standing in a circle, one person looks at the person to the right and claps towards them, the next person claps to the right until the clap is passed all the way around the circle. Start slowly and build up. Then the claps can be passed to the person on either the left or right.

• Pass on sound/action; the same as passing on the clap.

Group Movement (Body Awareness)

• Impulse movement; everybody walks, one person stops, everyone stops. Another begins, all begins

• Stretch; walk around in a circle, one person walks and stretches, everyone stretches, another does another action, everyone follows

• Walk around make a sound, everyone make a sound, another change the sound, everyone … add a word

• Walk around the room in between each others spaces

• Walk around being lead by one part of the body, after a while add a sound, then a word, after some time walk around greeting each other with one word, then one phrase, developing that character

• Move around the room then freeze when one person says. Be aware of your breathe and how your body feels. Look around without moving your head at how others have frozen. Continue again when the person claps, feeling the flow of movement.

• Move around the room like swimming through toffee; flying through clouds; riding a motorbike etc.

Group Work (Building energy levels)

• Sound bath; one person sounds a note “mmmm” and the others join in, harmonising. Each person sings the note on a full exhalation, then chooses another harmonising note. When the sound is full on “mmm” then choose a vowel to create a fully expressive sound; “mmaaaa” “mmeeee”.

• Space Jump; standing in a circle one person begins miming an action. Someone yells “Spacejump” and the person inn the middle freezes and the another person joins in, but miming a different action based on what position the last person froze in. “SpaceJump” and another person jumps in to replace the first person who steps out, adding a new mime and action. This can be done with only two people in the circle, or by adding on until everyone is involved.

• Freak Out; standing in a circle one person in the centre begins an action “jumping up and down” the next person walks in and says “what are you doing” the first replies “I’m flying”. The second person pretends to fly. “what are you doing?” the first person asks. “running” says the second. First person starts running. Keep going until next person can’t think of what to do and everyone yells “Freakout”.

• This can be done as a group. A person says “what are you doing” and everyone joins in. The person who started the improvisation lies. The person who asked the question mimes the lie, the others join in and so on.

• Warm up games can be walking around the room quickly pointing at things and naming them; book, mat, carpet, wall, window. Then walk around pointing, but giving different names; spacesuit, basketball, banana, etc

• Contact Movement; move around the circle to music always staying in contact with at least one other person, try to make the contact look casual (not just holding hands)

Focused Work

• Group Mirror; stand in circle and look ahead. Out of peripheral vision see a movement initiated by someone in the group. Start very slow, simple movements, each person sometimes adding or following creating a focussed and organic movement exercise.

• Tableux; finding positions or being placed into positions which show a theme, or an idea and holding them still for an audience.

• The Director; Using a pre scripted play involving as many characters as are in the group, have a director give ideas on how to re do the play, building up from basics.....”make it happier”, “do it being tall”, “in silence” to larger more expansive ideas “

• Chinese four; a group of four, or more stand facing one direction. One person in front others behind. Front person begins moving very slowly, everyone follows. When the front person looks to the left they can see the next person, so faces that direction and follows the new leader to the left, everyone follows until the whole group has turned each direction with a new leader each time.

Pair Work

• Clowns; one partner pretends to give a small present, its the best present that the other partner has ever received. The other partner gives a slightly larger present back, it is an absolutely amazing present, continue giving presents getting larger, always with amazing reactions of joy each time, building on energy.

• Mirror; one person begins to move slowly, the other copies. Swap, continue until where one person starts and the other begins melds together.

• Pair tableaux: find a position to freeze, the other compliments it.

• Lean on me; one person bends down the other pats along the spine gently, with the first person releasing sound “ahhhhhh” “ohhhhhhh” then swap.

Structure of a Workshop

• Meeting the participants

• Free exploration of the space

• Relaxation, visualisation and story journey eg: “The Sorting Box” imagery for leaving worries in, guided story/visualisation – removing mind clutter, releasing tensions and inhibitions

• Familiarity of group eg: Say name and add movement, everyone validate by copying – familiarising the group with importance to names and identity

• Stretching and movement – increase body awareness

• Circle work eg: pass the clap, group mirroring

• – raising the energy and building group awareness– creating a safe space in which to explore and extend ideas

• Partner work eg: mapping out ideas then exploring through copying in MIRRORING

• - increasing concepts, themes and focus

• Tableux and film/photo eg: arrangement into still poses to a theme; FIRE, WATER, AIR, ETC.

• – a progressive focus on the body, themes and ideas, with digital camera for direct feedback.

• Discussion – using regular discussions throughout the workshop to further explore ideas but also to reflect and remember the process of progression.

• Cool down eg: contact movement– restoring energy levels, stretching the body and recapitulating the events in the workshop

• Feedback – discussing what the outcomes were, the highlights, the difficulties, what participants would like more of, less of and what to do next with the outcome from the workshop.

Highlights

• Working with the children at Acacia School

• Working with Michele Castagna, Giri and Robyn Manley particularly in the “journey of expansion” workshop.

• Working in intimate groups in a focussed setting

• Feedback sessions

• Theatre & Film at Stanley Chasm, and the enthusiasm of the participants

Learning outcomes:

• Repetition builds comfort so that you can then take things further and explore more major events

• Words add a different dimension to activities