In this one-day program teachers explore the four key frameworks of ideas, a range of mentor texts, and questions about writing style, context, audience, and purpose. Teachers will explore elements of the new List 2 syllabus through a series of practical creative exercises that can easily be transferred and implemented in the classroom.
This program is guided by senior independent arts professionals. The team has a variety of expertise in different creative areas and the art of responding in developing creating responses. These facilitators will guide teachers through the work so that they have an embodied lived experience to pass onto students.
Writing creative responses is now part of life for every student in this state. These intensive workshops provide the opportunity for students to immerse themselves in the creative process, discover the joy of their individual voice and how to express it in writing. They are designed to give students a headstart on the skills they will need for the new year 12.
When we undertake an intensive with a school, planning the program together, including theme, source material, even picking the kind of arts practitioners who run your program is a big part of what’s on offer.
In addition to deeper exploration of the key framework of ideas and creative response format, these programs permit time for skills development, small group work, individual mentoring and presentation of students’ work.
These programs are resource intensive and we will only be able to offer them for ten schools in 2024. To give all schools a chance to be involved we require schools to submit an expression of interest by the end of October. Toward the end of term 4 we will begin approaching schools regarding intensives in 2024
This workshop helps students to break the ice, actually put pen to paper and start writing individual responses to the themes of personal journeys, play, protest and country.
The goal is for each student to generate a number of different quick responses and begin writing one longer piece.
Workshops include facilitated discussion of 1 of the 4 key frameworks of ideas, presentation and analysis of the mentor texts, verbal group creative games, writing exercises, tools for developing pieces and presentation of creative responses from our team.
Schools can choose to focus on all of the activities above or we can tailor the workshop to focus more intensively on one or more areas.
EAGLES NEST THEATRE CO. SCHOOL PROGRAM BOOKINGS TERMS & CONDITIONS 2024/2025
BOOKING CONFIRMATION & PAYMENT PROCESS
Your school provides booking dates and times and we email booking quote email with terms and conditions.
To confirm the booking you need to review details and then electronically accept the terms and conditions
You will be sent a formal booking confirmation and invoice.
Invoices can be paid at the time of booking or after the delivery.
If you pay in full prior to delivery, you receive a 5% discount.
NB. If paying at the time of the booking and the numbers in attendance are higher than the booking estimate an additional invoice will be issued after delivery.
CANCELLATIONS
If the booking is cancelled by Eagles Nest Theatre:
A full refund of any money paid will be returned to the client.
If the booking is cancelled by the school:
more than 6 weeks prior to the program delivery, schools may be charged a $250 cancellation fee.
less than 6 weeks prior to program delivery – schools may be charged 50% of the original agreed booking fee.
less than 2 weeks prior program delivery – schools may be charged the full costs of the original agreed booking fee
RESCHEDULING
Once a booking has been confirmed if you need to reschedule additional costs may be incurred.
Rescheduling fees are in addition to the original booking costs.
If you notify us of your need to reschedule:
more than 6 weeks prior to the program delivery – schools will be charged a $100 rescheduling fee to cover administrative costs.
less than 6 weeks prior to the program delivery – schools will be charged a $100 rescheduling fee to cover administrative costs plus 50% of the total actors fees payable for the booking so that actors are compensated for lost work.
less than 2 weeks prior to the program delivery – schools will be charged a $100 rescheduling fee to cover administrative costs plus 100% of the total actors fees payable for the booking so that actors are compensated for lost work.
NB. Any cancellation of a rescheduled booking is calculated on the date of the original booking not on the date to which a booking is rescheduled.
COVID-19 DELIVERY CLAUSE
As long as Covid remains an issue, on occasions we may need to substitute actors into programs on short notice.
Should schools cancel a booking as a result of a Covid situation the standard cancellation policy above applies.
The young woman who needs the dress, the mother fraying at the edges, the older woman who remains a sexual being – Comedic stereotypes of women who inhabit our world that explode into deeper truths about being unseen.
In a world of empowered women why does the idea of marrying a taller older man persist. Sometimes the feminist project overlooks the plight of the less radical. A lot of young people and young women feel pushed away from the concept of feminism. Perhaps a look at the invisibility of normal women (whoever they might be) is what is need to continue the work of achieving gender equality.
Cosi invites audiences to share Lewis’ journey as he overcomes his prejudice regarding mental health and discovers the power in the silliness of a Mozart Opera. Set against the backdrop of the Vietnam moratorium, Lewis’ friends are trying to stop the suffering of thousands while he is learning about a different kind of politics. Sometimes art that’s not political can have political effect as it brings us together to play and laugh. Sometimes the the unheard voices are not those that cry out under oppression but those who our society has simply forgotten.
When a single juror stands up against peer pressure and votes “Not Guilty” in a seemingly open and shut case it becomes clear why jurors need to deliberate and discuss. The defendant is the faceless other – the only thing we know that he is poor and yet the process reveals how the jurors and in fact the audience project their prejudices onto him. In addition to unpacking the narrative, the workshop investigates the construction of characters, and other dramatic elements, to present a reading of the play as a study of the power of language and one’s ability to create persuasive arguments.