2 Introduction - Sydney Opera House · 2 Introduction These Creative Learning Journey Resources...

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Transcript of 2 Introduction - Sydney Opera House · 2 Introduction These Creative Learning Journey Resources...

Page 1: 2 Introduction - Sydney Opera House · 2 Introduction These Creative Learning Journey Resources have been prepared to help you get the most out of Horrible Harriet. These resources
Page 2: 2 Introduction - Sydney Opera House · 2 Introduction These Creative Learning Journey Resources have been prepared to help you get the most out of Horrible Harriet. These resources

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IntroductionThese Creative Learning Journey Resources have been prepared to help you get the most out of Horrible Harriet. These resources are full of activities and inspiration to prepare your students before coming to see the Sydney Opera House, what you can do on the way, what you can do at theSydney Opera House and then unpacking the experience back in the classroom.

You should adapt these Resources to suit the student age and stage of your class and the curriculum foci and outcomes used in your school. These Resources are written as a creative document for you to bring to life. If you have questions about exercises or provocations please feel free to makecontact to talk it through. We are always open to feedback, comments and working with you to assist and learn from you. Contact details are on the back page.

Some websites are suggested throughout this resource. It is recommended that you first visit the sites and assess the suitability of the content for your particular school environment before settingthe activities based on these.

Performance Descriptionand SynopsisWicked, wild and wonderful, Horrible Harriet is not your average child.

She lives in the roof of her school and keeps teachers chained in the cellar to do her homework! But all Harriet really wants is a friend.When Athol Egghead lands in his hot air balloon, Harriet finally meets someone who understands her. Then Mr Chicken arrives… Fortunately Horrible Harriet knows how to handle him…Or does she?

Filled with songs, laughs and mischievous fun, this hilarious tale offriendship and identity is sure to have kids captivated as they watchAustralian Children’s Laureate Leigh Hobbs’ bestselling series cometo life on stage.

A play by Maryam Master, adapted from the books by Leigh Hobbs

Sydney Opera House Creativity FrameworkThese Creative Learning Journey Resources have been written using the Sydney Opera House Creativity Framework as the pedagogy. This Framework underpins much of what we do in ourwork with schools. More information can be found at the Sydney Opera House website. In shortthe Framework aims to define the creative process in a way that educators can use to teachand be inspired by.

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At a glance this Creativity Framework is:

Prepare: Tools and PathwaysPreparing mind, body, space, materials and time

Buy in: Presence and EnthusiasmConvincing students that they want to be there

Imagine: The Fertile UnknownExploring a subject through arts practice. Using form to uncover content. Allowing uncensored expression to reveal new ways of seeing a subject

Question: Analysis, investigation and revelation Creating new understanding by analyzing what just happened when honing the imagination

Make: forging form from contentPutting shape to content and moving towards a project; scripts, composition, choreography, project design

Show: Commit, frame, judgementPerforming and presenting the work

Reflect: Remembering, Processing, exitingCreating understanding and healthy memories from the creative process and product.

Creative Learning Journey Resource Notes conceived and illustrated by Lilly BlueLilly Blue is a visual artist, educator (BFA, Dip Ed) and publisher with a background in physicalperformance, installation and community arts. She edits, curates and publishes BIG KidsMagazine, which features the work of children and artists side by side, and was recentlyHead of Creative Learning at The Red Room Company. She has worked Internationallydelivering arts residencies, professional development, creative commissions and exhibitions as well as designing programming for young audiences drawn from a rigorous personal practice.Lilly is one the Sydney Opera House Teaching Artists and was instrumental in developingthe Creativity Framework.

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Early Stage 1, Stage 1, Stage 2New NSW Syllabus

Horrible Harriet Early Stage 1

Outcomes Content General capabilities and cross-curriculum priorities

Creative Arts Drama DRAES1.4 Responds to dramatic.

Appreciating.

Creative Arts Music MUES1.4Listens to and responds to music.

Listening.

English Ene-8BA student: demonstrates emerging skills and knowledge of texts to read and view, and showsdeveloping awareness of purpose, audience and subject matter.

Reading and viewing 2. ACELY1645ACELA1786ACELT1578Personal and social capabilityCritical and creative capability

English Ene-10CA student: thinks imaginatively andcreatively about familiar topics, simple ideas and the basic features of texts when responding to andcomposing texts.

Thinking imaginatively and creatively

ACELT1577ACELT1785ACELT1580ACELT1783Personal and social capabilityCritical and creative capability

English Ene-11Dresponds to and composes simple texts about familiar aspects of the world and their own experiences.

Expressing themselves. ACELT1575Personal and social capabilityDifference and diversity.

Stage 1

Outcomes Content General capabilities and cross-curriculum priorities

Creative Arts Drama DRAS1.4Appreciates dramatic work during the making of their own drama andthe drama of others.

Appreciating.

Creative Arts Music MUS1.4Responds to a range of music,expressing likes and dislikes and the reasons for these choices.

Listening.

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Classroom Context andCurriculum LinksThis performance provides the classroom teacher with manyopportunities for learning activities that link to the following curriculum.

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English EN1-8BA student: recognises that there are different kinds of texts when reading and viewing and shows an awareness of purpose, audience and subject matter.

Reading and viewing 2.

English EN1-10Cthinks imaginatively and creatively about familiar topics, ideas and texts when responding to andcomposing texts.

Thinking imaginatively and creatively.

ACELT1586Critical and creative thinking.

English EN1 - 11DA student: responds to and composes a range of texts about familiar aspects of the world and their own experiences.

Expressing themselves. ACELT1590ACELT1587ACELY1655ACELT1582ACELT1583Critical and creative thinkingPersonal and social capability.

Stage 2

Outcomes Content General capabilities and cross-curriculum priorities

Creative ArtsDrama DRAS2.4Responds to, and interprets drama experiences and performances.

Appreciating.

Creative ArtsMusic MUS2.4Identifies the use of musicalconcepts and musical symbols in a range of repertoire.

Listening.

English EN2 - 8BA student: identifies andcompares different kinds of texts when reading and viewing and shows an understanding ofpurpose, audience andsubject matter.

Reading and viewing 2. ACELY1678ACELY1690ACELA1478ACELA1492ACELT1599Critical and creative thinking

English EN2 - 10CA student: thinks imaginatively,creatively and interpretively about information, ideas and textswhen responding to andcomposing texts.

Thinking imaginatively,creatively andinterpretively.

ACELT1605ACELT1607ACELT1594ACELT1602Critical and creative thinkingPersonal and social capability

English EN2 - 11DA student: responds to andcomposes a range of texts that express viewpoints of theworld similar to and differentfrom their own.

Expressing themselves. ACELT1596ACELA1489ACELY1675ACELT1603Personal and social capabilityCritical and creative thinking

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TEACHING AND LEARNING6

Getting to know artist/writer Leigh HobbsLeigh Hobbs is Australia’s Children’s Laureate for 2016/17. He used to be a teacher and he loves libraries. He has a great sense of humour and thinks ALL children should be encouraged to do funny drawings and write silly poems. Leigh has loved drawing since he was a little boy.

“It is a joy to be able to get up and spend mytime drawing. I love it. I would do it even if I didn’t have to.”

Wobbly LinesLeigh Hobbs loves characters that are a bit berserk. What do you think berserk means? Have a look at Leigh’s illustrations in Horrible Harriet and see if you can guess.

Look at the illustrations by Leigh Hobbs in Horrible Harriet. Notice how he useswobbly lines in his drawings.

What kinds of characters do you think should be drawn with wobbly lines?

What kind of personality might a character have drawn with very straight lines?

Read or Watch: Horrible Harriet

Why do you think Horrible Harriet is mean to other kids?

Does she do anything nice for anyone?

Do you think a person can be both mean and kind? How?’

Have you ever sat alone at lunchtime?

What do you do when you can’t find someone to play with at school?

What do you love to do? What would you do even if you didn’t have to?

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Draw a made up character using the same kinds of wobbly penlines that you explored in Leigh Hobbs illustrations.Colour in your character using markers or watercolours.

Describe the personality of your character using 5 adjectives.Is your character flaky, goofy, peculiar, odd, nutty, shy, mean,generous, greedy, considerate, artistic, bossy, dainty, nosy,courageous, kind or talkative? lines?

Athol arrives to school in a hot air balloon.Think of the most interesting, beautiful or naughty way you could travel to school.

Draw a picture of yourself arriving to school in an incredibly unusual way.

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Draw a car with fangs.

Write a poem about the naughtiest child you can imagine.

Think about where stories come from.

Sit next to someone on the bus you don’t usually play with. Look out the window andfind something interesting to point out to your new friend. Tell each other an unusualfact about yourself. Keep talking until you have discovered at least three things youhave in common.

Introduce this new friend to someone else. Try and remember as much as they said about themselves, but add one extra fact or story about them that is not true. See if they can guess which story or fact is the not true one!

Sit quietly for a while and watch the scenery. Notice your breath and your heartbeatand see if they feel any different to when you talk to people you know really well.Keep noticing your breath and your heart beat until you arrive at Sydney Opera House. Before you get off the bus make sure to say goodbye to your new friend before you gooff to find your BFF.

Watch: Leigh Hobbs in his studioFind our more: Children’s Laureate Leigh Hobbs Visit: Leigh Hobbs Website

What is the most musical part of a chicken?The drumstick

Do you know any jokes about chickens?Make up some of your own!

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Look into the harbour and see how many different colours you can see in the water.Next time you paint the harbour remember how many colours you collected withyour eyes today. How many colours can you see, 5, 8, 55??

Write down as many words as you can think of to describe Sydney Opera House.Arrange your words into a list to make a list poem.

If Horrible Harriet was visiting the Opera House with you today what MEAN and NASTY, CRUEL and WICKED things do you imagine she might do?

How was the set design inspired by LeighHobbs illustrations?

Was the play exactly the same as the book? Explain.

How is reading a book different to watching aperformance in the theatre?

Which moment in the performance do you rememberthe most clearly?

What didn’t you like about the show?

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Playing with feelingsSit in a circle. Pass happiness around the circle in silence so that you can explore facial expressions and gesture. Turn to the person next to you and smile the biggest smile you have ever smiled. Keep passing the smile from person to person until it has gone all the way around the circle. Suggest other emotions that could be passed around the circle using only gesture and facial expression. After a few rounds try adding sounds to enhance the emotion.

Character from costumesGive each student an evocative costume item – clothes, glasses, hats, shoes, gloves, jewelry etc. Sit quietly on the floor and explore the object playing with all the ways you could wear it. Put on your costume element and walk slowly through the space noticing the way you feel, walk, and behave as you allow yourself totransform into a new character.

Perform your character to the rest of the class by walking onto the stage and sitting down on a chair without saying a word. How much can you express about your character non-verbally using only movement, facial expressions and gesture.

Introduce yourself to the class and share a little bit about your life as your character. Think about the way you stand and speak and the kinds of things you say. Are you shy or confidant? Mean or kind? Funny or serious? Talk about things you love, fear or hate.

Have a conversation with another character in your class about something that you love or dislike. Stay in character while you are having this conversation. Have an argument about something important that escalates, and then slowly calm down and find a way to make up or come to an agreement. Perform your dialogue for the class.

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Some thoughts from playwright/adapter Maryam MasterHow did you turn the book Horrible Harriet into a play?

Well, Harriet actually jumped off the page and started talking to me. She grabbed me by the collar, looked intently into my eyes and insisted on her very own one-woman show. She made it clear that she was to be the star of the show. She wasn’t sharing the stage with amateurs. Especially not that ridiculous, overgrown yellow creature – Mr Chicken!

And so I obeyed her orders. I didn’t turn the book into a play, rather I wrote a new story just for her. She stood, watching over my shoulder, giving notes throughout the whole pro-cess. She only ever whipped me once so I think she’s happy with the final script!

Choose a picture book you love and write a play inspired by the story. What might happen after the book is finished? What other adventures could the characters have?

Some thoughts from director Liesel BadorrekWhat is the most exciting, scary or difficult thing about being a Director?

Most exciting? Scary? Difficult? Actually they’re all the same. Its having both theopportunity and the responsibility of being the storyteller. The buck really stops with the director. So once the script has been written and the set and costumes designed, it is up to the director to decide how the story will be told. What exactly will theaudience be watching. Working on every new show is exciting and scary and difficult. However you have to believe that if you collaborate with the right people, you will be able to serve the story well and make some theatre magic.

What was the hardest part of making Horrible Harriet?

Harriet is an unusual character and some people dislike her because they believe she is a bully. That’s not the case. However it is somewhat tricky to find the best way to reveal all Harriet’s qualities to an audience while still having Harriet storm through the show as she does. For a children’s show, Harriet is a very complex character and so is Athol. Getting these characters and their relationship right - and having an audience believe in them and have an understanding of them is the most challenging part of this show for me.

Why does Liesel say that Harriet is not a bully? In what ways is Harriet usual,kind or complicated?

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Costume Design by Mark Thompson Design your own costume for Harriet.

How do people’s clothes tell us something about their personalities? What colour do your think Harriet should wear? Why?

put your costume design here.

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