&NewLine;<p><img class&equals;" alignright size-full wp-image-859" src&equals;"http&colon;&sol;&sol;schoolnewsnz&period;fastrackdev&period;com&sol;wp-content&sol;uploads&sol;2014&sol;06&sol;SN25-EXT&lowbar;LRNG-&lowbar;Northcross&lowbar;School&lowbar;300x225&period;jpg" alt&equals;"SN25-EXT LRNG- Northcross School 300x225" style&equals;"margin&colon; 5px&semi; float&colon; right&semi;" width&equals;"300" height&equals;"225" &sol;>Northcross Intermediate School&&num;8217&semi;s &&num;8216&semi;Stuff n Nonsense&&num;8217&semi; performance group&comma; which has been performing for other schools for the past seven years&comma; embarked on its most recent road trip from May 28-29&period; Over the two days it visited four schools &&num;8211&semi; Te Hihi&comma; Greenmeadows Intermediate&comma; Maeroa Intermediate and Berkley Intermediate&period; Drama teacher Mark Jensen reports&period;<&sol;p>&NewLine;<p> <&excl;--more--> <&sol;p>&NewLine;<p>The idea of the Stuff n Nonsense presentation is to create depth and mirror our own depths in the play&period; We want to create a relationship between surface and depth through drama&comma; poetry&comma; mask work&comma; music&comma; simple props and dance&period;<&sol;p>&NewLine;<p>All 40 cast members are on stage throughout the hour-long show&comma; presenting a variety of strange characters with queer dilemmas and our audience quickly realise they are required to think and be challenged&comma; as well as laugh&period;<&sol;p>&NewLine;<p>The members of the ensemble understand what&&num;8217&semi;s involved in visiting other schools and the different expectations and physical challenges&comma; such as adapting our show to the various stagings&period; We perform for our own school audience&comma; but the real challenge lies in taking our work beyond the security of Northcross and into other schools&period;<&sol;p>&NewLine;<p>Students we visit are very interested in seeing how performance can be used to convey a message&comma; to entertain&comma; and most importantly&comma; how it can create a focus for a large group of students&period;<&sol;p>&NewLine;<p>The rehearsal process takes place over one term&comma; with weeks out because of camp and various interruptions&period; The cast of 12 year-olds workshop with text and explore ideas and movement&comma; so there is a gradual journey from surface to depth&period; This way&comma; they begin to see they will have engagement with form&period; It will enable them to express something about their own experiences – feelings&comma; memories&comma; hopes for the future&comma; jokes&comma; trivia&comma; flamboyance&comma; opinions&period;<&sol;p>&NewLine;<p>The cast work hard to express bodily and facial gestures&period; An important tool in their training has been the mask&period; What the mask does is fix the face so attention is drawn to the body&comma; which can then become a more graphically communicating instrument&period;<&sol;p>&NewLine;<p>In mask work the cast flock like fish&comma; in a common pool&period; This is a metaphor of how the group binds together&comma; and throws into focus images and themes and attitudes that are collectively important to the group&period;<&sol;p>&NewLine;<p>From the outset&comma; I remind the students of SCARF which is our group motto&period; It stands for status&comma; certainty&comma; autonomy&comma; relatedness and fairness&semi;<&sol;p>&NewLine;<p>The group have a fascinating approach towards their Shakespeare component&period; This year&comma; the chosen piece is The Merchant of Venice and the 40-strong cast use shared roles and chorus work to explore the text and the sounds of words&period; The sound of a speech may sometimes be made to express far more than it would be dramatically right for the sense to convey&period; In poetic drama far more is involved and contrasts between characters is gained by the manoeuvring as much of the sound as of the sense&period;<&sol;p>&NewLine;<p>Stuff n Nonsense seeks to highlight sound effects&comma; having fun and throwing in a modern-day advertisement for a money-lending outfit&comma; and contrasting the modern habit of omission in our reading&period;<&sol;p>&NewLine;<p>There is a strong commitment to working physically and movement is largely developed through instinct and playfulness&comma; improvising until things begin to feel right&period; The cast then begin to ask for meaning and question the content – the emotional energy released by the effort involved contributes to understanding&comma; even if this happens at an affective rather than a cognitive level&period;<&sol;p>&NewLine;<p>Individuals have a choice whether they subject the created material to analysis or leave it to function as a kind of group dreaming&period;<&sol;p>&NewLine;<p>The selection of &&num;8220&semi;strange&&num;8221&semi; or &&num;8220&semi;quirky&&num;8221&semi; music&comma; also serves to accentuate voice and language and helps to trigger emotional response&period;<&sol;p>&NewLine;<p>I believe when teachers show students how to set goals and show them what success on these goals looks like&comma; there is increased attention and motivation to succeed&period; At Northcross&comma; all our teachers are motivated&comma; and have strategies to get the best out of students&period; I aim to provide these students with a great experience&comma; and I don&&num;8217&semi;t know of any schools that offer their students this type of experience in the performing arts&period;<&sol;p>&NewLine;<p><strong>&nbsp&semi;<&sol;strong><&sol;p>&NewLine;<p>&nbsp&semi;<&sol;p>&NewLine;

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Patrick Clarke

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