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Contents

About STC 3Contact Details 6About this Education Pack 7Curriulum Connections 8The New England Project 11Cast and Creatives 15From the Director 16From the Writer 17From the Designer 19About the Play 20Synopsis 21Context 23Character Analysis 25Themes 29The Elements of Drama Analysis and Questions 33Style, Conventions and Techniques 38Learning Experiences 40Bibliography 55

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About stC In 1980, STC’s first Artistic Director Richard Wherrett defined STC’s mission as to provide “first class theatrical entertainment for the people of Sydney – theatre that is grand, vulgar, intelligent, challenging and fun.” Almost 35 years later, under the leadership of Artistic Director Andrew Upton, that ethos still rings true.

STC offers a diverse program of distinctive theatre of vision and scale at its harbourside home venue, The Wharf; Sydney Theatre at Walsh Bay; and Sydney Opera House, as its resident theatre company.

STC has a proud heritage as a creative hub and incubator for Australian theatre and theatre makers, developing and producing eclectic Australian works, interpretations of classic repertoire and great international writing. STC strives to create theatre experiences that reflect Sydney’s distinctive personality and engage audiences.

Strongly committed to engagement in the community, STC’s Education and Communities programs aim to inspire theatre appreciation and participation not only in theatres but also in schools, community halls; wherever people get together. STC offers an innovative School Drama™ program; partners with groups in metropolitan Sydney, regional centres and rural areas; and reaches beyond NSW with touring productions throughout Australia. Through these partnerships and initiatives, STC plays a part in ensuring a creative, forward-thinking and sociable future by engaging with young people, students and teachers.

The theatre careers of many of Australia’s internationally renowned artists have been launched and fostered at STC,

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including Mel Gibson, Judy Davis, Hugo Weaving, Geoffrey Rush, Toni Collette, Rose Byrne, Benedict Andrews and Cate Blanchett.

STC often collaborates with international artists and companies and, in recent years, the company’s international profile has grown significantly with productions touring extensively to great acclaim.

STC is assisted by the Australian Government through the Australia Council, by its arts funding and advisory body, and by the New South Wales Government through Arts NSW.

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Join the conversation and find out moreSTC has so much more for you than what you see on stage. Explore hundreds of interviews, articles, videos and more at sydneytheatre.com.au/magazine, get the latest back stage news and special offers from our e-newsletter, and join the vibrant ongoing conversation on social media.

Also available on our website are a host of education resources for our mainstage shows including e-books, worksheets, posters, design sketchbooks and videos. Take a look at sydneytheatre.com.au/resources

sydneytheatre.com.au

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Contact DetailsstCP.O Box 777, Millers Point, 2000 p: +61 (2) 9250 1777

Director, Community & Corporate PartnershipsPaul O’Byrnep: +61 (2) 9250 1706e: pobyrne@sydneytheatre.com.au

Education ManagerJohn Saundersp: +61 (2) 9250 1795e: jsaunders@sydneytheatre.com.au

Education Projects OfficerHannah Brownp: +61 (2) 9250 1768e: hbrown@sydneytheatre.com.au

Administration AssistantRachel Smallp: +61 (2) 9250 1967e: rsmall@sydneytheatre.com.au

Education systems and Client services ManagerTravis Greenp: +61 (2) 9250 1778e: tgreen@sydneytheatre.com.au

Playlab P.O Box 3701, South Brisbane BC, 4101 p: +61 (7) 3220 2763e: info@playlab.org.au

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About this Education PackThis education pack aims to provide teaching and learning materials for teachers and students when studying In a Heart Beat. In a Heart Beat is suitable for Grades 9 and 10 for the teaching of Contemporary Australian Realism, Magical Realism, the Elements of Drama, issues surrounding teenagers and growing up and the devising/playbuilding process. In a Heart Beat can also be used in English and PDHPE.

This education pack features essential information such as curriculum links, notes from the creators, synopsis, character analysis, thematic analysis, contextual background information and suggested learning experiences. The pack also features a breakdown of the Elements of Drama, Styles and Conventions.

The script and subsequent performance of In a Heart Beat are the result of a collaborative devising process between STC artists and the young people from the Armidale community. As part of the In a Heart Beat resources a stand alone booklet outlining the ‘Ten Steps to Collaborative Playbuilding’ is available. This booklet will be helpful for teachers and students completing a unit on playbuilding and devising.

Compiled by Hannah Brown.

The activities and resources contained in this document are designed for educators as the starting point for developing more comprehensive lessons for this play. Hannah Brown is the Education Projects Officer for the Sydney Theatre Company. You can contact Hannah on hbrown@sydneytheatre.com.au

Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions.

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Curriculum Connections DramaIn a Heart Beat can be used in the Drama classroom for the explicit teaching of:

• Playbuilding, devising and collaborating • The teaching of the Elements of Drama• Contemporary Australian Realism and Magical Realism • Non-linear narrative structure • Exploring the play’s Dramatic Meaning – being a teenager and

growing up in a rural town

stage 5 Drama5.1.2 A student contributes, selects, develops and structures ideas improvisation and playbuilding.

5.1.4 A student explores, structures and refines ideas using dramatic forms, performance styles, dramatic techniques, theatrical conventions and technologies.

5.3.1 A student responds to, reflects on and evaluates elements of drama, dramatic forms, performance styles, dramatic techniques and theatrical conventions.

5.3.2 A student analyses the contemporary and history contexts of drama.

English In a Heart Beat is a text that can be used in the English classroom for the teaching of:

• New Australian stories

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• Use of contemporary language• Non-linear narrative structure • Symbol and metaphor in narratives • Themes of belonging, regional youth, grief, bullying and life

choices

stage 5 English EN5-2A Effectively uses and critically assesses a wide range of processes, skills, strategies and knowledge for responding to and composing a wide range of texts in different, media and technologies.

EN5-5C Thinks imaginatively, creatively, interpretively and critically about information and increasingly complex ideas and arguments to respond to and compose texts in a range of contexts.

EN5-7D Understands and evaluates the diverse ways texts can represent personal and public worlds.

PDHPE In a Heart Beat can be used in PDHPE for the teaching of personal development as the story and themes link directly to:

• Developing positive self-concepts and a capacity to establish and maintain safe, healthy and rewarding lives

• Encourage and enable all students to enjoy learning, and to be self-motivated, reflective, competent learners who will be able to take part in further study, work or training

• Includes themes of bullying and peer pressure, youth depression, drugs and alcohol use and road safety.

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stage 5 PDHPE5.1 A student analyses how they can support their own and others’ sense of self.

5.2 A student evaluates their capacity to reflect on and respond positively to challenges.

5.3 A student analyses factors that contribute to positive, inclusive and satisfying relationships.

5.6 A student analyses attitudes, behaviours and consequences related to health issues affecting young people. (Mental Heath, Drug use & Road Safety).

5.7 A student analyses influences on health decision-making and develops strategies to promote health and safe behaviours.

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the New England ProjectIntroduction The New England Project (NEP) was a new approach to STC’s Theatre in Communities work, combining artistic, education and social engagement priorities. Through the New England Project, school students in collaboration with STC developed a new Australian play, In a Heart Beat. Schools involved in the project included: The Armidale School; Duval High School; Armidale High School; O’Connor Catholic College, Inverell High School and Presbyterian Ladies College. All these schools participated in STC’s 2011 People Of The Soil tour and several have a long history of travelling to Sydney to view performances and participate in workshops at the Wharf.

Overview of the New England ProjectAt the core of the project were multiple artist residencies delivering a range of workshops during and after school, teacher master classes and mentoring opportunities for young people across the theatre making process (including specialised technical masterclasses led by STC’s Head of Lighting and Head of Sound). This culminated in STC commissioning and producing a new play - In a Heart Beat, created and performed by STC artists, with local young people in the final ensemble. The play’s one week season was presented at a local performing arts venue, The Hoskins Centre, based at The Armidale School.

In a Heart Beat was written by Jo Turner and directed by Susanna Dowling, who both also ran workshops in schools and the community throughout the year. STC Resident Designer Renee Mulder oversaw production design. They were supported by locals in the areas of set design, costumes, lighting and sound and the project was managed by the Sydney Theatre Company

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Communities Department.

Armidale is located in the North West of NSW and has a population of 24,533. The region was selected for STC’s first theatre-in-communities project because of the cultural vitality of the area (particularly the town’s excellent high school drama programs) and the relationships that had already been built between STC and the town through the People of the Soil project in 2011.

Genuine community engagement was at the core of the project, which included an extensive consultation period. The first week of the project was focused on in-school workshops, followed by consultations with community leaders, and an open after school workshop program in youth-friendly public venues in the afternoon. This was followed by a more intensive devising week, where a small number of young people workshopped ideas to feed into the eventual script. This group was later invited to STC to provide feedback on the script at the close of a two week creative development period with professional actors.

Participant surveys were also a major part of the community engagement process, where project participants provided information on their perceptions of Armidale, previous drama experience and hopes for the project. Community members were kept informed through a dedicated Facebook page where updates and photographs were posted, and group members could ask questions of STC staff and artists. STC also crowd-sourced artistic content, most obviously in the development of the play itself, but also through a call out for local artists to submit an image of Armidale to feature as the ‘hero image’ on all promotional materials including posters and brochures. Events were also implemented to assist in the meaning making and value adding of the production.

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In creating a new play based on improvisatory workshops and consultations, works of art such as In a Heart Beat have the potential to convey what whole communities of people yearn to express. The brief for the project was to strenuously avoid an ‘issues based play’ that looked at a pre-determined topic such as teen pregnancy or peer pressure. Instead, the content that came from the workshops with young people was resolutely every day, resulting in an approachable, humorous play that attracted many audience members who did not consider themselves ‘theatre lovers’.

New England Project documentaryTAFE NSW Armidale Film School created an 8 minute documentary encompassing the entire project. This documentary can be found on the Sydney Theatre Company website alongside the In a Heart Beat resources at www.sydneytheatre.com.au/InaHeartBeat

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Partnership and ConsultationIn a Heart Beat was supported by:

Project donors Julie & Stephen Fitzgerald and STC Ed Founding Donors

The NSW Government through Arts NSW

Australian Government through the Australia Council, Arts Funding and Advisory Body

TAS Hoskins Creative Arts Centre who provided venue support and staff members

UNE Printery provided in kind support through the printing of programs and posters

TAFE NSW Armidale Film School created a two minute newsreel on the devising week and a ten minute documentary on the project

STC also formed a mutually beneficial partnership with Beyond Empathy, with students from their programs becoming involved in the New England Project and director Susanna Dowling conducting a storytelling workshop for their emerging artists during the production week.

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with Ethan CranfieldEamon FarrenSam KreuslerEleanor ProkopEmily RobertsRheyanon ShieldsGeorgina SymesJack TearleAndrew TigheAdam Williams

Cast and CreativesIn A Heart Beat was originally commissioned by Sydney Theatre Company, and first produced in partnership with the TAS Hoskins Centre, from 9 - 13 October 2012 at the TAS Hoskins Centre, Armidale.

DirectorSusanna Dowling

WriterJo Turner

DesignerRenee Mulder

Lighting DesignerAnthony Carlon

sound OperatorsLuke PolsonPat Bradley

In a Heart Beat created by Jo Turner and Susanna Dowling

Production ManagerSarah Watson

stage ManagerSarah Smith

Assistant stage ManagerBenjamin Bible

stC Resident stage ManagerMinka Stevens

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From the DirectorsusANNA DOWLINg (stC Artist in Residence 2012)

In a Heart Beat wasn’t written by one person sitting alone in a room, who eventually presented a finished play for some actors, a designer and a director. Although there was certainly a moment when the writer did lock himself away for several weeks to produce a first draft, with scenes,

characters, and a story are In a Heart Beat was created through a collaborative process. Many people had a hand in its final realisation.

At first the writer and director did thorough research within a specific community, finding out through questionnaires and improvised theatre exercises what issues really concerned people in this community, both privately and publicly. What was their real experience of living in this place? Their likes, dislikes, fears, dreams, goals.

This information was then fed into further improvisations and devising tasks, which were adjusted, changed and expanded according to what came up on the floor. Many scenes from the play had their genesis in these improvised scenes – or sometimes just a single idea or phrase was plucked from an improvisation, questionnaire answer or devising task and used in the final play. It was a process of ‘cherry picking’ the most interesting, truthful and dramatic ideas and placing them in a story arc.

Once the first draft was created, the creative team workshopped the play over two weeks with professional actors, reading the script aloud to audiences both from the particular community but also not. Every day over this two weeks the script was changed,

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added to, or cut sometimes in quite drastic ways. Scenes and characters appeared, disappeared, re-appeared, changed gender or place, all in response to the feedback from actors, the director, stage manager, designer and audience members at the readings.

Scripting and more redrafting continued right up until the very last days of rehearsal when In a Heart Beat was finally ready for its intended audience.

From the WriterJO tuRNER (stC Artist in Residence 2012)

In a Heart Beat is not an issues-based play about regional youth. It’s a fictional story about what it might be like to grow up in a small town. While based on one particular community, In a Heart Beat hopefully has a universal relevance. At the very least it’s relevance might extend to anyone’s

experience of growing up in regional or rural Australia; or for that matter, anyone at all who grew up feeling a little isolated – maybe all of us at one point or another.

A central theme of In a Heart Beat is the question of ‘home’. It came up constantly in our research. If home is where you come from, what does it mean to have to leave home (because you come from a small town) in order to find what you want to do in life? If home can’t be your home, where do you feel most at home? But also, what if you don’t really feel at home, when you’re at home? Many people in rural and regional communities leave their home at a certain age. What is it like to have to face this separation? A great many return home to raise families of their own. Why?

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These questions resonated right throughout the community; with a number of young people (whose homes were here, but many of whom felt they ‘belonged’ elsewhere); to others, both young and old, who felt that they could never live anywhere else – that this place was their true home; through to the present day indigenous population, many of whom were forcibly removed from their home and still don’t have ownership of it now. Many of these people still have no idea where their real home is.

In a Heart Beat is also a play about perspective. In a small town, it can be difficult to see beyond the horizon. And you are constantly under the microscope. Everyone knows everything that you do and that sense of suffocation, that our hero Jamie feels, makes whatever ‘negative’ things that are happening to him seem a million times worse than they are. Fighting back against this constriction, Jamie actually perpetuates the myth of being an outsider in his own town. He does and says things that confirm that ‘story’ in his and other people’s eyes. He actually contributes to making himself the very thing that he doesn’t want to be. In a way he creates a vicious cycle that he can’t break out of and in the absence of a viable solution, Jamie is driven to a very dark place. In the play Jamie is eventually shown a perspective of a possible future that seems altogether different from his current experience of life.

In a Heart Beat is a play of two completely distinct halves, one real and one fantastical. Lessons, both moral and emotional, are only really learnt when our anti-hero Jamie is forced into heroic action and to come face to face with the truth of life and not just his perception of it. I hope the play resonates with young and old people in life and helps us to look ‘to the end of the road’. Where you’ll end up might be much more interesting than where you are.

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From the DesignerRENéE MuLDER (stC Resident Designer)

Design developmentThe scenes in script rapidly change location from a Woolworths checkout to a classroom, from the family home to the carnival show and beyond. In early discussions about the design we decided that the staging of In a Heart Beat should be

stylised; a fairly open and flexible space to accommodate for the fast paced change of scenes. Quite early on we also established a link between the clowns at the carnival show and the characters in the Court of Choice world that James finds himself in after the car crash.

A production’s design is also guided by its design budget, for this project we utilized the combined resources and support of The Armidale School and Sydney Theatre Company.

Realisation The staging used The Hoskins Centre six meter diameter revolve. The revolve was used in scene changes and also created a new dynamic during certain scenes, for example the revolve was turned throughout the Court of Choice scene and during Jamie’s decision scene.

Dressing the stage and fitting into the carnival theme, streamers were hung vertically from the upstage bar to create a cheap and cheerful colourful backdrop.

A series of plywood boxes of varying sizes were built on

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castor wheels. The castors allowed movement into different configurations by the cast to quickly create each scene. The boxes doubled as: a hospital gurney, grocery checkout, kitchen bench, teacher’s desk, a fence, the kissing booth, a base for clown heads at the carnival and a barrister’s lectern.

Like the shifting set the cast also had to change costume quickly, as many doubled up in characters they played. The costumes were contemporary dress, until The Court of Choice scene, at this point clown masks and more circus/carnival colourful costume elements were introduced over the top of their earlier contemporary costumes.

About the PlayA heart warming coming-of-age story that features a grieving family, a fantastical underworld and a talking goat. In a Heart Beat is the culmination of an extensive engagement program by Sydney Theatre Company in the New England region throughout 2012.

In a Heart Beat tells the story of Jamie, a frustrated teenager with a grand plan to leave his country town, school and family all behind at the very first chance he gets. An outsider in his own town, when Jamie finds himself catapulted into another world he begins to recognise the allure of home. With a little help from an assortment of weird and wonderful characters, Jamie must find his way back to life as he knows it.

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synopsis the ‘real world’The play begins with the events that occur at the end of the play. Aaron, the carnival attendant, sets up the premise of the story and establishes that he is the ferryman between life and death and is eagerly awaiting the arrival of Jamie, a teenager who has been in a car accident. Aaron introduces a manic scene in the hospital: doctors work to save Jamie’s life while his distraught mother looks on. The play then moves back in time to two days prior where Jamie is shopping in Woolworths with his mother. The relationships between Jamie, his mother Annabelle and his brother Mark are strained Jamie feels like an outsider in his small town with little hope in life and a future he sees as unpromising. This is reinforced by the schoolyard bullies Adam and Pete who tease and physically hurt Jamie after school. His history teacher Mr Cameron breaks up the fight and tells Jamie that he is doing little to help others’ perception of him as an outsider by reading books by himself in the school grounds. This book is On the Road by Jack Kerouac, which belonged to Jamie’s late father David who was a philosophy lecturer.

When Jamie meets Bryony and her pet goat Roger, he dares to hope that his life may become less lonely. Bryony is a travelling show child who is in town for the agricultural show. Bryony’s interest in Jamie gives him confidence. The next day Jamie, his mother and brother attend the show and Jamie finds Bryony working on the rotating clown head stall. When bullies Adam and Pete appear Bryony rescues Jamie by shooting them with a sling shot from one of the stalls. Jamie and Bryony watch the fireworks together during which Jamie attempts to kiss Bryony. Surprised by his action Bryony quickly leaves. Feeling dejected (and a little freaked out after catching his mother flirting with

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Mr Cameron) Jamie walks along the road in the rain where he is picked up by Mark who is drunkenly driving Annabelle’s car with a group of friends. Roger the goat appears on the road; the car swerves to miss Roger and slams into a tree. Everyone is wearing a seatbelt – except Jamie.

the ‘coma world’ The ‘coma world’ takes place in a fantastical chasm: a space between life and death where people passed over into death or sent back to earth to live. This is the purgatory of Jamie’s coma. In this carnival or circus like world, side-show music plays and clown like figures address Jamie in riddles. Jamie realises that he is here to face trial and must fight a court in order to be returned to his normal life. The Judge and Barrister in the trial believe that Jamie’s pessimism towards his future is evidence for him to pass over into death which Jamie accepts. Jamie’s late father appears and with the author of On the Road, Jack Kerouac, and the pair convince Jamie to hold on as life will get better. Roger the goat suddenly appears to chase the Judge and Barrister away with a machine gun. Just as Jamie is about to step over the void back into life, he is presented with a final challenge. If he comes back to life, Mark will be required to take his place in death. Jamie refuses for Mark to die in his place claiming he is a better person than him. It turns out that this decision is a test which Jamie has passed and he is thrust back into the world of the living, waking from his coma with a greater perspective on life, his future and an appreciation of those who love him.

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Context Armidale, New south Wales In a Heart Beat was created in collaboration with the young people of Armidale. Resting high on the Northern Tablelands, it is the most cosmopolitan New South Wales city outside Sydney, catering for harmonious living for 25,000 citizens from 53 different nationalities. Armidale is known for its unique blend of culture, state of the art technology, educational diversity and natural beauty. Armidale is situated half way between Sydney and Brisbane and only two hours from the coast.

Jack KerouacJack Kerouac was an American novelist and poet. Kerouac was a pioneer of the Beat Generation. He is recognized for his spontaneous method of writing as he covered topics such as spirituality, jazz, promiscuity, Buddhism, drugs, poverty and travel. He was an underground celebrity and a founding father of the hippie movement. Kerouac died at age 47 from the effects of long term alcohol abuse.

the Beat generation The Beat Generation was a group of post World War Two writers, whose novels inspired a sub-culture known as the Beat Culture in the 1950’s. Conformists of Beat Culture were coined ‘Beatniks.’

Beatniks rejected normal standards of society; were innovative in their style and experimented with alternate lifestyles. They were interested in Eastern religion (particularly Buddhism) and rejected materialism. Think about a man with a goatee wearing a beret reciting non-sensical poetry!

Many of the values and beliefs of the Beat Culture submerged into the Hippie culture of the 1960’s.

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On the Road by Jack KerouacOn the Road portrays the story of a personal quest for meaning and belonging of two friends Salvatore and Dean. On the Road is based on the real life travels of Kerouac and his friends across America.

The two main characters of the book are the narrator, Salvatore Paradise, and his new friend Dean Moriarty, who has a carefree attitude and sense for adventure. The novel contains five parts, three of them describing road trips with Moriarty. The epic nature of the adventures and the text itself creates a tremendous sense of meaning and purpose for the themes and lessons. The main ideas of the Beat Generation, the longing for belief and meaning in life, are reflected in On the Road.

Eamon Farren, Rheyanon Shields, Jack Tearle and Andrew Tighe, in STC Communities’ In a Heart Beat, 2012. Image Terry Cooke. ©

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Character Analysis AaronAaron is a crazy cockney English carnival attendant and later in the play appears as the ferryman from life into death. His role is similar to a narrator. When scenes end he appears on stage and comments on the action while also establishing the events to come in the story.

Aaron’s comments about Jamie’s choices and attitude influence the audience’s perception of Jamie and establish the main themes of the play.

Jamie (James) BondJamie is the protagonist of the play and is struggling to find perspective on his life and future while living in a small town. Four years ago Jamie witnessed the death of his father from a heart attack and has a terse relationship with his mother and older brother Mark. He is a bright, tall, skinny, daydreamer whose apathetic and sometimes pessimistic nature causes him to be the target of school bullies. Through an accident Jamie has the option to choose life or death. With this decision, he gains insight into the importance of his future and what he values in life.

Jamie is an anti-hero. This means that while he is the leading character in the play, he lacks the traditional heroic qualities of a hero such as courage, altruism and idealism. Instead he is inferior and lacking in purpose. However, towards the end of the play his anti-hero persona changes to that of a hero when he is forced to make some challenging decisions.

Annabelle BondAnnabelle is Jamie’s mother. She is in her mid 40’s and owns

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her own marketing firm in town. Annabelle appears to show favouritism towards her eldest son Mark who reminds her of her late husband. She finds Jamie’s nonchalant attitude at times hard to deal with. Annabelle is caught by Jamie canoodling with Geoff Cameron behind the kissing booth at the carnival.

Mark BondMark is Jamie’s older brother who is in Year 12. He is a naturally gifted sportsman and student. Mark and Jamie are two very different people which causes their relationship to be tense and based on teasing. Mark is recklessly driving the car when he hits the goat. At the end of the play Jamie realises his love for his brother and becomes at peace with Mark by refusing to allow Mark to die and take his place.

geoff CameronGeoff Cameron is Jamie’s history teacher. He is also the love interest of Jamie’s mother Annabelle.

MirandaMiranda is Mark’s girlfriend and the coolest girl in Year 10. Miranda is depicted as quite ditzy and emotional, however during the destructive car ride she shows maturity and urges Mark to slow down and pay attention to the road.

AdamAdam is a bully at Jamie’s school. He physically and verbally abuses Jamie. When Adam and his friends confront Jamie at the carnival, their high status as bullies is compromised by Bryony’s quick wit and rebuttal.

PetePete is Jamie’s best friend from childhood who is now Adam’s

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bullying sidekick. During the bullying scenes Pete is caught between following Adam’s instructions and trying to warn Jamie.

Bryony FinxBryony is a confident and wise travelling show child. She is 16 years old and befriends Jamie at the carnival where they watch fireworks while sharing their hopes, dreams and fears of the future. Bryony also successfully deters Jamie’s bullies. When Jamie tries to kiss Bryony she tells him he is more like a little boy or brother than a boyfriend.

RogerRoger is a female goat who wishes her name was Stella. Roger is the goat that Mark hits in the car accident. Jamie meets a talking Roger (now named Stella) when he transitions into the fantastical circus world. Roger leads the barristers and judges on a wild chase to enable Jamie to talk to his father and escape back into the real world.

David BondDavid Bond is Jamie’s Dad who passed away from a heart attack four years ago. Jamie’s old Jack Kerouac book On the Road once belonged to David who was a philosophy lecturer. David meets Jamie in the court of choice and helps Jamie to see that his whole life is ahead of him.

Jenny ClarksonJenny is a young doctor in the town. She is the doctor who examines Jamie after the accident.

PhilA young male nurse.

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A JudgeThe judge is the head of the court of choice as to whether Jamie can go back to Earth and live or ‘pass over’ and die. The judge often misuses words which aids in the creation of the fantastical circus world and heightens the topsy-turvy atmosphere.

A Barrister (same actor as Annabelle) The barrister appears in the Court of Choice once Jamie has crossed over into the fantastical circus world. The barrister is acting for the Council for the Prosecution which is the Court of Choice and presents evidence to the court about Jamie hating his life and that he therefore deserves to die.

guards 1 & 2 Security at the Court of Choice.

Jack KerouacJack Kerouac is a writer who has been dead for almost 50 years. Kerouac is an existential author who writes about the meaning of life in his books. Jamie carries around with him his book On the Road Again which interestingly was Kerouac’s least successful novel. In the play Kerouac encourages Jamie to be positive about the future. “…always look to the end of the road Jamie. Why the hell do you wanna know where you’ve already been? What’s interesting is where you’ll end up.”

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themesThe following are themes that contribute to the Dramatic Meaning of In a Heart Beat. These themes also impact on the anti-hero Jamie and his actions and motivation in the play.

Isolation of a regional townIn a Heart Beat explores both physical and emotional isolation.

Physical Isolation “All small towns are tough. Nothing to do.” (page 38)

The play is set in a small country town. Growing up in the country is physically isolating. Rural and remote communities do not always have access to the same amenities as big cities. At times there can be a lack of entertainment and activities for young people. Throughout the dialogue there are references to young people using drugs and drinking out of boredom. The desire to escape to a place that is more adventurous plays on Jamie’s mind as he struggles to have any perspective about his current life and a direction for his future.

Emotional Isolation “Being human sucks.” (page 36)

Jamie is bright however his apathetic attitude prevents him from applying himself at school and having any sense of ambition. This is apparent to his fellow classmates who bully him. Jamie finds solace in the book On the Road by Jack Kerouac which ironically chronicles the adventures of two friends as they travel across America.

Jamie’s emotional isolation prevents him from making a positive

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contribution to his family life and the life of the school through extra-curricular interests. This in turn perpetuates his self-perception as an outsider. Often, Jamie does and says things that confirm the ‘story’ in his and other people’s eyes. He contributes to making himself the very thing that he doesn’t want to be. In a way he creates the vicious cycle that he can’t break out of and is driven to a very dark place.

Jamie continues to grieve for his father and his emotional isolation comes from a place of pain. Annabelle and Mark seem to understand each other, while Jamie is the odd one out after the death of his father.

Home“I’m going to leave town when I finish school. Don’t get me wrong, it’s like a great place to grow up…” (page 44)

Young people who have grown up in small towns often move away to cities for university or work and don’t return. Whether to stay or go is a topic that is touched on by many characters in the play. Miranda wants to leave the small town because “…I’m totally like a big city person. There’s so much more shops.” (page 44)

What home is and means to different people is also explored throughout the play. Bryony travels and has never lived in one place yet she says “I don’t want like a proper home though. You know, picket fence.” (page 62)

Jamie’s concept of home revolves around fitting in. “I don’t really feel at home when I’m at home.” (page 63) The book On the Road acts as a form of escapism for Jamie as it is a world that Jamie can relate to and is akin to his own emotional journey.

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Claustrophobia of a small town “Maybe it’s easy to be happy when everyone thinks the sun shines out of your arse!” (page 24)

Growing up in a small town can be claustrophobic. In small towns everyone knows everyone and everyone knows everyone else’s business causing people to feel like they are under the microscope. This is shown in the scene in Woolworths where Jamie and his mother meet Jenny, Mr Cameron and Miranda. In small towns, word travels quickly making it difficult to escape embarrassing situations or stigmas. This is experienced by Jamie when his mother says “Are you still a virgin?” while buying him a phone card and with the bullies and Mark who both taunt Jamie about being ‘gay.’

Perspective on life and the future“Did you know I can walk across my whole life in 45 minutes? It’s kinda pathetic.” (page 35)

Isolation and claustrophobia both contribute to Jamie’s perspective on life. Jamie is unable to see past the horizon and envisage a future for himself. Bryony asks Jamie what he wants to do when he finishes school to which he responds “I hate that question.” Jamie also says he “definitely wants to do something. Something big.” Jamie lacks perspective as a result of feeling different, feeling inferior to his brother, the claustrophobia of a small town and the sudden death of his father.

When Jamie’s dad died, he lost the one person who understood him. His father’s words of wisdom in the fantastical underworld after the accident are what eventually give Jamie perspective and excitement about the future and the ability to get over his feelings of isolation. In the end Jamie is able to look ‘to the end of the road’

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and see that where you end up might be much more interesting than where you are.

Choices“It’s not which door you choose you know, it’s why you choose it.” (page 104)

The play is also about choices. Throughout the play Jamie makes many choices that lead him to a resolution about his future. These choices are often made by Jamie unexpectedly and ‘in a heart beat.’

Jamie makes the decision to get into the car with Mark which ultimately leads him to the fantastical underworld to be processed. It is here that Jamie must choose life or death. After the evidence is presented by the Barrister he chooses death, believing his life is not worth living. When Jamie is presented with his ‘plus one’ into the afterlife, his father appears and helps Jamie change his mind and choose to live. Jamie is then faced with one final choice where he must choose a door; one which allows Mark to live and one where Mark must die in order for Jamie to live. Jamie chooses for Mark to live as he believes he is a better person than him.

Ultimately In a Heart Beat is about the choices you make affecting life in the present and the future.

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the Elements of Drama Analysis and Questions

Character The characters of In a Heart Beat are characters that can be found in almost every teenager’s life. The character’s personalities, relationships and situation create the story and the main turning points of the plot. The characters of In a Heart Beat are not stereotypical, but rather, realistic, which is a result of the devising process that utilised the real experiences, thoughts and feelings from young people in Armidale.

In the underworld of Jamie’s coma, the characters are unrealistic and have fantastical qualities which contrast with the realistic characters in the real world.

Status deepens the relationships between the characters and creates tension in the play.

QuEstIONs• Deconstruct the relationship between Jamie, Mark and their

mother Annabelle.• What do the characters in the fantastical world do that make

them unrealistic?• How does this affect the creation of the fantastical world?• How does the status between Jamie and the bullies change

across the course of the play?

ContrastContrast is created between the two worlds of In a Heart Beat. The real world is performed in the Style of Contemporary Realism, while the fantastical underworld of Jamie’s coma is in the Style of

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Magical Realism. The contrast can be seen in the language, stage directions of the script and through the set and costume design choices, creating strong Dramatic Meaning.

QuEstIONs• Other than set and costume, what other contrasts are present

between the two worlds?• Why do you think playwright Jo Turner chose to set Jamie’s

coma in a fantastical world?• Why is contrast an important Element of Drama in a script?

PlaceThe scenes in the script rapidly change location from a Woolworths checkout to a classroom, from the family home to the carnival and beyond. The creation of place is stylised to accommodate for the fast paced change in scenes in the production. Streamers were hung from the backdrop to create a colourful backdrop. A series of plywood boxes of varying sizes were built on castor wheels. The castors allowed movement into different configurations by the cast to quickly create each scene. The boxes doubled as a hospital gurney, a grocery checkout, kitchen bench, teacher’s desk, a fence, the kissing booth, a base for clown heads and the barrister lectern.

QuEstIONs• How does place influence the thoughts, feelings and actions of

Jamie?• Other than set, how else could place be communicated to the

audience by the actors?

structureIn a Heart Beat has a non-linear narrative and is cyclical in structure. The play begins at the end, where Jamie is in hospital being examined by doctors. It then returns to the beginning

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chronologically moving through the events that led to Jamie being in hospital. The play ends with Jamie in hospital again. This structure lends itself to the use of a narrator/commentator found in the character of Aaron the carnival attendant. Aaron establishes the story by directly speaking to the audience and serves as a linking device in major turning points leading to Jamie’s death.

QuEstIONs• How does the non-linear structure effect the tension for you as

the reader?• What tension is operating as a result of this?• Why do you think playwright Jo Turner has used this non-linear

structure?• Do you think the non-linear structure complements the Style

of the play? Why?

Dramatic tensionTension is the force that drives all drama. Tension creates a complex form of energy between the reader and the text. In the real world of In a Heart Beat the main tension is tension of relationships, between Jamie, his mother, Mark and the bullies. There is also an overarching tension between Jamie and his perspective on life.

In the fantastical world between life and death the main tension is tension of task – Jamie must choose life or death and then cross back over the void into life.

QuEstIONs• How is the tension that lies within Jamie’s character about life

and perspective resolved?• What is the tension of mystery in the play?• How is the tension of mystery established, built and resolved in

the play?

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Atmosphere/MoodAtmosphere is the feeling that is created by and emerges through Dramatic Action. Atmosphere is closely linked with tension. The atmosphere contrasts greatly between the real and fantastical worlds.

QuEstIONs• How would you describe the mood/atmosphere in the real and

fantastical worlds?• What other Elements of Drama help in creating these moods?

symbolSymbols create depth of meaning for the reader and audience members. Symbols in In a Heart Beat are representations of the themes, morals, messages and characters of the play. Such symbols include: the book On the Road by Jack Kerouac, Jack Kerouac himself, the title of the play – In a Heart Beat, Jamie’s father’s heart attack, Jamie’s real name is James Bond, the concept of the circus and clowns, the goat and references to little boy lost, black sheep and Finding Nemo.

QuEstIONs• What is a goat symbolic of?• Why is it important that Roger/Stella is a goat and not a

different animal?• How is Jack Kerouac’s novel On the Road, symbolic of Jamie’s

life? What is symbolic about Jamie’s lunchbox? What is symbolic about his real name being James Bond?

Dramatic Meaning Jo Turner and Susanna Dowling aimed to avoid an ‘issues based play’ about regional youth as In a Heart Beat is a fictional story about what it might be like to grow up in a small town. While

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based on one particular community, In a Heart Beat has a universal relevance. It’s relevance extends to anyone who has experienced growing up in regional or rural Australia or anyone who grew up feeling a little isolated – which we all feel at some point in time. QuEstIONs• What is the Dramatic Meaning of In a Heart Beat? • What is the most poignant moment of the play that portrays

this meaning?• What Elements of Drama in conjunction with Styles, Techniques

and Conventions are operating to create meaning in this scene?

Ethan Cranfild and Georgina Symes, in STC Communities’ In a Heart Beat, 2012. Image Terry Cooke. ©

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style, Conventions and techniques Contemporary Australian Realism The real world of In a Heart Beat is performed in the Style of Contemporary Australian Realism. The Style of acting and the dialogue between characters is realistic and utilises the fourth wall. However, Conventions have been incorporated by Jo Turner that create a contemporary Style. These Conventions include direct address, freeze/unfreeze and narration/commentary by Aaron the carnival attendant. A minimalist and multi-purpose set using the black boxes creates a Contemporary Realism Style through the production techniques. Acting choices influence the Style as the stage directions suggest that actors may be used to suggest place such as the shelves in Woolworths – ‘Actors might create the supermarket shelves.’

Magical Realism Jamie’s coma world is set in a fantastical world between life and death. This world is created through the Style of Magical Realism. In Magical Realism, realistic Conventions and techniques are combined with surreal elements of dream and fantasy. Magical Realism gives the audience members a deeper understanding of reality through its symbolic nature. For Jamie the Magical Realism world gives him perspective about life. The stylistic choice to use Magical Realism discombobulates the audience and gives them the same experience that Jamie has of feeling like an outsider or like he does not fit in.

In In a Heart Beat Magical Realism can be seen in the character of the Judge in the Court of Choice where Jamie is on trial for his life. The language that the Judge uses is spoken in riddles and incorporates malapropisms. A malapropism is the use of an incorrect word in place of a word with a similar sound. For

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example, the Judge says “What are they teaching you at stool?” (school) and “It will not be pheasant.” (pleasant)

In the fantastical world Roger (or Stella) the goat can talk and people who have passed away including Jamie’s Dad and Jack Kerouac are alive.

Stylistically choices are made in set, costume, sound and lighting to heighten the sense of enchantment. In Magical Realism characters and places often break the rules of the real world. The movies Finding Neverland and The Curious Case of Benjamin Button are both examples of the Magical Realism Style. For the audience the Magical Realism world reinforces the themes of the play such as choices, perspective and home. The Form of the Magical Realism Style also distorts the theatrical reality established in the first act.

Intertextuality Intertexuality is the referencing of one text inside another. Intertextuality is featured a lot within In a Heart Beat as it reinforces themes of the play and the feelings felt by Jamie. For example, Jamie has a Finding Nemo lunch box, which is symbolic of his feelings of being lost and trying to find his ‘home’ or where he belongs. The play also features references to Baa Baa Black Sheep which echo this sentiment.

Jamie is also studying Macbeth in class and his teacher Mr Cameron quotes Macbeth speaking about his manhood saying “I dare do all that may become a man.” This is fitting as Jamie himself is on the cusp of manhood.

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Learning Experience One FocusCreation of place

subjectsDrama and English

DramaCreating and Performing, Elements of Drama – Place and Movement

EnglishUnderstands and evaluates the diverse ways texts can represent personal and public worlds, new Australian story, regional youth

Brainstorm Relay

ResourcesTwo pens and two pieces of paper.

Instructions1. Divide the class into two teams who line up at the end of the

classroom.

2. Place two pieces of paper and two pens at the other end of the classroom.

3. In the space of three minutes each team member must run one by one, up to the piece of paper, write down an object or building that would be found in a small country town, run back and tag the next team member who repeats the process.

4. The team with the largest amount of objects or buildings on their list wins. Read to the class and discuss.

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Map of the town

1. Think about the places listed in the above relay activity.

2. As a whole class the students work together to create a map of the town.

3. Students are encouraged to think about being dynamic in their use of the classroom space and consider levels, shape and proximity.

4. Students can also work in small groups or pairs to create certain buildings and locations.

5. Once the map is complete, the teacher can go around and tap students on the shoulder and ask them what they represent.

A Day in the life…

1. Students form groups of four.

2. Each group is to come up with a daily activity that might take place in the town. For example, working at the local pub or the postman delivering the mail.

3. Students are to create a freeze frame of these activities.

4. As a whole class everyone is to freeze in their freeze frames.

5. Now bring these activities to life with each person having one corresponding movement and word that accompanies what they are doing.

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6. Students are to choose an order within the group for when each person does their action and sound.

7. Each group is to present individually. When presenting these to the class students are to repeatedly perform the movement and sound until the teacher says freeze.

8. In their groups students are to perform these daily activities in double time tempo, normal tempo and slow-motion tempo.

9. Perform these in front of the class.

10. Discuss how the different tempos affect meaning for the audience. What does the fast tempo say about the town? What does the slow tempo say about the town? Which of these representations is Jamie’s perception of the town? Why?

Claustrophobia

Jamie finds the claustrophobia of a small town difficult to deal with, particularly the feeling of being ‘under the microscope’ with his every move watched and documented and where everyone knows everyone else’s business.

In groups of six students are to create a heightened reality of Jamie’s feelings of being ‘under the microscope’ in the town by creating a scene that combines Realism and Physical Theatre.

1. Choose a location for Jamie to be in. For example, at the local fast food place or trying to buy a new pair of jeans at a clothing store.

2. One person is to play Jamie while the other students are to play

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members of the community who come across Jamie and speak and interact with him.

3. Think about the type of conversations the people of the town might have with Jamie.

4. Think about what could be done in this scene to perpetuate the idea of claustrophobia, being watched and being under the microscope. Think about movement, space, proximity, levels, eye contact, tempo, shape, chorus, unison.

5. Rehearse the scene.

6. Present to the class.

7. Discuss which scenes best created the idea of claustrophobia and why. What mood did these scenes evoke? How?

scene work

1. In groups of five students are to practice and perform Scene 3 in Woolworths.

2. Not all five characters are on the stage at the same time. With this in mind and considering the above activity, students are to think of an innovative way to perpetuate Jamie’s experience of claustrophobia in Woolworths.

3. Present to the class.

4. Discuss the effectiveness of the scenes in creating an atmosphere of claustrophobia.

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Learning Experience twoFocusCreation of character

subjectsDrama, English and PDHPE

DramaCreating and Performing, Elements of Drama – Role, Voice, Movement, Language.

EnglishUnderstands and evaluates the diverse ways texts can represent personal and public worlds, themes of belonging, regional youth, grief, bullying and life choices.

PDHPEDeveloping positive self-concepts and a capacity to establish and maintain safe, healthy and rewarding lives.

Class Discussion

As a class discuss the character of Jamie. How can his character be described? Describe how Jamie feels and his way of thinking – what contributes to this? What are some possible avenues that Jamie could explore to help him with his feelings and his perspective on life?

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Role on the Wall

ResourcesLong pieces of butchers paper, textas

1. Students form groups of four.

2. One person is to lie on the piece of butcher’s paper while another student draws their outline around them on the butcher’s paper. Once this is complete the student can sit up and join in the activity.

3. On the inside of the silhouette students are to write words that describe how Jamie feels and his thoughts (internal qualities). On the outside of the silhouette students are to write words that describe Jamie’s actions, his behaviour, his walk and his mannerisms (external qualities).

4. Present to the class.

Objects of Character

ResourcesOld books, mobile phones, photos, lunch boxes, ties.

1. Students form pairs.

2. Give each group an object.

3. Using the object as the focus of the scene, students are to create a scenario between Jamie and another character that does not happen in the play. For example, Jamie talking to Bryony

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about the significance of the book or Jamie having a fight with Mark who is reading his text messages or Jamie buying school supplies with his mum, including his lunchbox.

4. Rehearse these scenes for 10-15 minutes.

5. Present to the class.

6. Discuss how each of these scenes are realistic representations of Jamie’s life. What themes of the play are made apparent through these scenes?

Diary Entry

ResourcesEach student will need a piece of paper and a pen, emotive music.

1. Students are to find their own space in the room with their pen, paper and something to lean on.

2. Students are to write a one paragraph diary entry in the role of Jamie. The diary entry is written after the car accident and after returning back to life, when Jamie has returned home with this mother and Mark. He is reflecting on his perspective on life and the future ahead.

3. Allow students to write for 5-10 minutes while soft emotive music plays.

4. Ask students to choose one line from their diary entry to share with the class.

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5. Students all close their eyes. When they are tapped on the shoulder by their teacher they are to open their eyes and read their line and then close their eyes again.

6. Once everyone in the class has read one line out loud, as a class students are to create a ten line poem using emotive lines from each other’s diary entries. This poem is going to be a poem created verbally in front of the class, as opposed to a poem written on the board or on paper.

7. Designate a performance space and an audience space. Ask the class which line they would like to use as the opening line of the poem. The person who wrote this line stands up in a designated space in the classroom with their diary entry and reads their line out loud. Continue by asking students what line they would like as the second line to the poem, this person then stands in a line next to the first person and line one and line two are read out loud. This continues until there are ten lines for the poem. When the poem is finished perform it from the first line to the tenth line.

8. As a class decide on a suitable title for the poem.

Extension

Now choose some lines that can be repeated, think about how many times they are repeated and in what tempo the poem is performed. Also consider pitch, emphasis, pausing and volume. Perform the poem with these embellishments.

How do these changes impact on the meaning of the poem?

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script work

1. In pairs practice and present Scene 14 from page 60 to page 65 where Bryony says “You’re funny.”

2. Focus on physically portraying Jamie’s feelings of being lost and wanting perspective. Think about how Jamie’s personality can physically contrast with Bryony’s confident and bubbly personality.

3. Present to the class.

4. Discuss what choices were made by the actors in successfully portraying the personalities and feelings of Jamie and Bryony.

Eamon Farren and Eleanor Prokop, in STC Communities’ In a Heart Beat, 2012. Image Terry Cooke. ©

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Learning Experience threeFocusCreation of mood/atmosphere

subjectsDrama, English and PDHPE

DramaCreating and Performing, Elements of Drama – Mood, Voice, Movement.

EnglishUnderstands and evaluates the diverse ways texts can represent personal and public worlds, themes of belonging, regional youth, grief, bullying and life choices. Use of contemporary language.

PDHPEIncludes themes of bullying and peer pressure, youth depression, drugs and alcohol use and road safety.

soundscape

1. Divide the class in half.

2. In the two halves, the groups are to work on creating the sounds from inside the car just before the crash, the moment of impact of the crash and just after the crash.

3. Students can use words, short sentences and sounds made using body percussion and objects around the room.

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4. Give students 10 minutes to practice.

5. Half the class sit with their eyes closed in a designated audience space in the room, while the other half present their soundscape. Then swap and have the other half present.

6. Discuss which soundscapes effectively re-created the car crash. What worked? What didn’t? What mood was created and how?

script work - the Car Crash

ResourcesGroups of five chairs set up in the configuration of a car. Script from page 69 to where they hit the goat on page 73.

1. Students form groups of five. If the numbers are uneven there can be four people in the car, or six in a group with one person as the director.

2. Students take positions in the car. Mark in the front seat as the driver, Miranda in the front passenger seat and Jamie, Pete and Adam in the back.

3. In this configuration students work to create a tense and frightening mood during this scene. Students are to think about building the mood to a climax using voice modulation (pitch, pace, volume) and movement.

4. Students have 15 minutes to practice and then present to the class.

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Extension

Choose an emotive or dramatic piece of music to accompany the scene. How does this overlay of music intensify mood?

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Learning Experience FourFocus The Style of Magical Realism

subjectsDrama and English

DramaCreating and Performing, Elements of Drama – Mood, Voice, Movement, Language, Character. EnglishNon-linear narrative, symbol and metaphor

Jamie’s coma world is performed in the Style of Magical Realism. The use of the Magical Realism Style strengthens the themes and symbols of the play. Magical Realism allows events that would not happen in the real world to occur and help Jamie to resolve his inner tension and gain perspective about his life and the future.

ResourcesCD player or ipod dock, a piece of coloured fabric for each group, various props and costumes suitable to the magical underworld of the play (clown noses, clown wigs, circus paraphernalia, capes, Finding Nemo toys, old books, toy goats, stars etc.)

In Magical Realism, voice, movement, language, use of symbol, props, costumes and music work to heighten a sense of enchantment for the audience. On page 74 when the car accident occurs the stage directions state - We transition into Jamie’s coma, through the magic of theatre, lights, music, action! We arrive at the court.

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1. In groups of six students are to create the transition from the real to the fantastical world as signalled in the above quote from the stage directions. The transition is to be performed through voice and movement and reflect the Style of Magical Realism.

2. The following quote made at the beginning of the script can also influence voice and movement choices. “Where the first half should be full of straight lines and angles, the second half is curvy, bendy and unexpected.”

3. Each group is given a piece of fabric to use in their piece, as well as selecting one or two props or costumes to use. Ask students to think symbolically about the props and costumes they choose and how they relate to the Dramatic Meaning of the play.

4. In the creation of their piece the following lines may also be used and said as many times as desired. Write these on the whiteboard for the class.

“The defendant clearly hates his life.” “I remember plotting to run away when I was five.”“Sometimes it’s almost like I can’t breathe properly.” “I don’t really feel at home when I’m at home.” “Proceed at willy nilly.” “Mr Blond” “Mr Frond” “Mr Bond”

5. Students have 15-20 minutes to rehearse.

6. Students may choose a piece of music to use in their transition. They may use their phones if school rules permit.

7. Present.

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8. Discuss how the Style of Magical Realism was made explicit to the audience in these performances. What Elements of Drama were manipulated to create Dramatic Meaning for the audience?

Extension

In Magical Realism, realistic Conventions and techniques are combined with Surreal elements of dream and fantasy.

Individually students write a paragraph analysing the use of Magical Realism in In a Heart Beat by responding to the following statement:

Analyse and evaluate how playwright Jo Turner and production designer Renée Mulder have created the Style of Magical Realism in the fantastical world. Why does Magical Realism allow the Dramatic Meaning of In a Heart Beat to be made clear to the audience?

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Bibliography Boal, A. (2002). Games for Actors and Non-Actors. New York: Routledge

Clausen, M. (2006) Centre Stage.Creating, Performing and Interpreting Drama. Melbourne: Heinemann

Goode, T., & Neelands, J. (2003) Structuring Drama Works: A Handbook of available forms in theatre and drama. United Kingdom: Cambridge University Press.

Haseman, B., & O’Toole, J. (1986) Dramawise. Melbourne: Heinemann

NSW Board of Studies. (2003). Drama Years 7-10 Syllabus. Retrieved April 9, 2014 from http://www.boardofstudies.nsw.edu.au/syllabus_sc/pdf_doc/drama_710_syllabus.pdf

NSW Board of Studies. (2003). English Years 7-10 Syllabus. Retrieved April 9, 2014 from http://www.boardofstudies.nsw.edu.au/syllabus_sc/pdf_doc/english_710_syllabus.pdf

NSW Board of Studies. (2003). Personal Development, Health and Physical Education Years 7-10 Syllabus. Retrieved April 9, 2014 from http://www.boardofstudies.nsw.edu.au/syllabus_sc/pdf_doc/pdhpe-7-10-syllabus.pdf

Taurelle, T., & McNamara, M. (1998). Performance – A Practical Approach to Drama. Melbourne: Heinemann

Turner, J. (2014). In a Heart Beat. Brisbane: Playlab Press

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Wikipedia. (2014). Beat Generation. Retrieved April 7, 2014 http://en.wikipedia.org/wiki/Beat_Generation

Wikipedia. (2014). Jack Kerouac. Retrieved April 7, 2014 http://en.wikipedia.org/wiki/Jack_Kerouac

Wikipedia. (2014). Magic Realism. Retrieved April 6, 2014 http://en.wikipedia.org/wiki/Magic_realism

Wikipedia. (2014). On the Road. Retrieved April 6, 2014 http://en.wikipedia.org/wiki/On_the_Road

Ethan Cranfield, Emily Roberts, Rheyanon Shields and Elanor Prokop, in STC Communities’ In a Heart Beat, 2012. Image Terry Cooke. ©