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Brisbane Festival 2009 Teacher Resource Materials L’Oratorio d’Aurélia 1

TEACHER RESOURCE MATERIALS

FOR

L’ORATORIO D’AURÉLIA

23 – 26 September 2009


Teacher Resource Material Writers: Dr Sandra Gattenhof, Jill Franklin and Manda Boyd

Queensland University of Technology, Creative Industries Faculty (Drama) with thanks to Holly Reif from Brisbane Festival.

Copyright – © 2009 Sandra Gattenhof, Jill Franklin and Manda Boyd

and Brisbane Festival is entitled to use the work for the purpose for which it was

commissioned. Any other reproduction must seek the permission of the copyright

holders. Contact [email protected]


CONTENTS

Teacher Resource Materials: How to use this guide 4

Production Support Materials

• Production Details 5

• Synopsis 5

Content Suitability 6

Curriculum Applications and Issues 6

Orientation Activities

• Origins of the Play/New Circus 7

• Engaging with Objects and Props 10

• Physical Elements of New Circus 11

Enhancing Activities

• Traditional Pantomime Workshop 12

• Devising Physical Performance from Art Styles 12

• Comparing the Worlds of Alice and Aurélia 13

• Creating a Fantasy World 14

Synthesising Activities

• Forming, Presenting and Responding Tasks 15

• Performance Analysis of L’Oratorio d’Aurélia 15

• Writing a Review- Part 1 Photocopy Resource 16

• Writing a Review- Part 2 17

Resources to Assist Understanding 18


TEACHER RESOURCE MATERIALS - HOW TO USE THIS GUIDE Teacher Resource Materials are a guide designed to enhance students’ knowledge about, and responses to, performance experiences. It provides information about the performance, student activities, advice about audience roles and responsibilities, and resources for further investigation by students and teachers. Teacher Resource Materials gives you, the educator, the ability to prepare your students for the process of reading and interpreting a performance whether that is through performance themes, form and style, or design elements. Experience and research indicate that students’ understanding of, and responses to, performance are enhanced through sound educational experiences. This material will help you lead students to discover information, to explore processes, and to respond in critical and creative ways. Because teachers are accountable for how students use time during the school day, time at performances, like time in the classroom, must be justified for educational value. Teacher Resource Materials ensures that learning outcomes for performances are both appropriate and clear. As an educator, you may like to make use of all the activities in this guide to prepare your students to view and unpack the performance. However, Brisbane Festival also understands that your visit to a performance is not a one off event, but forms part of a larger unit of classroom work – an investigation into contemporary theatre, the use of the elements of drama within a theatrical performance, or enabling students to analyze a performance work using the structures of theatre criticism. Therefore you may not wish to use all the suggested activities, but ‘pick and mix’ what is appropriate for your classroom work and your students.


Brisbane Festival presents

L’ORATORIO D’AURÉLIA Directed and created by Victoria Thierrée-Chaplin Venue: Judith Wright Centre of Contemporary Arts Season: Wednesday 23 September – Saturday 26 September

Directed and created by

Victoria Thierrée-Chaplin

Lighting Design Laura de Bernardis, Philippe Lacombe

Costumes Jacques Perdiquez, Véronique Grand, Monika Schwarzl, Victoria Thierrée-Chaplin

Actress Aurélia Thierrée Actor Jaime Martinez Technical Director and Stage Manager Gerd Walter

Lighting Technician Roberto Riegert Sound Technician Nicholas Lazzaro Backstage Antonia Paradiso, Tamara Prieto, Monika Schwazl Tour Manager Didier Bendel Photograph Richard Haughton Production Compagnie Des Petites Heures Synopsis L'Oratorio d'Aurélia is inspired by the magic of music hall, variety and circus, conjuring a concoction of theatrical mystery and dream-bound delirium. In this upside-down world of improbable encounters and incongruous characters, nothing is what it seems. There is no beginning and no end, just the myriad pieces of a visual puzzle, governed by the strange logic of our imagination. Actress and illusionist, educated at the school of her mother Victoria Thierrée-Chaplin and of her father Jean Baptiste Thierrée, founder of the famous Cirque Invisible, Aurélia Thierrée is the charming and charismatic protagonist of an oneiric and figurative visual patchwork. In Aurélia’s world nothing is really what it seems to be. Dreams become true, furniture alive, clothes fly, toys tell stories. Each object responds to secret rules of an upside-down world. Monsters, puppets and extraordinary creatures move in this realm of music and fantastic images, speaking to an audience not afraid of dreaming. Also appearing with Thierrée in the production is noted New York dancer Jaime Martinez, who has worked with Mark Dendy and David Parsons. Victoria Thierrée-Chaplin, was the co-founder of several of France's pioneering, internationally renowned circus spectacles-including the Cirque Imaginaire and the still-running Cirque Invisible-and her latest show adds to her family's tradition of whimsical, revelatory theatre. Aurélia collaborated with her mother, Victoria Thierrée-Chaplin, on the creation of Aurélia's Oratorio, which draws inspiration from medieval illustrations representing physically impossible structures and skewed perspectives. The work, which runs just over an hour, is set to a score developed by Victoria Thierrée-Chaplin with Paolo Barcucchi, and is an atmospheric blend of accordions, chamber music, and gypsy-style jazz. Victoria and Aurélia Thierrée’s production is classed among those that can be recommended to any kind of person, regardless of age, nationality or aesthetic preferences. In terms of genre “L'Oratorio d'Aurélia” belongs to the so called ‘New Circus” which is a synthesis of drama, “physical” and puppet theatres, circus illusion, rather rude farce, the traditional


pantomime and some indefinable madness that in point of fact is precisely what distinguishes the modern theatre from all others.

CONTENT SUITABILITY for L’ORATORIO D’AURÉLIA Year Levels Years 10, 11 & 12 Language French Sexual References Nil Setting Surreal Fantasy World

CURRICULUM APPLICATIONS Drama Circus

Physical Theatre Puppetry Comedy

English Use of Language Poetic Terminology Personification Imagery Parody

Dance Ballroom Contemporary

Art Surrealism Medieval


ORIENTATING ACTIVITIES

1. Origins of New Circus: • 1a. Information on the style of ‘New Circus’

It is important for students to gain an understanding of the history and background that surrounds the performance and the ‘new’ circus movement.

THE FAMILY CIRCUS

Victoria Thierrée-Chaplin, Aurélia Thierrée, and Cirque Nouveau by Sean Bartley

Imagine a circus with no ringleader. And no rings. Cirque Nouveau has also done away with animals and clowns. In place of the worn-out routine of jugglers and elephants, Cirque Nouveau uses lush costumes, dense soundscapes, and over-the-top acrobatics. Leaving the circus tent behind, Cirque Nouveau has moved into legitimate theatres.

Cirque Nouveau, a cross-cultural revolution that began in the late 1970s, has refined the basic circus formula that dates back to ancient Rome. Abandoning the traditional circus equation, it draws its inspiration from pop culture and performance art. Developments in postmodern dance and music have also guided Cirque Nouveau.

But its largest influence has been avant-garde theatre. Cirque Nouveau turns the tired circus form into a sophisticated theatrical spectacle. Intricately textured lighting plots replace the big top’s simple light washes. Rather than performing as silent clowns, Cirque Nouveau artists often use the spoken word to develop their characters. Complex visual composition replaces simple sets. Cirque Nouveau has also borrowed narrative structure from contemporary theater. Instead of a simple parade of acts, Cirque Nouveau features recurring characters with story trajectories and multilayered psychology.

Most Americans would assume that Cirque Nouveau began with Cirque du Soleil, the multibillion-dollar international circus powerhouse. But before Cirque du Soleil’s creation in 1984, Jean Baptiste Thierrée and Victoria Thierrée-Chaplin were already revolutionizing the form with their groundbreaking production Le Cirque Imaginaire. The piece became an international sensation, including two lauded stops at the A.R.T. After years of touring Cirque Imaginaire on all five continents, the couple went on to create Le Cirque Invisible, an even more sophisticated Cirque Nouveau piece, which also enjoyed a successful A.R.T. run.

Victoria Thierrée-Chaplin’s pedigree in innovative physical theater is impeccable. Mel Gussow, writing about Cirque Imaginaire in the New York Times, called her a “mirthful one-man band.” Instead of bringing lions and tigers on stage, Thierrée-Chaplin became the animals, performing as crabs, insects, and birds. The technique would become a hallmark of Cirque Nouveau.

Chaplin’s landmark performance needed no supporting cast. In Cirque Imaginaire’s closing number, she manipulated dozens of fans and parasols at once, filling the


stage with color and movement. Alone on stage, Thierrée-Chaplin created an enormous production number. Gussow gushed that the scene “would make Busby Berkeley glow with envy.”

But Thierrée-Chaplin contribution to Cirque Nouveau isn’t limited to physical theater. The granddaughter of Eugene O’Neill, Thierrée-Chaplin is also a master of structure. At first glance, Cirque Imaginaire uses a typical circus structure: Thierrée-Chaplin’s physical romps were broken up by comedy routines played by Jean Baptiste Thierrée. But rather than merely alternating between the two characters, Chaplin often staged them simultaneously, engaging them in dialogue with each other. Rather than being a simple circus performer, Thierrée-Chaplin became a complex character with nuanced relationships.

Thierrée-Chaplin and her husband played alongside two other performers during the tour of Cirque Imaginaire: their children, James and Aurélia. In subsequent years, each has become a renowned artist. James Thierrée, the star of Robert Wilson’s film Mister Bojangles, has gone on to found Le Cirque Bonjour. Imaginative use of everyday objects has become his signature aesthetic. Ben Brantley, describing the recent run of Thierrée’s Au Revoir Parapluie at the Brooklyn Academy of Music, raved that his staging was “as fluid and surprising as life itself.”

Aurélia takes her rightful place in the family tradition with Aurélia’s Oratorio under her mother’s direction, design, and choreography. To showcase her contortionist skills, the piece begins with a simple dresser placed center stage. As the music swells, Aurélia’s limbs appear through the drawers in stupefying combinations. Before long, she begins going through a daily routine while contorted in the dresser, turning everyday tasks like smoking and sipping a glass of wine into a master class on physical performance.

One new element that Aurélia and Victoria have explored in Aurélia’s Oratorio is puppetry. Shadow puppets become scene partners, dancing and fighting with her. In one memorable scene, Aurélia becomes a human puppet, performing inside a tiny toy theater for an audience of antique puppets who clap and boo.

Aurélia’s scenes are interspersed with ballroom dances performed by Broadway veteran Julio Monge. As Thierrée-Chaplin and Thierrée did in Cirque Imaginaire, Aurélia and Monge weave their characters together as the piece progresses. By the end, Aurélia and Monge are sharing costumes, using one jacket or pair of pants to create a single human form from their divergent physicalities.

For three decades, Victoria Thierrée-Chaplin and her family have defined and redefined Cirque Nouveau. With Aurélia’s Oratorio, the Cirque Nouveau tradition moves in a bold new direction. Like the religious musical form of its title, Aurélia’s Oratorio celebrates the sacred in everyday life. What other new tricks do Victoria and Aurélia have up their sleeves with their newest A.R.T. production? Source: http://www.amrep.org/articles/7_2b/family.html


• 1b. Review June 13 2007

Aurélia's Oratorio

By Frank Rizzo Moments of whimsy and wonder highlight "Aurélia's Oratorio," a cleverly crafted production starring Aurélia Thierrée, a performer of grace and playfulness. Created and directed by the star's mother, the show is made up of a series of brief episodes that evoke the traditions of theater, mime, magic, dance, vaudeville and circus.

The imaginative, nonverbal vignettes and show's short length should prove popular with American auds as it continues its brief U.S. tour, though marketing may prove tricky for what-is-it-exactly literalists.

The intimate show's sophistication and occasional darkness - a (fake) baby smoking, a puppet suicide, several lost limbs -- give the perf its European distinction that helps in avoiding preciousness but may also be off-putting to some. Yet it is also a show of wit and beauty, with haunting stage images -- recommended for auds aged 10 and older.

Narrative-skimpy piece begins with the lithe and wide-eyed beauty emerging, one appendage at a time, from the drawers of a large wooden bureau. Once outfitted and free, Aurélia fabricates an escape up the red velvet proscenium drapes and tasseled ropes. It also offers an opportunity for Thierrée to display a soupcon of Cirque gymnastic and aerial skills.

She is soon joined by dancer Julio Monge, a fitting and energetic partner in this flight into a surreal theatrical world both upside-down and inside-out. Monge's fierce running battle with a vicious overcoat is a standout.

Sometimes the skits are simply one-note sight gags: Aurélia blithely coming out onstage holding a still fan as her head flaps about it to create a breeze. A grounded kite that flies a stringed Aurélia in the wind. A shadow figure walking upright while its real-person counterpart follows step by step on the ground.

Other times the imagery has a disturbing, dreamlike beauty: a puppet show run amok, a bustier that devours its wearer, the discovery of a hole in a torso through which a toy train can run.

Frequently, however, the show seems too much a trifle with sketches that lack focus, force and follow-through. Skits have a stop-start quality and miss the connective tissue that could allow the pieces to add up to a more potent whole.

Music and sound accompaniment are refreshingly offbeat. Thomas Dobruszkes' lights are expert, setting an alternating mysterious and upbeat mood and providing cover for some of the quick-change transformations.


• 1c. Le Coq Activity

This exercise is based on one performed by Le Coq. Le Coq aimed at training his actors in ways that encouraged them to investigate ways of performance that suited them best. His training was aimed at nurturing the creativity of the performer, as opposed to giving them a codified set of skills. This exercise is durational and may take place over a series of orientating phase lessons.

Students are to stand in the space and wear a full neutral mask. The aim is for students to become aware of any physical mannerisms that are highlighted when wearing the mask. Once a state of neutral was achieved, students can move on to work with laval masks and then half masks, gradually working towards the smallest mask in his repertoire: the clown's red nose.

2. Manipulating props and playing with silhouette • 2a. Interpretation of Props: Objects are a major part of the performance and the ‘new’ circus movement. This orientating activity allows students to explore comedy by appropriating several objects Students stand in a circle and an object is placed in the centre of the circle. One at a time students are to enter the circle and engage with the prop in a non-conventional way. Each student is to explore the prop in a new way. This activity may be repeated with new props. At the end of the game ask the students why at some points they found the re-interpretations of the prop funny. Student and teacher engage in a discussion as to why taking objects and using them in different ways generate a humorous response from the audience. Relate this to clowning and circus. • 2b.Puppetry and Silhouette

Play the drama game ‘Machine’ but incorporating the art of shadow puppetry. Begin with one student holding a pose of action and one by one have other students come and add to the machine/image. Introduce the concept of doing the exercise with a large piece of material in front of the machine and a light to create shadow. Have the students discuss the puppetry and how it helped to bring the image to life!

3. Physical elements of ‘new’ circus These orientating activities allow students to begin to physically explore how their bodies can be used to create dynamic and engaging performance. These


exercises are also the building blocks to ensure students are acquiring the fundamental core skills of circus.

• 3a. Viewpoints: Spatial awareness, tempo, architecture

Source: Bogart, A. (1995) The Viewpoints: A Practical Guide. Smith and Kraus: Australia. Play music and ask students to begin moving through the space. One at a time introduce the Viewpoints of space, time, tempo and architecture and ask students to physically respond to begin to explore the definition of the viewpoints terms as they are read aloud by the teacher.

• 3b. Circus Skill: Acrobatics, juggling, acting and mime Teacher brings in a variety of circus props and information different styles of circus. The teacher plays circus music and the students are asked to engage and physically explore the objects in the space. The drama space is then set up as a series of stations. Half of the class is enrolled as the audience and they move from station to station observing how the other half of the class interacts with the props. The students are then to swap over. Station 1: Information on ‘new’ circus Handouts, information and images are placed at this station on the topic of ‘new’ circus. Students are instructed to present the information in interesting ways Station 2: Acrobatics At this station students are given simple acrobatic movements on cardboard and are to safely present some of the manoeuvres Station 3: Mime At this station there are several miming senarios and students are asked to choose on and present a short pantomime in groups Station 4: Juggling This station has many objects that can be juggled and interacted with. Students are to find dynamic ways of presenting these to the audience.


ENHANCING ACTIVITIES

• Traditional Pantomime workshop This workshop is the first fundamental step in allowing students to engage with traditional pantomime. It will help build confidence for later activities that ask students to create their own short performances Show students a short snippet of the popular television show ‘Mr Bean’ to give a context to “pantomime”. Follow this be asking them to perform a household chore in pantomime. Next, up the stakes by dividing the class in to small groups of 3-4 and ask them to create a pantomime in an unusual environment (e.g. within a washing machine). They must be conscious of making deliberately clear movements and gestures whilst creating a believable scene in an unusual environment.

• Devising Physical Performance from Art Styles

L’Oratorio d’Aurélia was inspired by medieval artwork. This activity gives students the opportunity to use visual art as a stimulus to create performance that draws upon viewpoints and tableaux. Divide students into small groups of 4-5 and give each group an image from a particular art style (e.g. Surrealism, Pop Art, M.C. Escher- see examples below.) Ask students to analyse their artwork via viewpoints that could be linked to it (e.g. architecture, spatial relationships, tempo, rhythm, repetition) then construct a physical representation of a world that reflects that piece. You may want to give students an example first e.g. a geometric cubist world created with blocks in the class and chairs stacked at weird angles. Then ask students to inhabit their world in three tableaux, using viewpoints to connect each freeze-frame

The Persistence of Memory, 1931 Artist: Salvador Dali

Hopeless, 1967 Artist: Roy Lichtenstein

Relativity, 1953 Artist: MC Escher Mandolin and Guitar, 1924

Artist: Pablo Picasso


• Comparing the Worlds of Alice and Aurélia This enhancing activity draws on the connection between Aurélia’s world and the story of Alice in Wonderland. By comparing the performance with literary text the students are able to explore the themes present in both works such as; time, imagination, self discovery and escapism. This analysis will enhance students understanding of how the fantasy world is constructed. After viewing the live performance, discuss with students the themes of the work and the elements of fantasy they observed. Introduce students to the tale of Alice in Wonderland by reading some short segments of the story and showing them some of the original illustrations. Have a classroom discussion about how these two stories have similarities and deconstruct the topsy-turvy world that both Aurélia and Alice explore. Key Questions to initiate discussion: What do you think are some of the key themes within the performance? How does the power relationship between humans/puppets/objects and animals change? What are similarities that both the characters of Alice and Aurélia share?


Key websites for Worlds of Alice and Aurélia Task: Heyman, J. (2008). Alice In Wonderland http://school.discoveryeducation.com/lessonplans/programs/alice/

William Bennett Gallery. Alice's Adventures in Wonderland: Dali http://www.williambennettgallery.com/artists/dali/portfolios/alice.php

Creating a Fantasy World This activity involves students drawing on their knowledge of ‘new circus’ and brainstorming the elements that make up their own creative worlds.

Place students in groups of 4-5 and have them brainstorm some fantasy worlds that they would like to create. Have student’s select one world which they would like to bring to life. Give each group a planning sheet so that their fantasy world has a beginning, middle and end. Make sure students are creating action that draws on their knowledge of ‘new circus’ and has a surrealistic nature. Students can draw pictures, select soundtracks and use the story template. At the end of the workshop have students share their ideas with the class.

Resource: Story template

Source: http://www.norman.k12.ok.us/092/techscope/storyboard2.gif


SYNTHESISING ACTIVITIES Thinking, talking about, and responding to the performance After viewing the performance a discussion with students is needed to unpack the form, style and content of the performance. The following questions will provide a basis for discussion to occur. The questions may be tackled individually, in small groups or whole class discussions. Proposed Forming Task: Directing Task whereby students will be assessed on their ability to create and direct a short physical circus performance developed from a paragraph of “Alice In Wonderland” provided by their teacher. Students will be expected to hand in a notated working script and demonstrate their ability to direct students in an un-rehearsed environment. Students must decide on a theme and provide music and props on the day to enhance their performance. Proposed Presenting Task: L’Oratorio d’Aurélia is a multi-layered work that consists of live body, puppetry and silhouette. Students are to use their fantasy worlds that they have previously developed in class. Students will be challenged to create their own hand puppets and through silhouette interact with live performers. Students will be assessed on their ability to perform an emotive performance that exists within a fantasy world construct. Proposed Responding Task: Students respond to Victoria Therrie Chaplin’s L’Oratorio d’Aurélia. Student should consider how the ‘new circus’ style of this show differs from traditional circus and specifically identify elements of puppetry, use of props, constructions of theme and gender. PERFORMANCE ANALYSIS OF L’ORATORIO D’AURÉLIA One basis for taking students to view live performance is to enable students to analyze a play in performance. They will therefore need some prior exposure to concepts of ‘theatre analysis’. One way of doing this would be to provide them with a range of written resources that explore theatre from a variety of perspectives. These may include: The ‘Theatrical Review’ Whilst the ‘Theatrical Review’ may not strictly speaking be a form of pure theatre analysis, it is nonetheless a way of enabling students to gain an understanding of a particular reviewers’ perspective. These will also introduce them to the idea of making critical judgments. Production Company Notes Many theatre companies now produce extensive notes for students on their various productions. These notes often include interviews with the director, designers, and actors and are aimed at providing students with an insight into the collaborative nature of theatrical production. The Program Many programs also include material on the play – a review, an interview with the director and may provide a source for some additional material for the students. Magazines/Newspapers There are a number of theatrical magazines that provide some level of analytical response to theatrical performance.


The Internet The Internet is rich in a variety of theatre resources, but there are few websites dedicated to the specifics of current theatre performances in Australia. One site which does have a variety of contemporary reviews is http://www.stageleft.com.au The following worksheet from Queensland Studies Authority Sourcebook Module titled Spotlight on Script will help students structure information post-performance in readiness to write a performance review. PHOTOCOPY RESOURCE WRITING A REVIEW – PART 1 Here are some questions you may want to consider when you are thinking about a play in production. Use drama terminology when jotting down ideas. What is the title of the play and what expectations does this set up?

Who wrote it? When was it written? Was it written for a particular purpose? What were the circumstances under which it was written (for example, in response to an incident or event, for a commission, in collaboration with a youth theatre company)?

What is the theme? Does the play have a particular message or several messages?

What is the plot (in as few words as possible)?

Is it set in another time or place? When? Where? How did that impact on the staging? Costume? Make-up?

How did the venue and performance space affect the staging? What was the set like and how did that support the play and the performances?

How did lighting/sound/media support the production? Were there any special effects?

Were all the actors believable in their roles? Could you see and hear them? Did you feel any connection with them? Did any stand out?

What style would you say this play belongs to? What aspects of the style could you see?

What form or structure did the play follow? Was there a clear pattern to the tension?

What contributed to the mood of the production? How was this managed and changed throughout?

What struck you about the roles, relationships and language?

Did the production highlight any elements or conventions of drama in unusual ways? How? Why?


WRITING A REVIEW – PART 2 The following information and activities are drawn from Centre Stage (2000) by Mathew Clausen pp. 88-89. The flowchart may assist students in the writing phase after viewing a performance. After watching a performance, you will have quite a strong sense of whether or not a performance was effective. This is usually reinforced through feelings of whether or not you were engaged, moved, excited or disinterested. Using the words from the reviewers and interviewer as well as students’ own impressions and understandings, undertake an analysis the performance according to the following categories and questions. This could be done in written or oral form. PLOT This is the actual action that happens on stage. Try to reduce the whole story into a brief paragraph that includes all the main events. DISCUSS THEMES AND ISSUES Outline the themes and issues that you feel were important in the play. The themes and issues carry the message of the play and are important in helping the audience gain meaning from the performance. ANALYSE CHARACTER OBJECTIVE AND MOTIVATION Describe and analyse the characters. To find the character’s objective, ask yourself the question: What does the character want to achieve by the end of the play? To find the character’s motivation, ask yourself the question: Why does the character want to achieve their goal? EVALUATE THE PERFORMER How well did the actors use body language to express their character? Were their movements and gestures appropriate for their character? How well did they use their voice to express character and deliver lines? How focused did they seem during their performance? How convincing did the performer seem in their portrayal of their character? COMMENT ON THE USE OF PRODUCTION ELEMENTS Were the costumes suitable for the characters? How did the choice of colours and designs suit the overall look of the performance? Was the set an effective use of space? Was the set easy for the actors to manoeuvre about. In terms of colour and layout, did its design enhance the performance? Did the signs and symbols used within the production enhance meaning? Was special lighting used at any time for a particular effect? Did the use of live or recorded sound enhance or detract from the performance?


RESOURCES TO ASSIST UNDERSTANDING In Print Albrecht, E.J. (2006). The Contemporary Circus: the art of the spectacular. Lanham, Md. : Scarecrow Press. Callery, D. (2001). Through the Body: a practical guide to physical theatre. New York: Routledge; London: N. Hern. Audio Visual Drama Queensland. (2004) Physical Theatre Performance and Pre-text. Brisbane; Drama Queensland. On the Web Circa (based at Judith Wright Centre of the Contemporary Arts, Brisbane) www.circa.org.au Circus Oz www.circusoz.com Craig, J. (2009). Drowning girl inspires original performance piece http://cutoday.wordpress.com/2009/05/01/nib-drowning-girl-inspires-original-performance-piece/ Heyman, J. (2008). Alice In Wonderland. http://school.discoveryeducation.com/lessonplans/programs/alice/

William Bennett Gallery. Alice's Adventures in Wonderland: Dali. http://www.williambennettgallery.com/artists/dali/portfolios/alice.php

Art References Craig, J. (2009). CUToday ‘NIB: Drowning girl inspires original performance piece’ http://cutoday.wordpress.com/2009/05/01/nib-drowning-girl-inspires-original-performance-piece/ The M.C. Escher Company B.V. The Official M.C. Escher Website http://www.mcescher.com/ All Internet address (URLs) given were correct at the time of research and printing. However, due to the dynamic nature of the Internet, some addresses may have changed, or sites may have ceased to exist. No responsibility for any such changes can be accepted by either the writers or Brisbane Festival.

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