“My Name is Alexandra Ibbotson, I teach year 8-10 Drama at North Sydney Boys High School and attended your session during the Drama NSW conference earlier this year. I found your workshop SO helpful for my teaching approaches and activities and have used viewpoints in varying ways to teach devising.
Chopt Logic’s Education program provides exceptional training and experiences for students and teachers, in schools.
Chopt Logic has delivered theatre workshops in Australia for over a decade and in 2020, we’re excited to expand our core programs for schools. Designed by our experienced team all of our workshops focus on developing practical skills that can be applied in the drama classroom and will assist students of all ages to engage with the learning process in a dynamic, collaborative and inspiring environment.
Our tutors are specialists in the field of physical theatre, with decades of training between them and with extensive knowledge in a variety of traditional and contemporary physical theatre training practices. They are graduates of many of the world’s top training institutes.
Our team shares a passion for bold physical expression in theatre and are excited to share our skills with students in schools across Australia. We are committed to excellence in our work, both on stage and in the classroom and are keen to inspire a new generation of physical theatre performers, collaborators and creators.
Working in consultation with teachers, Chopt Logic can customise workshops to address curriculum outcomes. From specialist skills in physical theatre training forms to devising techniques to assist with collaborative tasks we can create a program that best suits the needs of your students.
We are also pleased to offer online learning options for secondary school students and teachers. Online sessions can be developed around specific physical theatre areas and can be tailored according to the needs of the teacher and the classroom.
Benefits to Students
INTRODUCE
Introduce them to a range of theatre practitioners and theorists who have helped to shape the world of physical theatre.
DEVELOP
Workshops in physical theatre are a fantastic way to help your students develop important acting skills.
IMPROVE
Improving physical expression, stage presence, precision, range and control of their movement.
Workshops in physical theatre encourage students to investigate the elements of time and space through their body, to make bold theatrical offers, and develop a strong understanding of working together in an ensemble.
Workshops Available
Viewpoints is an improvisational performance method which evolved from post-modern dance. Its founder, Mary Overlie, used the method as a structure for dance improvisations. She broke down the elements of performance into the categories of Time and Space. Further developed by Anne Bogart and the SITI Company for actors, Viewpoints is used to build a strong ensemble and create dynamic stage moments. Workshops in Viewpoints will encourage performers to investigate the elements of time and space to make bold and considered theatrical choices.
Rudolf Laban is one of the most innovative dance and movement figures of modern times. His revolutionary approach to analysing the elements of human movement is used by dancers, actors and physical therapists worldwide. Laban Movement Analysis provides a framework and language to describe how and why movement happens. Laban believed that every gesture, shape, movement the body makes has a psychological impulse behind it. These concepts are of particular use for actors and directors as they develop character.
Developed by renowned Japanese theatre director Tadashi Suzuki and The Suzuki Company of Toga, this training looks at the actor’s use of their physical instrument and breath to cultivate power, presence and precision. The Suzuki Method borrows from elements of traditional Japanese theatre, Greek theatre, ballet and martial arts. The vocabulary of the training hones an actor’s physical awareness, imagination, will and strength.
Russian director, Vsevolod Meyerhold, developed a physical training system called Biomechanics that aimed to place the physical ability of acting at the core of every theatrical process. In this workshop, students will learn introductory techniques and will be guided through one of Meyerhold’s études, a short repeatable exercise used by him to develop balance, awareness and expression. This workshop will help students practise Biomechanics and study its place in the history of physical theatre
Butoh is a form of avant-garde dance, which originated in post-holocaust Japan. It gained attention following performances by the principle founders, Hijikata Tatsumi and Ohno Kazuo. Butoh is considered a dance of the senses, of anarchic energy. It aims to reveal the unconscious, inner world of the performer, stripped of the social mask. At times fiercely primitive, and at others serenely meditative, Butoh has a history of cultivating courageous performers and will encourage students to develop a rich inner life, deep focus, and to express emotions articulately and honestly through the entire body.
Physical theatre is a dynamic and continually evolving area of contemporary theatre, often drawing from areas as diverse as movement and dance, circus, acrobatics, mask, mime and martial arts. This workshop offers students an introduction to select European physical theatre forms, including Mask, Commedia dell’arte and Clown and examines key principles at the heart of these forms, including tension, play and exuberant physical expression. Students will be encouraged to consider how the body can be an expressive vehicle to tell story, and how ensemble and joy are at the heart of the theatrical process.
This workshop will include fun activities to build trust and develop student’s understanding of weight bearing principles and partner Acro-Balance. Students will learn simple poses and be guided through important techniques which make positions achievable and enjoyable. Acro-Balance consists of partner balances and lifts and helps train control, listening and collaboration. Students will learn to create exciting balances, lifts and transitions and will be encouraged to consider how some of these balances and lifts may be used to tell story in a physically dynamic fashion.
Ideal for artists and teaching artists looking for a new approach to devising, this workshop will explore a combination of devising and dramaturgical activities and outline a clear process to help navigate creating new work. Participants will explore ensemble building techniques, improvisation practice and develop a practical language and process for creating poetic and arresting stage moments. Inspired by Anne Bogart’s approach to devising, dramaturgical practice and principles of Flow Psychology this workshop promises to leave you with a set of new tools to tackle the devising process.
Our yoga and mindfulness incursions are designed to promote health and wellbeing in students and to compliment other training in physical theatre. These workshops are a fun and creative way to improve students’ physical and mental wellbeing, while building strength and stamina. Training in yoga can foster a deep awareness of the performers physical instrument and fuel an inner clarity. Yoga cultivates a stronger sense of “instinct”, an awareness of our own thoughts, patterns, and reactions, much like meditation. Our school yoga classes focus on a combination of strength and flexibility, relaxation and most of all – fun!
We are currently offering school workshops on-demand and in schools. Please feel free to contact us to discuss tutor availability. Chopt Logic will liaise with you to find the most suited artist to deliver your requested workshop.
These workshops can range in length from one and a half hours to full days, or more bespoke programs taking place over a term or semester.
Workshops are priced at
- $16 per student, per workshop with a minimum of 20 students and a maximum of 30 students. Single workshop length can range between 1.5 hours up to 2 hours, depending on your needs.
- $890 for full day, up to 7-hours of workshop, with a maximum of 28 students.
*Additional travel fees may apply for workshops that take place further than 20km from Sydney CBD.
Chopt Logic takes the safety and well-being of our students seriously. All our teachers are experts in ensuring that physical activities are conducted with absolute care to minimise the risk of physical injury. All our workshops will begin with a brief warm up to ensure students are physically ready to work. We ask that students come to our workshops in good health and are prepared to be physically engaged.
Chopt Logic is supporting your health and safety by responding to the COVID-19 pandemic in the following ways:
- Reducing the maximum number of students in workshops
- Supporting our tutors to ensure best hygiene and safety practice.
- Ensuring best practice guidelines for in-class activity, maintaining safe distance in classrooms.
- Continuing to liaise with schools to ensure they comply with government guidelines around COVID-19 safety and are able to support our standards.
Our tutors will:
- Keep accurate attendance records to support contact tracing, if required.
- Ensure all students are properly briefed on social distancing and hygiene expectations. They will also actively monitor and enforce these in all sessions.
- Actively manage the number of people present in classrooms.
- Take your concerns about best practice and safety seriously.
We expect students to keep each other and the wider community safe by following the practices outlined below:
- Please DO NOT attend a class if you are feeling unwell and experiencing any COVID-19 symptoms, however mild. If so, please get a COVID-19 test and remain at home until you receive your results.
- Maintain good hygiene practices at all times – regular washing/sanitising of hands, cover coughs and sneezes and restrain from physical contact or handshakes.
- Ensure physical distancing – maintain a distance of at least 1.5 metres between yourself and other people at all times.
Can schools currently book workshops?
Yes, we are offering workshops in schools as normal. However, schools must be able to uphold COVID-safe standards and implement social distancing in the classroom.
Are you able to adjust a workshop to align with the curriculum?
Absolutely. We are happy to discuss how our workshops can address areas in your curriculum.
Can we book multiple workshops over the course of several weeks?
Yes. We’d love to discuss tailoring a selection of workshops for your specific needs.
Are you available for workshops outside of Sydney?
Yes. We are happy to negotiate delivery of workshops outside of Sydney, in line with current travel advice and with consideration of appropriate travel fees.
Do you offer professional development in physical theatre for teachers?
Yes. We’d love to discuss your professional development interests and how we can assist.
Testimonials
As an active member of Drama NSW and of the broader Australian drama community I have had the pleasure to experience Shane and Tina’s teaching on several occasions, both as a participating student and also observing Shane and Tina conduct workshops with young artists and students. Their enthusiasm for sharing contemporary physical theatre knowledge and skills with young artists is inspiring and infectious. The teach with clarity, discipline and a deep understanding of theatre practice globally.
Thank you, Shane. Our students got so much out of working with you and Julia! We hope to work with you again.
Shane has to come work with my Drama students on a number of occasions. He has worked with the full spectrum of secondary students from Y6 to Y12. Not one student has come out of Shane’s workshop and not loved and enjoyed the experience. Shane has enriched their learning with great practical experiences but also a solid grounding in theory to reflect upon.
The workshop went really well. Kate was great and achieved a lot with them in such a short space of time. The response from the kids was also really positive – they felt reinvigorated and refocused. Exactly what we were hoping for. We’ll definitely want to book again in the future! 🙂
Shane Anthony has been an outstanding workshop leader for many years now at UWCSEA East. His work is meticulously planned and involves such layered coaching of work linked to Bogart;s viewpoints. He has such wonderful way with the students. Kind but also to the point, warm but also gets them to work and focus like a professional actor would be expected to. He works with small and large ensembles happily and works so beautifully with soundtrack to inspire them in their movement exploration. We try to engage him every year and value so much what he gives to our students and our subject.
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SHANE ANTHONY
Shane Anthony is a director, producer, dramaturg and movement coach. With extensive directing, movement, communication coaching and teaching experience he specialises in actor training with a physical focus.
He is a graduate of the Directing Program at the National Institute of Dramatic Art, Screenwriting for Feature Film at the Australian Film, Television and Radio School and has completed a BA in Theatre Studies at Queensland University of Technology (QUT).
In 2007 he travelled to New York to continue training with Anne Bogart and the Saratoga International Theatre Institute. In 2012 he received a Mike Walsh Fellowship to attend the New York Film Academy in NYC. He is a recipient of the inaugural Youth Arts Queensland Spark “Jump” Mentorship and an Anna Sosenko Fellowship.
Select directing credits include Our Blood Runs in the Street by Shane Anthony and the ensemble, Anatomy of a Suicide by Alice Birch (nominated for four Sydney Theatre Awards), The Whale for Redline Productions at The Old Fitz Theatre (nominated for eight Sydney Theatre Awards in 2016), Lighten Up by Nicholas Brown and Sam McCool at Griffin Theatre, Songs for the Fallen for the New York Musical Theatre Festival (winner of Best Musical and Most Outstanding Actress), Sydney Festival, Arts Centre Melbourne and Brisbane International Arts Festival, Altar Boyz, Calendar Girls and Avenue Q for Fortune Theatre (New Zealand), My Name is Rachel Corrie for La Boite Theatre and Donwstairs Belvoir, 3 Winters by Tena Štivičić, Love and Information by Caryl Churchill, Orestes, Trojan Women and Radio Hysteria for NIDA Open, Doctor Faustus and The Crucible for RCHK (Hong Kong), Mrs Bang: A Series of Seductions for the 32nd Stage Song Festival (Poland), Often I Find That I Am Naked for Critical Stages – (Australian National Tour), Motortown by Simon Stephens for 23rd Productions (nominated Best Show, Matilda Awards).
Movement direction includes The Curious Incident of the Dog in the Nighttime for The Court Theatre in Christchurch, the Australian feature film, Sleeping Beauty, Angels in American for The New Theatre, Small Mercies for La Boite Theatre, and in 2009 as show director for CIRCA on their European tour of CIRCA.
Before embarking on a career as a director, Shane worked as an actor for many years. Select credits include performing with Zen Zen Zo Physical Theatre in Macbeth, Unleashed, Ashes of Atreus and several other devised works for the company, for Leticia Caraces in Mountain Language by Harold Pinter and for Suzanne Little in La Ronde by Arthur Schnitzler.
Shane facilitates workshops, lectures and seminars for a vast range of companies, both nationally and internationally. He is a core tutor across several departments at NIDA including the BFA programs, Open Program, Education and Corporate. He also teaches and directs for the UK-based artist-in-education company International Schools Theatre Association, Australian Institute of Music, Sydney Theatre School and Sydney Actors School.
TINA MITCHELL
Tina is an international theatre artist based between Sydney and New York City. She works as an actor, director, theatre maker, teaching artist, University Lecturer and an acting and public speaking coach. Hailing from Australia, she is a graduate of the Adelaide College of the Arts and holds a Masters of Arts, Practice specializing in Performance from Charles Sturt University. She has trained extensively with The SITI Company and works her way across the United States, Australia and Colombia each year. Other training includes The Suzuki Company of Toga, HB Studios and Cicely Berry.
She specializes in making work that fuses text, movement and music and has performed in some of the leading Arts Festivals in the world. Her project Miss Julia, a bi-lingual adaptation of Strindberg’s classic play, premiered at the prestigious Iberoamericano Festival de Teatro de Bogotá and has been performed in Festivals across Colombia, Italy, the United States and Spain. She helped create and played the title role of Mata Hari, in the interdisciplinary opera of the same name, which premiered in the 2017 Prototype Festival. This piece was reprised by West Edge Opera in San Francisco in 2018. She has worked for many international companies including Spain’s La Fura dels Baus, the English National Opera, SITI Company, the Adelaide Festival of Arts, Collegiate Chorale at Carnegie Hall, The Brooklyn Philharmonic and Hanyong Theatre from South Korea. Tina played Lady Macbeth for Southwest Shakespeare, was part of the cast of Punchdrunk’s Sleep No More and appeared in The Event of a Thread with SITI Company at The Park Avenue Armory. Tina has worked with The Metropolitan Opera on Wozzeck and Lulu, both directed by William Kentridge.
As an independent theatre maker Tina has created work in the United States, Colombia and Australia and her work has been included in many international arts festivals including the Iberoamericano Festival de Teatro de Bogotá, The Napoli International Teatro Festival, Steppenwolf Theatre for the Chicago Latin American Theatre Festival, LATC for el Encuentro de Las Americas, La Mama NYC, the Iberoamericano Festival de Cádiz, Spain, the Manizales International Arts Festival, Colombia, The Australian Festival for Young People, The New York Fringe, the Singapore Fringe and the Adelaide Fringe. Her directing debut, Live Fish, a devised movement/theatre piece, was nominated for the Adelaide Fringe Inspace Award for best new work in 2010.
As a teaching artist, Tina has taught in many institutions in the US, Australia, New Zealand, Colombia and Chile. She is an adjunct lecturer at Barnard College and Brown University and is part of the movement faculty at Maggie Flanigan Studios. She is a guest teaching artist for SITI Company and Atlantic Theater for NYU, and Visiting Professor at Pontificia Universidad Javeriana de Bogotá. Tina is a recipient of the Helpmann Academy emerging Director and Mentorship Awards, recipient of a State Theatre Company of South Australia Assistant Director Fellowship and 2015 Leimay Fellowship Brooklyn.
ALISON BENNETT
Alison has a particular interest in the use of comedy and the grotesque in the creation of both live and screen performance. She holds a Bachelor Performing Arts (Drama) from Monash University and trained at the Lecoq Internationale School of Theatre in Paris. She is currently the Program Manager for Adult Learning at the National Institute of Dramatic Art in Sydney (NIDA). At NIDA she is also a tutor on the BFA (Acting) program teaching comedy, grotesquerie and clowning.
Alison has recently collaborated with the Sydney Opera House/Sydney Festival/Spiral (Japan) on Join the Dots, a cross cultural digital drawing and performance project. She has performed The Magic Hat (Casula Power House), TROUPE (commissioned by Bestival Music Festival UK), Roadkill Confidential (Lies,Lies & Propaganda) and This is Not Mills & Boon (Glorious Theating Theatre Co), and recently appeared in Zelos (Painted Gate Pictures) and The Lonely Hearts Variety Hour (Platon Theodoris).
She is a regular collaborator on the Sydney Opera House Digital Education Program and has facilitated large scale international programs including ‘Global Conversations’ in the Asia Pacific region and ‘International Jazz Day’. She has created new works of theatre with non-English speaking students at Langues-en-Scene in Paris as well as facilitating workshops with ATYP, NIDA Open, Casula Powerhouse & Shopfront Centre for Contemporary Youth Arts. She has worked as a creative mentor for young people suffering from mental health issues with Spark Youth Theatre and as a professional mentor with Milkcrate Theatre on the Pathways Program. She was a producer for PACT centre for Emerging Artists (Rapid Response Program).
Alison is the Artistic Director of Hurrah Hurrah, a company dedicated to the creation of new work for both screen and theatre. With Hurrah Hurrah she has directed and produced TRADE, Roomba Nation, The Seagull and Frenzy for Two. She recently directed The Duck Pond by Tabitha Woo and co-produced Our Blood Runs in the Street for Chopt Logic. She is currently re-developing Roomba Nation as part of her creative practise Honours program at UNSW.
JULIA BILLINGTON
Julia graduated from NIDA in 2008 and has enjoyed a broad career across film, television and theatre. She has extensive training in physical theatre, having studied many techniques including The Suzuki Method, Viewpoints, Laban, Biomechanics, Butoh Dance, as well as aerial work. Her passion for movement took her to train and perform with New York based SITI Company in their adaption of The Bacchae as part of their 2018 Summer Intensive. She also spent a month in India with John Britton and his ensemble DUENDE, learning his ensemble building methodology “Self-With-Others”.
A qualified yoga teacher, Julia has taught movement at both the International Screen Academy as well as NIDA’s Open Program. She was the Movement Coordinator on Fierce, a Red Line Production at the Old Fitz Theatre in 2019, which received many positive reviews commenting on the physical strength of the play.
Julia’s teaching is broad spectrum and sensitive to the individual projects’ needs. She was Drama coach on the highly successful children television show First Day (ABC) assisting first-time transgender actress Evie Macdonald and the rest of the youth cast in shaping their performances. Julia is also an Arts Educator for the Bell Shakespeare Company, which has seen her travel nationwide leading workshops and residencies in several remote areas of the country. She is passionate about enthusing, educating and empowering the youth of Australia through movement and performance. Collaboration is at the heart of Julia’s work; she is an Associate Artist with independent theatre company Arthur and has been involved in the creation and devising process of many of their projects over the past decade. These include: The Myth Project: TWIN, CUT SNAKE, CUTE SNAKE, Bill W and Dr Bob, and The Superhero Training Academy. Her physical awareness, vocabulary and breadth of knowledge gives her an intimate understanding of the devising process, making her an invaluable member of this team.
Julia’s cinematic presence sees her touring International Film Festivals with current Australian Feature Ellie & Abbie (and Ellie’s Dead Aunt). Her first feature film All About E was screened internationally reaching audiences across 15 countries. And her latest feature, Canadian-Australian produced Buckley’s Chance starring Bill Nighy is in post-production.
Julia’s acting television credits include: Janet King (ABC); the telemovie Catching Milat, (Shine Productions); East West 101 and Starting From Now (SBS); as well as Tricky Business and In Your Dreams (Southern Star). She has appeared in several short films including Shopping; Manmares; The Filmmaker; and Thanks For Coming.
Julia’s theatre credits include: For STC – Embers; Gallipoli; For Belvoir St – Baghdad Wedding; For MTC – The Myth Project: TWIN; For Bell Shakespeare – Romeo and Juliet; For La Boite – My Name Is Rachel Corrie for which she received a Greenroom Groundling Award for Best Performance in an Independent Production.
KATE SHERMAN
Kate is an Educator, a Movement Researcher and a Performance Maker. She is currently the Program Manager of Schools and Community at NIDA and teaches creative practice for actors of the Batchelor of Fine Arts at NIDA and at The University of Notre Dame. Kate is a Certified Yoga Teacher, has studied advanced yoga teacher training with Embodied Flow Yoga and is currently studying Mind Body Therapy.
Her most recent performance work, Animal won multiple Green Room Awards and was performed in the Dark Mofo Festival. She was recently invited on an Artist Residency at Chateau Orquevaux in France to research the project, Wildone. She has worked as a performer with organisations such as Critical Path (Australia’s Centre for Choreographic Research and Development), Dance Massive, UNSW Art and Design, exhibited work at Roslyn Oxley9 Gallery, presented work at Arts Basel in Hong Kong, The Festival of Live Art Melbourne, Performance Space (Wayfarer, a real-time game and multi-media performance), MAKEbeLIVE Productions (Ruby’s Wish), STC (Macbeth), Downstairs Belvoir (Checklist for an Armed Robber), Erth Visual and Physical Inc (Gargoyles), Legs On The Wall (Beyond Belief, My Bicycle Loves You) and Campbelltown Arts Centre. She was funded by The Ian Potter Cultural Trust to study at Ecole Philippe Gaulier (Paris 2012) and performed in The Republic of Trees, a large-scale, site-specific work for the Castlemaine Festival.
She was awarded a Marten Bequest Travelling Scholarship and researched various contemporary performance companies methodologies in NY with dance theatre company Witness Relocation, Les Ballets C de la B (Belgium), Batsheva Dance Company (Israel), observed Frantic Assembly (UK), studied at The Live Art Development Agency (UK) and studied dance improvisation and choreography with Deborah Hay (UK).
She created a site-specific performance art piece entitled Under Harry’s Circumstances for Harry Seidler’s Expanded Architecture: Temporal Formal Exhibition which was published in Bauhaus Publication. She also devised a play called Once Under A Sky and has also studied with International companies Arch8, Complicite, Mimecentrum, Kneehigh Theatre and La Fura Dels Baus.
PAUL PEERS
Paul is a stage director whose work spans theatre, music-theatre and opera. He is currently the Artistic Administrator at URBANARIAS, working with Executive and Artistic Director, Robert Wood in commissioning, presenting and producing modern chamber sized opera in the Washington DC area. He has directed for regional and international companies; Vancouver Opera, Utah Opera, Boston Baroque, Hawaii Opera Theatre, West Edge Opera, and recently directing the US premiere of Jonathan Dove’s Monster in the Maze for Baltimore Choral Arts Society.
Paul’s international directing credits: Australia; David Mamet’s Glengarry Glen Ross for the Adelaide Fringe Festival, Shakespeare’s King Lear for Lightning Strike Theatre Company, Peter Weiss’ Marat/Sade, Menken and Ashman’s Little Shop of Horrors for Adelaide College of Arts. Germany; Geoeffnet for the Dosto Projekt in Berlin. In 2017, Paul completed his residency at the HERE ARTS CENTRE, New York where he created and developed in collaboration with the late composer MATT MARKS a new opera-theatre piece about the courtesan spy Mata Hari, which premiered in the Prototype Festival NYC in January 2017.
LISA LANZI
Lisa has worked in all areas of the performing arts, securing her first professional gigs at only eight years of age. Training extensively in her home-town of Sydney in classical, tap, jazz and contemporary, Lisa worked as a freelance performer whilst completing a Diploma in Visual Arts (TAFE NSW) and teaching dance at the famed Bodenweiser Dance Centre. Upon moving to Adelaide she completed a degree in Performing Arts (Dance) at Adelaide University followed by an Advanced Diploma of Acting at Adelaide College of the Arts.
As a teacher, lecturer, performer, mentor, director and choreographer Lisa has worked for The Australia Council, Country Arts SA, Carclew Youth Arts Centre, State Theatre Company SA, Australian Dance Theatre, Adelaide Festival and Fringe, Adelaide Cabaret Festival and Cabaret Fringe, Adelaide University, Adelaide College of the Arts, in secondary schools across South Australia, local Councils and private corporations plus the curated Singapore International Fringe Festival to name a few. She co-founded dance theatre company Splinter and was a cabaret performer with The Tapperuccis for many years. Lisa’a practice has encompassed community and professional arts projects and her latest projects are with BodySONG and BODYmap.
As co-director of BodySONG Lisa runs community singing events across Adelaide plus a number of movement, theatre and cross-artform in-theatre projects as well as presenting at national conferences and for corporate team-building through song and movement. With BODYmap, Lisa runs community dance projects and events for older persons, intergenerational groups plus master classes for the likes of Parkinson’s SA and Active Ageing Australia. “The work I embark upon with people who have not trained as dancers gives me a rare insight into meaningful movement and the enormous impact of dance which subsequently imparts knowledge and intent to my professional areas of practice.”
Lisa is also regularly invited to perform, choreograph and direct work for various companies and institutions in Adelaide and is exploring new horizons as a performer in film and television. She continues to undertake professional development in theatre and film and is furthering her study of Estill Voice Work. Her career as an actor and theatre director has also imparted much to her choreographic praxis and a desire to make work that combines text with choreography.