`13 Teacher`s Education Resource Kit`

 Copyright protects this Education Resource Kit. Except for purposes permitted by the Copyright Act,
reproduction by whatever means is prohibited. However, limited printing and photocopying for classroom use
only is permitted by educational institutions.
The ‘13’ Education Resource Kit was prepared by
Matilda Brodie and Rebecca Hansford (2nd Year Bachelor of Performance, AIM Dramatic Arts)
with contributions by Peta Downes (Head of AIM Dramatic Arts), Margaret Davis (Dramaturgy Mentor, ‘13’)
and Amy Perry (Drama -AIM High School)
2 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
AIM DRAMATIC ARTS
2015 Bachelor of Performance
Graduating Company
13
by Mike Bartlett
Teacher’s Education Resource Kit
1. About AIM Dramatic Arts………………………………………………………. p4
2. About this Production…………………………………………………………… p4
Creative Mentors………………………………………………………….. p4
Creative Team……………………………………………………………... p5
Cast………………………………………………………………………… p6
3. The Playwright: Mike Bartlett……………………………………………………p7
4. About 13………………………………………………………………………………….. p8
5. The Director: Peta Downes……………………………………………………… p9
Director’s Notes…………………………………………………………… p10
6. Designer Notes………………………………………………………………… p12
7. UK Political Setup………………………………………………………………. p14
8. Terrorism and Decreasing Freedoms……………………………………………. p15
9. The Changing Face of the United Kingdom…………………………………….. p16
10. Curriculum Links………………………………………………………………. p17
11. 13 Pre-show and Post-show Discussion Topics and Activities.……………….. p19
12. Ticketing and Performance Information………………………………………. p22
Performance Dates………………………………………………………… p22
Getting to Pilgrim Theatre………………………………………………… p23
Theatre Etiquette………………………………………………………….. p23
13. Glossary………………………………………………………………………... p24
14. Bibliography…………………………………………………………………… p25
3 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
ABOUT AIM DRAMATIC ARTS
The Dramatic Arts department of the Australian Institute of Music (AIM) was
formerly known as the Australian Academy of Dramatic Art (AADA). Based in
Pilgrim House in the Sydney CBD, it provides students with the unique opportunity to
train professionally as actors, producers and theatre-makers within its two-year
intensive Bachelor of Performance program.
Students learn the craft of acting as their major study whilst gaining fundamental
theatre-making skills in the areas of directing, design and technical production
required for a professional career in the performing arts.
This production of Mike Bartlett’s ‘13’ forms the major component of Performance
Practice 5, and is the first of two productions to be realised by the 2015 Graduating
Company prior to their fulfillment of the Bachelor degree. In both productions,
students are engaged in key creative/production roles on the show whilst
simultaneously rehearsing to perform in the production.
For more information about AIM Dramatic Arts, the Bachelor of Performance, future
performances and workshops, please visit:
www.aim.edu.au/dramaticarts
ABOUT THIS PRODUCTION
CREATIVE MENTORS
Directing/Producing/Marketing
Peta Downes
Production/Stage Management
Tim Burns
Dramaturgy
Margaret Davis
Voice and Accents
Felicity Josling
Movement
Anca Frankenhaeuser
Design (Set and Props)
Megan Venhoek
Design (Costume)
Rita Carmody
Lighting Design
Benjamin Brockman
AV Design
Tim Hope
Sound Design
Nate Edmondson
4 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
CREATIVE TEAM
Director/Executive Producer
Peta Downes
Associate Producer
Maria Spataro
Assistant Directors
Bradley Elliot-Watson
Deborah Joyce
Dramaturges
Matilda Brodie
Rebecca Hansford
Production Manager
Ashlee Driscoll
Deputy Production/Technical Manager
Cheng Tang
Stage Manager
Aeva Dolva O’Dea
Deputy Stage Manager
Lucia May
Marketing Manager
Keeli Royle
Voice and Accent Coordinators
Misha Mehigan
Jayne Nasmyth
Movement Coordinators
Silvana Betancourt
Alexandra Kelly
Set and Props Designers
Daniel Hickie
Sarah Pearce
Costume Designers
Laura Kierse
Luciana Nguyen
Lighting Designers
Benjamin Kuzma
Clare Todorovitch
AV Designers
Misha Mehigan
Cheng Tang
Sound Designers
Lucia May
Matthew Neto
Vitas Varnas
5 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
CAST
John
Daniel Hickie
Rachel
Alexandra Kelly / Jayne Nasmyth
Amir
Misha Mehigan
Holly
Maria Spataro
Edith
Laura Kierse
Ruth
Matilda Brodie / Deborah Joyce
Stephen/Busker
Cheng Tang
Shannon
Sarah Pearce
Zia
Ashlee Driscoll
Mark/Sir Christopher
Matthew Neto
Sarah
Rebecca Hansford / Silvana Betancourt
Martin/Terry
Benjamin Kuzma
Rob/Liam/Paul
Bradley Elliot-Watson
Alice
Keeli Royle
Ruby
Clare Todorovitch / Lucia May
Dennis
Vitas Varnas
Policewoman/Esther/Fiona/Heckler Luciana Nguyen
Carol/Sally
Aeva Dolva O’Dea
6 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
THE PLAYWRIGHT:
MIKE BARTLETT
Mike Bartlett was born in 1980 in Oxford,
England. When he was 16 and at school, he
saw Mark Ravenhill’s play Shopping and
F**king, which inspired him to pursue a
career in theatre. After school he studied at
Leeds University, where he began writing to
fill what he felt was a gap in plays being
written about the present day.
In 2007, Bartlett was the Pearson Playwright
in Residence at the Royal Court Theatre
during which time My Child was written and
performed. The play follows the story of a
Photo © Steve Forrest, 2012 father who kidnaps his own son after his exwife denies him access to the boy and touches on themes of domestic violence and
casual cruelty in a ‘in yer face’ style. His 2009 play Cock is about a man who
identifies as homosexual, who falls in love with a woman and must question his
identity as a result. This play also premiered at the Royal Court Theatre.
13 premiered in 2011 at the National Theatre, London. It was performed in the large
and famous Olivier auditorium, and at 31, Bartlett was the youngest playwright in ten
years to have his work staged there. Audiences and reviewers noted the play’s short,
almost television –like scenes and the use of technology like phones, iPads and social
media on stage to support the feeling of modern life on stage. Bartlett’s early work
has been described at miniaturist; shorter plays, focusing on individuals or a small
section of society, but his later work, including 13, has moved toward a more epic
style. Earthquakes in London featured a cast of more than eighty characters, arching
themes of climate change, generational responsibility, love and the future, and
spanned time from the 1960s to the 26th century. Similarly, 13 is a longer play than his
early works, with a large cast, intertwining stories and large themes like war, faith and
religion.
Other plays include Artefacts (2008) at The Bush Theatre, Love, Love, Love (2010),
Earthquakes in London (2010) National Theatre, an adaptation of Chariots of Fire
(2010) at Hampstead Theatre, an adaptation of Medea (2012), which he directed
himself, Bull (2013), King Charles III (2014) Wydham’s Theatre and Game (2015)
Almeida Theatre. Bartlett has also written seven plays for BBC radio and a three-part
television series he wrote, called The Town, was nominated for a BAFTA award in
2012.
7 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
ABOUT 13
Across London, people wake from an identical, terrifying dream. In this moment, a
young man named John returns home after years away to find economic gloom and
ineffective protest and a Conservative government led by a female prime minister
who seems determined to support a US-led invasion of Iran, designed to rid that
country of nuclear weapons. But John has a vision for the future and a way to make it
happen.
He soon begins to preach to people, offering a different kind of dream; one of change,
belief, and action. People begin to listen and a peace movement gathers around him,
with thousands of supporters looking to him to effect change against an ineffectual
government and find a solution other than war. Face to face with the prime minister in
a battle of ideological wills, John’s past is uncovered and the true nature of his actions
is revealed.
This dystopic take on modern day London paints a grim picture of the future of our
world. Leaders are silencing citizens, riots and protests terrorize cities and individuals
are left feeling completely alone in the most populated city in Europe. In a year which
has seen governments fall and hundreds of thousands take to the streets, 13 explores
the meaning of personal responsibility, the hold that the past has over the future and
the nature of belief itself.
THEMES
Religion, Innocence, Loss, Trust, Belief, Destruction, Hubris, Technology
CRITICAL RESPONSES
The Guardian
“Bartlett has written a powerful, disturbing play about the values by which we live
and one that passionately argues for some kind of spiritual revolution.”
The Independent
‘Bartlett wants us to see the attractions and the dangers of politics driven by religious
faith and of the agitation for change that is mobilised via Facebook and Twitter rather
than the ballot box.’
The Arts Desk
‘13 is an ambitious and amazing work. The central message of personal responsibility
and the dangers of trusting messianic leaders is timely and extremely engaging.’
Dan Hutton
“13 is ingenious in its variety, tackling huge, almost incomprehensible questions, but
in doing so it asks each and every one of us to interrogate our own beliefs and values
and opens up a discourse which must and will take place.”
8 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
THE DIRECTOR:
PETA DOWNES
Peta Downes is a theatre director, producer and arts
educator of over twenty years experience and the
Head of AIM Dramatic Arts. She holds a Master of
Fine Arts in Theatre Directing from QUT and
Graduate Diploma in Arts Management from UTS
and is a PhD candidate with the Performance Studies
Department of the University of Sydney.
From 1996-8 she was a senior associate artist and
performer with Zen Zen Zo Physical Theatre in
Brisbane and in 1999 was invited to participate in the SITI Company's New York
annual physical theatre intensive, training in directing, composition and playwriting
as well as Viewpoints and Suzuki actor training methods with director and
contemporary theatre legend Anne Bogart and members of the company.
From 2002-4 she worked as an associate director with the Bell Shakespeare
Company, writing, devising and directing three works for their Actors at Work
program, The Power and the Passion, The Things We Do For Love and The Poisoned
Chalice which toured throughout Australia and Singapore, as well as working as an
educator and dramaturge on Bell’s main stage productions ‘As You Like It’, ‘A
Midsummer Night’s Dream’ and ‘The Two Gentlemen of Verona’.
As an independent director she has developed, and produced new theatre works with
the Brisbane Powerhouse, Metro Arts! (Brisbane) and Darlinghurst Theatre (Sydney).
Directing credits include: Europe, Dark Paths, Edward II, Greetings to November, A
Midsummer Night’s Dream (postModern productions), The Button Game (coproduction with Playlab/Metro Arts!), Redemption (co-production with Metro Arts!),
Slip of the Tongue (co-production with Brisbane Powerhouse), Stained (co-production
with Darlinghurst Theatre), The Taming of the Shrew (assistant director) and Leaning
Towards Infinity (La Boite Theatre Company); Antigone (assistant director,
Queensland Theatre Company); Capricornia (assistant director), The Saxon Shore,
Antigone, Dust, Dags, The Kid, Small Lives/Big Dreams, The Proposal/The Bear
(Queensland University of Technology); Plenty: Days and Days and Days Like This
(University of New South Wales); Left Behind (Central Queensland University
Rockhampton); Rodent, Down the Hatch (Short and Sweet Festival); The Pretty Girl,
The Charmed Life (Short, Sweet and Song Festival); The Tempest (Charles Sturt
University, Wagga Wagga). In addition, she has worked extensively as an actor
trainer and arts educator with acting and theatre studies students from QUT, UNSW,
NIDA, CQU (Rockhampton), CSU (Wagga Wagga), Actors Centre Australia, Actors
College of Theatre and Television.
For AIM Dramatic Arts she has produced / directed Her Naked Skin (2014) and
produced Drama Bites, Chekhov in Hell, What Remains: Aftershocks and Embers
(2013); Hell Hath No Fury: Elektra, Medea, Phaedra, Urban Myths: The Jungle and
Who’s Afraid of the Working Class?, and 2014 Emerge Festival (2014); Love &
Marriage: The Engagement and A Month in the Country (2015).
9 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
DIRECTOR’S NOTES
“We keep on being told that religion, whatever its
imperfections, at least instills morality. On every side,
there is conclusive evidence that the contrary is the case
and that faith causes people to be more mean, more
selfish, and perhaps above all, more stupid.”
― Christopher Hitchens
“Behind this mask there is more than just flesh. Beneath
this mask there is an idea... and ideas are bulletproof”
- Allan Moore, V for Vendetta
“The most dangerous ideas are not those that challenge
the status quo. The most dangerous ideas are those so
embedded in the status quo, so wrapped in a cloud of inevitability, that we forget they are
ideas at all” – Jacob M. Appel, Phoning Home: Essays
13 is a play about belief, faith, loss and what happens when we trust too much. The
impetus for writing 13 was playwright Mike Bartlett wondering if someone could
write a speech that could change the world but also to address the ‘creeping sense of
unrest and disturbance which is, I hope, to do with how we feel now'. Bartlett’s
ambivalence about personal, religious and political faith is also inherent in the text
and it is this ambiguity that resonates strongly.
Questioning the notion of belief and faith, 13 uses the plurality of John the Baptist
prophesying the coming of the Messiah and the return of Jesus himself to save
humanity. Although John is a person, he represents an idea and an ideal, becoming
different things to different people as it best serves them. Correspondingly there are
twelve disciples who tell us the story of John. Through the eyes of the twelve, we see
his charm and his power but also his darkness and his humanity. John’s interaction
and influence over the twelve provides the play’s journey for the audience.
Battery hens, being caged in, surrounded by technology, decadence, waste, war,
oppression and freedom all form the background of this play and this production. The
play is filled with images of riot, unrest, gloom, rain and war combined with the
nightmares of the twelve, which reveal explosions and monsters, insinuating that
Armageddon is close and destruction is imminent.
Dangerous ideas that challenge the status quo form the basis of the action whilst
thematically, 13 deals with the proverb ‘vox populi vox dei – the voice of the people
is the voice of God’ and in some ways, the opposing saying ‘And those people should
not be listened to who keep saying the voice of the people is the voice of God, since
the riotousness of the crowd is always very close to madness’.
When the play begins, the Prime Minister Ruth is popular with the people and in her
own words ‘not one of the boys’. Her dream two-year term in office is rocked by the
possibility of having to go to war with Iran and to make a difficult decision that she
knows will be controversially unpopular with her constituents. At the opposite end is
John, a nobody who returns from self-imposed exile to voice his opinion about how
10 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
he sees the world and restore faith in humanity, and this vision effectively galvanises
the people against the government’s action. His popularity soars due to social media
and he quickly becomes the representative of the people and the instrument to Ruth’s
downfall. But can he really be trusted?
The political machinations of the play intersect with what Bartlett believes political
theatre should be - in line with politics itself and away from 1970s ideologies. “We’re
living in a political world that exists in the centre. All plays come from three places personal experience, political context and imagination. Often a play goes wrong when
it tilts too far towards one of them, but the interesting thing is when you realise that
those aren’t three separate areas you move between, but one thing: experience. All
personal experience is politicised and all political experience is personal” (Bartlett as
cited in Trueman, 2014).
Conceptually, this production is based on the notions gathering and following – two
very contemporary ideas that infiltrate our everyday actions behaviour as human
beings in the 21st century. Technology is rife in this play with computers, phones,
BlackBerrys, iPads, iPods used throughout, suggesting a connectivity in terms of
communication but a lack of connection with humanity, underlining John’s initial
speech about battery hens and wondering or not wondering what is outside of the cage
and the blind acceptance of the status quo.
Gathering and following is found in the form of collating ideas, liking things, getting
together, giving support, finding solace and feeling like you are part of something
even when you are totally alone like the characters of this play, whose journey
intersects with these ideas and who end up with the realization that something has to
change or their dreams will become a reality.
11 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
DESIGNER NOTES
SET & PROPS
Daniel Hickie and Sarah Pearce
When designing the set for 13 we sought to portray a parallel world informed by
contemporary London. This world is decayed and destroyed; though it is unclear
whether this destruction has come about through war, civil violence, or simply
through the passage of time. The focus of the design is a space that emulates Trafalgar
Square, with additional spaces and symbols that feature in the world of 13. The
audience will be welcomed into the space to watch the production in a similar way to
that which members of the British public would experience an event in Trafalgar
Square; they will be integrated into the action, which will at times enter the audience.
The world that we have created is one that has been damaged through abandonment
and a lack care. Monuments are half destroyed, objects lay discarded and forgotten,
relics of what the world once was have been laid down only to never be picked up
again. As the play progresses these spaces will be reclaimed, religious iconography
will be revealed, objects will be found, and an energy will return to this world. This
process will allow the space to undergo the regeneration that it so desperately needs,
and which the play investigates.
The design makes use of various height levels for the actors and director to play with,
creating platforms for speeches and a visual representation of hierarchies. The use of
height in the space will combine with strong sculptural and iconographic elements to
give a sense of weight, strength, and seriousness to the overall piece. In addition, we
will make use of a central, multi-functional furniture piece that pays homage to the
transformable cube that was so important to the design of the original production.
This changeable furniture piece will allow action to easily flow from one space to
another, helping to make the fast-moving pace of the production seamless.
COSTUME
Laura Kierse and Luciana Nguyen
As costume designers, it is our responsibility to dress all 22 actors in the cast as the 27
characters that feature in the story and the ensemble as a whole in a way that shows
socio-economic status and individuality. Using Piccadilly Circus as the basis of our
design concept we have kept the costumes in the modern time of 2015 and focused on
the idea that “where there is light, there is darkness.”
The costumes use dark, muted and neutral colours based on the architecture of
London, which can be seen through characters such as Ruth and Stephen who have a
higher socio-economic status, and bright pops of neon colours which reflect the LED
lights of Piccadilly Circus, illustrated through the much younger and lower socioeconomic status of characters like Alice and Holly. Individuality will be shown
through the character’s own specific clothing style and the uniqueness of each
character will be found in the small details; such as the use of wristbands, necklaces,
rings, hair accessories, watches and shoes.
12 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
LIGHTING
Benjamin Kuzma and Clare Todorovitch
The purpose of a lighting design is more than to simply make the actors visible. The
lighting of a scene reveals aspects of character and place, gives context, sets tone and
supports the action on stage by lighting the world in which these characters live.
Our design is more figurative than literal, drawing upon stained glass windows for
inspiration for our colour palette, with light green and blue, violet, steel grey and cool
white to show the stark reality of this harsh world. We have created a design that is
mainly lit by floor and side lighting; keeping the overhead rig clear for our
masterpiece, the stars. Lastly, the fluidity of the scene transitions allows for a very
subtle, cohesive design. Slow fades and specially focused lights will enable the
audience to follow the story with ease and the gradual build-up of brightness will
reflect the idea that John is bringing the light to this dark and desolate world.
AV
Misha Mehigan and Cheng Tang
Technology plays a huge part in this play which is no surprise considering its modern
context and vibe. The play itself is a comment on modern communications technology
as much as it is a comment on politics and war. Knowing this, the AV team has
worked with the concept of Dante’s Inferno: hell, fire, upheaval and ultimately,
renewal, highlighting these facets by subtly supporting all other technical elements as
well as creating a world of boxes with screens. These boxes represent the digital
world we are engaged with: phones, computers, consoles and the screens in these
boxes represent the social media that is ever present.
SOUND
Lucia May, Matthew Neto & Vitas Varnas
As the sound designers for 13, we have collected and created sounds and tracks to go
along with the recorded aspect of the design. We have incorporated sounds and tracks,
which match the overall theme of the play and the events that take place whilst
creating a cohesive world. Prominent themes that resonate throughout the play are
fear and apprehension and the kinds of genres that fit with the setting and the political
aspects accompanying the story are contemporary industrial rock, grunge and punk
rock. We have also instilled recording of live sound to further amplify the atmosphere
with many choral arrangements, and rioting behaviours that feed into scenes. We have
incorporated surround sound that will fill the whole space as well as spot speakers for
more direct sounds like alarm clocks.
13 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
AN OVERVIEW:
UK Political Set up
The United Kingdom is a unitary democracy government, meaning the country is
governed as a single power in a central government, located at the Palace of
Westminster. This government is ultimately supreme and the administrative divisions
(Northern Ireland, Scotland and Wales) only exercise powers that their central
government chooses to assign. The political layout involves an Upper House (House
of Lords) and a Lower House (House of Commons). The House of Lords include
Lords Spiritual (26 bishops) and Lords Temporal (life peers with the rank of a baron)
while the House of Commons consists of elected members known as Members of
Parliament (MPs). Members are elected to represent constituencies (area for
electorates). The Prime Minister stays in office as long as he or she retains the support
of a majority of its members. The current Prime Minister of the United Kingdom is
David Cameron, a member of the Conservative Party. This party is one of the two
main parties of the United Kingdom, the other being the Labour Party. The
Conservatives, also known as Tories, are a centre-right party who pride themselves in
creating “a clear economic plan” to produce “a brighter, more secure future”
(Cameron, 2015). The Conservatives won the 2015 election after many predictions
stating there would be a hung-parliament.
Diagram © BBC 2007 Photo © Mubarak Farhad 2015 14 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
TERRORISM AND DECREASING FREEDOM
In 13, Ruth must decide whether to send Britain to war against Iran. The motivation
for doing so is to stop Iran from gaining nuclear weapons, which could be used
against Britain and the USA in the future. The fear that terrorism has created among
the British people may justify this, the case against says that war should not be
entered into without substantial evidence. But individuals like John argue that
declaring war is an ‘easy option’ and causes more suffering and death than exploring
other options. We see today, how terrorism, or rather, the fear created by terrorism,
prompts decisions we would usually be uncomfortable with in democratic nations.
Wars are entered into, decisions once made by a committee are delegated to
individual politicians and the freedoms of citizens are curtailed.
Terrorism aims to create fear by using violence and intimidation. Today, the word has
become synonymous with extremist Islamist groups. This has created the inaccurate
claim that Islam is a violent religion. Because acts of terror in Europe, North America
and Australia gain the most media coverage, this creates mass fear, and often racism
and prejudice against people of a Middle Eastern or Islamic background. The
September 11 attacks on the Twin Towers are the most publicised act of terror, but for
the characters in 13, the 2005 London bombings are far closer to home. Four suicide
bombers detonated four bombs on the Underground and a bus, during morning peak
hour on 7 July, killing fifty-two people and injuring a further seven hundred and fifty.
On 21 July there was a failed attempt at a similar attack. Both of these, as they aimed
to, sent fear and shock through the British population. Prime Minister Blair said, a
few weeks after the attacks “Let no one be in doubt. The rules of the game have
changed.” And this was true of British policy. In 2006, the new Terrorism Act
allowed police to intervene in a suspected terrorist plan, allowed suspects to be held
for 28 days without charge and for the Bank of England to freeze the assets of
suspects without charge. Police searches of young Muslims increased, more home
raids took place and on 22 July 2005, a man was wrongly shot and killed by police
officers who mistook him for a suspect. While at first it may seem that these measures
increase safety, they take away the democratic right to be viewed as innocent until
proven guilty and create feelings of being targeted, suspected and disempowered.
In 13 Ruth has huge power in deciding whether or not to invade Iran, this is because
as Prime Minister she is able to declare war without parliamentary support. In 13,
Dennis, the US Secretary of State, is sent as a representative to gain the support of
Ruth, and hence Britain, in the American invasion of Iran. This references Britain and
America’s ‘special relationship’ (a term coined by Churchill), which some people
believe to be a negative one. Today, the US is an international power, as Britain was
at the beginning of the twentieth century. When Prime Minister Tony Blair decided to
join the American invasion of Iraq in 2003, against the recommendations of the UN
and despite huge protests at home, his relationship with President Bush was termed
poodleism- insinuating that he followed Bush doing as he was told without question.
It is now clear that the Iraq invasion in fact increased terrorism by feeding antiWestern feeling, with President Obama recently stating “ISIL is a direct outgrowth of
Al-Qaeda in Iraq that grew out of our invasion” (Vice News 2015).
15 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
THE CHANGING FACE OF THE UNITED KINGDOM
Religion in the UK has drastically changed since the start of the century with twentyfive per cent of residents claiming no religion, a ten per cent increase since 2001.
Also, the number of citizens identifying as Christian decreased by twelve per cent in
2011 and out of this group only twenty-nine per cent considered themselves religious.
A recurring theme of 13 is religion. Faith and belief is an underlying theme
throughout the play and at times comes to the fore. Amir, Holly and Stephen all
struggle with their own understanding of faith in completely different ways. Hardly
any character manages to voice their stance on faith, which mirrors the recent statistic
of those claiming “no religion” being the second largest belief group in the UK. The
rise in atheism and drastic decline of practicing Christians is an interesting comment
that Bartlett makes about the UK and also the Western world. The up-and-coming
generation are unsure when it comes to religion. Ruby reflects this when she
questions the beliefs of her parents and demonstrates a more critical view of religion.
By contrast, Ruth struggles with her beliefs as a Christian, which are diametrically
opposed to demands for further separation between church and state. Prime Minister
David Cameron’s recent statement, “this is a Christian country,” further confuses the
religious identity of the UK in the face of the very evident multicultural and secular
nation that it has become.
The fast-paced cultural and religious change in the UK (and globally) has added to the
sense of hostility in the nation. A survey conducted in 2007 saw that 42% of
participants believed religion had a harmful effect (Humanist 2015). By contrast, this
study shows that even though religious beliefs have declined rapidly amongst young
people, moral attitudes have not and fewer young people are racially prejudiced. This
offers a new view that there is not a correlation between the practice of Christianity
and the teaching of morals.
Image © humanist.org.uk 2011 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
16 CURRICULUM LINKS
Attending a performance of Mike Bartlett’s 13 will be a valuable opportunity for all
high school students to examine the social, political and religious challenges that face
our society today, especially in the Western world.
With the ability to directly communicate with the actors and creative team of this
production, Preliminary and HSC Drama students will learn about and discuss
elements of production and the process of creating and producing a theatrical
performance; making this an invaluable theatrical experience for them.
Preliminary and HSC Society and Culture students will also find direct links to Depth
Study curriculum focused on ‘Belief Systems’ and ‘Equality and Difference’ (Board
of Studies, 2010) through this production.
HSC Drama
HSC Drama students will be able to observe the work of AIM Dramatic Arts
Bachelor of Performance Stage 5 students who simultaneously take on acting and
creative roles as part of their production work. This is a unique opportunity to observe
the final product of this work and then ask questions of the AIM Dramatic Arts
students in a Q&A session after the performance. This is particularly useful when
considering the audience observation aspects of the ‘Elements of Production in
Performance’ content in the syllabus, as well as the Critical Analysis (Portfolio of
Theatre Criticism) elective for the Individual Project. Students electing to do other
forms for the Individual Project may also find the experience valuable by observing a
final production and then hearing an actor/creative discuss the process undertaken.
Relevant Outcomes:
Preliminary
P2.1
P2.2
P2.6
P3.1
understands the dynamics of actor-audience relationship
understands the contributions to a production of the playwright, director,
dramaturge, designers, front-of-house staff, technical staff and producers.
appreciates the variety of styles, structures and techniques that can be used in
making and shaping a performance.
critically appraises and evaluates, both orally and in writing, personal
performances and the performances of others.
HSC
H2.4 appreciates the dynamics of drama as a performing art.
H3.1 critically applies understanding of the cultural, historical and political contexts
that have influenced specific drama and theatre practitioners, styles and
movements
H3.2 analyses, synthesizes and organises knowledge, information and opinion in
coherent, informed oral and written responses. 17 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
H3.3 demonstrates understanding of the actor-audience relationship in various
dramatic and theatrical styles and movements. H3.5 appreciates the role of the audience in various dramatic and theatrical styles
and movements.
HSC Society and Culture
Students studying either Preliminary or HSC Society and Culture will greatly benefit
from watching Mike Bartlett’s 13. The play discusses topics such as society, culture,
environment, time and the individual, while offering an amalgamation of insights into
English culture. Students will have the opportunity to compare Australia cultural
attributes through areas such as family dynamics, gender issues, abuse, and desire for
power and status; all of which are emulated by the actions of the diverse characters of
the play 13. The interactions these characters have through technology about their
beliefs, customs and the time that they live in, create parallels to our current world.
This production of 13 also offers students the chance to gather information through
qualitative methodologies to improve their research. The observations and
interpretations that students will make from this production will be original and will
be enhanced by the Q&A with the actors post-production.
Relevant Outcomes:
Preliminary
P2
P3
P4
P5
identifies and describes relationships within and between social and cultural
groups
describes cultural diversity and commonality within societies and cultures
Explains continuity and change, and their implications for societies and
cultures
investigates power, authority, gender and technology, and describes their
influence on decision-making and participation in society
HSC
H2
H3
H4
H5
analyses relationships within and between social and cultural groups
accounts for cultural diversity and commonality within societies and cultures
evaluates continuity and change, and assesses social futures and strategies for
change and the implications for societies and cultures
evaluates the influence of power, authority, gender and technology on
decision-making and participation in society
18 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
PRE-SHOW AND POST-SHOW DISCUSSION TOPICS
by Amy Price
Character
Pre-show:
The play’s central character John has been described by Dan Hutton as a ‘messiahtype figure’. The play also includes Ruth, the British Prime Minister. Can you think of
any other plays in which the central character has less political/social power than
others on stage and yet dominates the action. What can convey status for an audience
beyond a title?
Post-show:
How has the director used blocking and staging to reinforce the influence of the
central character, John? Choose one moment of the show in which this is really clear
and draw a staging diagram.
13 has quite a large cast of characters. Choose one character and explain how the
actor playing the role has used physical and vocal skills to create a clear character.
Tension
Pre-show:
List three ways in which design and production elements can be used to create
tension.
Post-show:
How was tension established in the opening scene? Refer to the use of movement and
set/lighting/sound design in your response.
Place and time
Pre-show:
This play consists of many short, episodic scenes. How can a director and cast make
quick changes to time and place without changing an intricate set? Devise a scene in
which time or place is changed twice within two minutes, making the changes clear
through theatrical elements other than large set pieces and obvious dialogue.
Post-show:
Describe one successful transition of time or place. Which dramatic elements were
used to create this change?
Technology
Pre-show:
This play was first staged just four years ago. It explores our contemporary political
world and also engaged with the use of technology and social media as a primary
means of communication. Given that this is theatre rather than film how can the use
of technology be shared with an audience rather than simply being on a small screen?
19 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
What elements of production could be used to assist in this for the audience? Create a
two minute scene in which the dramatic climax is brought about through the use of
social media. Make sure that the audience is clear about what is taking place but also
that they are fully engaged in the storytelling.
Post-show:
During the play technology almost acts as an extra character. How were technology
and social media used during the play? What was their dramatic function? What
impact did this have on the audience's response to the play?
Mood/atmosphere
Pre-show:
This play relies on recreating the general sense of unease in British contemporary
society. Create a one-minute piece which relies on sound and movement to create a
mood of uncertainty.
Post-show:
Describe one moment or scene in which the tension was particularly high because of
the use of the mood. What effect did this have on the audience? How was this mood
created?
Movement
Pre-show:
The play contains both dream sequences and harsh reality. How can theatre be used to
distinguish between the two? Devise a piece in which the same scenario is explored as
reality and then as a dream or nightmare. How does your use of movement and voice
change between the two versions of the script? Does the dialogue need to alter at all?
Post-show:
Consider the use of movement in the creation of the distinct nightmare sequences.
Write three contrasting pairs of words to describe the differences between the
movement quality of dream versus reality.
Style
Pre-show:
This play has been described as containing Phantasmagoria.
phan·tas·ma·go·ri·a (făn-tăz′mə-gôr′ē-ə) (noun)
1.
2.
a. A fantastic sequence of haphazardly associative imagery, as seen in dreams
or fever.
b. A constantly changing scene composed of numerous elements.
Fantastic imagery as represented in art.
(http://www.thefreedictionary.com/phantasmagoric)
What effect do you anticipate this will have on an audience?
20 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
Post-show:
How accurate was your Pre-show prediction? Which were the most significant
theatrical elements employed to create this effect?
Focus
Pre-show:
Using the photo below of John (taken from the National Theatre production), what
does the body language tell us about his importance in the play? How is he
established as the focus of this image? Recreate this tableau and then create its direct
opposite in which the focus is dispersed or on something completely different. How
did you alter the focus physically? Are there other ways to show focus aside from
physicality?
Post-show:
Did the central character of John maintain focus throughout the play or did the level
of focus change? How do you know?
Review
Post-show:
Write a 500 word review of the show. Remember that a review should express your
opinion backed up by a discussion of particular moments from the show. Try to cover
the directorial decisions, design elements and the choices made by actors and their
effectiveness.
21 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
TICKETING AND PERFORMANCE INFORMATION
Tickets and bookings for 13 are available now. Tickets are FREE for students and
teachers and $15 for general admission. The show is in two acts and runs for
approximately 2 hours and 45 minutes, including a 20-minute interval.
Please note, this production is rated M for mature audience. It contains simulated
violence, coarse language and adult themes.
For school matinee bookings, please contact AIM Dramatic Arts on (02) 9219 5424
and indicate if you would be interested in staying for a Q&A session with the
creatives/cast after the performance.
Individual tickets for 13 are also available. To book, simply follow this link:
http://www.mikebartlett13.eventbrite.com.au
PERFORMANCE DATES
Cast A
Cast B
Date
Time
Cast
Alexandra Kelly
Jayne Nasmyth
Sat 22 Aug
8pm
A
Matilda Brodie
Deborah Joyce
Sun 23 Aug
5pm
B
Rebecca Hansford
Silvana Betancourt
Tues 25 Aug 6.30pm
A
Clare Todorovitch
Lucia May
Wed 26 Aug
11am
A
Wed 26 Aug
8pm
B
Thur 27 Aug 11am
A
Thur 27 Aug 8pm
B
Fri 28 Aug
11am
B
Fri 28 Aug
8pm
A
Sat 29 Aug
8pm
B
22 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
GETTING TO THE
THEATRE
Pilgrim Theatre
262 Pitt St, Sydney CBD
Housed in a heritage-listed building,
the Pilgrim Theatre is a performance
venue in the heart of the Sydney
Central Business District, and is the main performance venue for AIM Dramatic Arts
productions. The nearest train station is Town Hall. Facilities include disabled access.
PARKING: Street parking is available but limited. Closest parking stations are in the
Queen Victoria Building or the Hilton Hotel. Other nearby parking available in St.
Andrews Car Park and Secure Parking in Pitt Street.
TRAIN: The nearest station is Town Hall Station with a short walk to Pitt Street.
Museum Station and St. James are also close by.
BUSES: Run along George & Elizabeth Streets and are a short stroll to Pitt Street.
FERRY: Nearest ferry wharf is Darling Harbour (0.7 km).
THEATRE ETIQUETTE
For many students, a visit to the Pilgrim may be their first theatre experience. It may
be helpful to discuss what they can expect or to have other students relay their own
experiences about theatre productions they have seen. Another important point to
review is the difference between live theatre and watching a movie or television.
Visiting the theatre should be an entertaining activity, but it is also one that requires
consideration for fellow audience members as well as the actors on-stage.
Unnecessary noise disturbs everyone. Knowing what is expected of you as a member
of the audience can make the theatre experience more enjoyable for all involved.
Please ensure that you observe the following:
• Arrive on time. Latecomers will only be allowed in at certain intervals.
Missing the start of a performance will diminish your enjoyment and/or
understanding of the piece. It will also disrupt the show for the actors and
other audience members, as audience needs to go through the set to access the
seating area.
• Turn off mobile phones and paging devices. The frequencies from the devices
disrupt our sound equipment, and this will also prevent them from ringing or
vibrating loudly, which interrupts the performance.
• Visit the bathroom prior to the commencement of the performance. It is
difficult to leave during the show to use the bathroom and you may not be readmitted to the theatre.
• A member of the front of house staff will make an announcement before the
show. Be sure to listen carefully to all information. They will then usher you
to your seats. Please follow their directions.
• During the performance, please observe the following:
− No photography or recording the performance
− No talking
− No eating or drinking
23 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
GLOSSARY
Thatcher: Britain’s first female prime minister (19791990) and leader of the Conservative Party. The ‘Iron
Lady’ entered leadership during a time of inflation, which
she succeeded in decreasing, however, during her years as
leader, unemployment increased dramatically. Known for
involving Britain in the Falklands War, her close
relationship with US President Reagan, privatizing public
utilities and for forming links with the Soviet Union.
Hoover: a brand of vacuum cleaner popular in Britain, so
much so that the word is now used to mean vacuum
cleaner.
Tories: The Conservative Party, one of the two key parties in British politics along
with Labour. A centre-right party who pride themselves in creating “a clear economic
plan” to produce “a brighter, more secure future” (Cameron, 2015).
Downing Street: there are four main residencies on Downing Street. The Prime
Minister’s official residence is no. 10 Downing Street, the Chancellor of Exchequer
resides in no. 11 Downing Street and the
Press Office, Strategic Communication and
Research Unit hold offices in no. 12. The
street is located in Whitehall, Central
London and is very close to the Houses of
Parliament. Barriers were erected to keep
protests and crowds from becoming to
dense, as Downing Street is a popular
demonstration site.
Trafalgar Square: a public space that commemorates the Battle of Trafalgar in 1805.
The National Gallery and St. Martin-in-the-fields Church are a part of the square as
well as statues and monuments (Sir Edward Landseer Lions and the George IV
plinth). The site is used for many celebrations such as New Years and Christmas
Ceremony as well as political demonstrations. The 2009 Camp for Climate Action
protest and anti-war demonstrations (2001 and 2011) are recent historical protests at
the square.
24 © 2015 AIM Dramatic Arts: ‘13’ Education Resource Kit
BIBLIOGRAPHY and FURTHER READING
Bartlett, M. 2011 13, London : Bloomsbury Methuen Drama
BBC News - London Attacks. 2005. 7 July Bombings. [ONLINE] Available at:
http://news.bbc.co.uk/2/shared/spl/hi/uk/05/london_blasts/what_happened/html/.
[Accessed 24 June 15].
Board of Studies, NSW, 2009a. Drama Stage 6 Syllabus. Sydney: Author.
Board of Studies, NSW, 2009b. Society and Culture Stage 6 Syllabus. Sydney:
Author.
British Humanist Association. 2015 Religion and Belief [ONLINE] Available at:
https://humanism.org.uk/campaigns/religion-and-belief-some-surveys-and-statistics/.
[Accessed 23 June 15].
Brzezinski, Z. 2007 ‘Terrorized by 'War on Terror'’[ONLINE] Available at:
http://www.washingtonpost.com/wpdyn/content/article/2007/03/23/AR2007032301613.html. [Accessed 22 June 15].
Carasik, L. 2015. US 'War on Terror' Remains Poorly Understood. [ONLINE]
Available at: http://america.aljazeera.com/opinions/2015/4/americans-have-yet-tograsp-the-horrific-magnitude-of-the-war-on-terror.html. [Accessed 24 June 15].
Hutton, D. 2011 ‘13 by Mike Bartlett’ [ONLINE] Available at: http://danhutton.co.uk/2012/01/11/13-by-mike-bartlett/. [Accessed 24 June 15].
National Theatre. 2011 ‘13, National Theatre’ [ONLINE]
http://www.nationaltheatre.org.uk/shows/13. [Accessed 24 June 15].
Available
at:
Office of National Statistics. 2013 ‘What does the Census tell us about religion in
2011?’ [ONLINE] Available at: http://www.ons.gov.uk/ons/rel/census/2011census/detailed-characteristics-for-local-authorities-in-england-and-wales/styreligion.html. [Accessed 24 June 15].
Prospect Magazine. 2011 ‘Thoroughly Modern Mike’ [ONLINE] Available at:
http://www.prospectmagazine.co.uk/arts-and-books/mike-bartlett-13-modern-britishtheatre. [Accessed 24 June 15].
Scutt,
T.
2011.
‘Mike
Bartlett's
13’
[ONLINE]
Available
at:
http://www.timeout.com/london/theatre/mike-bartletts-13. [Accessed 24 June 15].
Sparrow, J. 2014. ‘The Never-Ending War on Terror: Nothing to Fear but Fear Itself’
[ONLINE] Available at: https://newmatilda.com/2014/08/18/never-ending-war-terrornothing-fear-fear-itself. [Accessed 24 June 15].
Taylor, P. 2011. ‘13, National Theatre: Olivier, London’ [ONLINE] Available at:
http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/13-nationaltheatre-olivier-london-2376736.html.
[Accessed
24
June
15]
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