Study Guide

Beep

About this guide

The activities in this guide link the themes and concepts from Beep with the Early Years Learning Framework and the Australian Curriculum. Windmill hopes that this document will help you to make the most of Beep as a vehicle for genuine learning and reflection by providing a suite of ideas that will help you to bring the show into the classroom across different learning areas, both before and after viewing the performance. Windmill firmly believes that as experienced educators you know your students’ needs best, and so we invite you to adapt these activities to suit your own requirements in the classroom as you see fit.

The general capabilities are embedded within specific learning activities and can be identified with the following icons:

Coming to the show

Given that this may be many students first performance experience, it is important to talk about the protocols of attending the theatre.

Before the show you can:

  • Ask about their experiences watching live performances (watching older siblings in a school concert, going to a concert, i.e. the Wiggles etc.)
  • Share the journey with them, talk about their thoughts and feelings relating to the production
  • Talk about going to a special theatre space.
  • Explain that a performance usually finishes with clapping.
  • Talk about being an audience member. Explain that audiences are an important part of the performance. In this performance they will be invited to help the performers through movement.
  • Ask questions. What is the role of an audience? What happens during the performance? What can you do in your lounge when you are watching television that you cannot do in the theatre?
  • Talk about the various roles within a theatrical production; from the actors to the lighting technician to the front of house staff. Talk about which roles the students will interact with and which ones they may not see as they work behind the scenes.
  • Speak about how, unlike television or film, you can hear and see the actors and they can hear and see you.
  • Talk to your students about directing their full focus to the performance and how this will help actor concentration.
  • Talk about the importance of appreciation and affirmation for the performers.
  • Speak about what happens when the performance begins and ends. The lights will dim and/or you might hear a voice over or sound. Explain that this is the audiences cue to focus their attention on the performance.

Director's note Sam Haren

In creating Beep, we wanted to build upon the stylistic approaches of the two works based on the Grug books we had previously made. These works combine puppetry with a unique form of performance and storytelling. The character of Grug is the only one of his kind. He lives by himself, has no family, and inventively solves the problems in his world. For Beep, we were interested in creating a village of creatures who all live together. We wanted to explore what happens when an outsider enters their world. Thematically, the work explores what it means to accept someone from a different place.

We’ve discovered that an episodic structure is very effective for this age group, as younger children engage with smaller narrative units rather than long, complex dramatic arcs. As a result, we’ve chosen to explore the large dramaturgical problems that occur in the show through in little story units, structured around experiences in the world of Beep that the children can relate to.

Writer's note Katherine Fyffe

For me, Beep is a show about finding yourself out of your comfort zone, learning to adapt to new things, and the importance of friendship in smoothing life’s transitions. Themes of change, friendship and home are investigated through the characters and their environment.

Beep’s journey mirrors that of many people around the world today: her home is no longer safe, landing her in a strange new place which she must find a way to make her new home. This allows us to think about the broader idea of what “home” is for children and adults. Mort and the villagers also embark on a journey of learning to accept and embrace someone new in their tight knit community.

Change is a big part of children’s lives, whether that be starting school, moving house, or a shift in the family unit such as parental separation or a new family member. Beep demonstrates how these transitions can be made easier with the support of friends and the wider community.

Cast and Creatives

Katherine Fyffe

Writer, Co-creator

Katherine graduated with Honours from Flinders Drama Centre in 2001. She has co-created and performed in shows I Am Not An Animal, Trouble on Planet Earth, Highway Rock N Roll Disaster, Please Go Hop!, and Disappearance for The Border Project.

Sam Haren

Director, Co-creator

Sam is a Creative Director of Sandpit, a company that create immersive, and interactive theatre and personal experiences. Sam was the Artistic Director of The Border Project from 2002-2012, directing or co-directing all of their work during that time.

Jonathon Oxlade

Designer, Co-creator

Jonathon studied Illustration and Sculpture at The Queensland College of Art and has designed sets and costumes in Australia for Windmill Theatre Co, Queensland Theatre, LaBoite Theatre, Is This Yours?, Aphids, Circa, Arena Theatre Company and many more.

Chris Petridis

Technical Designer

Chris completed his Technical Production course at the Adelaide Centre of the Arts. Since graduating, he has been working extensively and continuing to develop his experience across theatre, dance, and other live events both in Australia and overseas.

Luke Smiles

Composer, Sound Designer

Luke creates highly detailed soundtracks for theatre, dance and film, working across all areas of music composition, sound design, foley and sound effects editing. His work is enjoyed by audiences both nationally and around the world.

Tamara Rewse

Puppet Maker, Puppet Consultancy

Tamara has worked in numerous areas of the performing arts since 1997 including as a Director, Devisor, Maker and Singer. She has toured both nationally and internationally. She has also worked as both a performer and puppeteer for numerous shows.

Nathan O'Keefe

Performer

Nathan has worked extensively in theatre both nationally and internationally. Recent credits include Tartuffe (STCSA/Brink), Things I Know To Be True, The Importance of Being Earnest, Hedda Gabler (STCSA) and Masquerade (STCSA/Griffin).

Ezra Juanta

Performer

Ezra graduated from Adelaide College of Arts in 2006. Since graduating, Ezra has featured in numerous screen and stage productions, the most notable being his portrayal of The Lion in Windmill Theatre Co’s production of The Wizard of Oz.

Kialea-Nadine Williams

Performer

Kialea first started her performing career as a dancer, studying at Swindon Dance in the UK before graduating from Rambert School of Ballet and Contemporary Dance in 2002. She then went on to join Phoenix Dance Theatre before making her way to Adelaide.

Characters

Beep

Beep is a robot who has landed on
a strange planet and is unable to
return home.

Mort

Mort is Beep’s first friend after she crash lands on his planet.

Pop

Pop is Mort’s sister, but she is also his
very best friend.

The villagers

The townspeople from Mort’s planet who are wary of Beep when she first arrives on their planet.

Fuzzles

The fuzzles are little mischievous fluff balls who Beep, Mort and Pop play with.

Bird

The bird on top of Mort’s tree house  who SQUUUAKKKK’S every day to signal it’s morning, and time to get up!

Performance Literacy

Students viewing live theatre can experience feelings of joy, sadness, anger, wonder and empathy. It can engage their imaginations and invite them to make meaning of their world and their place within it. They can consider new possibilities as they immerse themselves in familiar and not so familiar stories.

Watching theatre also helps students understand the language of the theatre. It is part of the holistic approach to developing student literacy. They learn to ‘read’ the work interpreting the gesture and movement of a performer; deconstructing the designers’ deliberate manipulation of colour, symbol and sound; and reflecting on the director’s and playwright’s intended meaning.

While viewing the show, students’ responses can be immediate as they laugh, cry, question and applaud. After the performance, it is also extremely valuable to provide opportunities for discussion, encouraging students to analyse and comprehend how these responses were evoked by the creatives through the manipulation of production elements and expressive skills.

Having a strong knowledge and understanding of theatre terminology will assist students with this process. Therefore, before coming to see Grug and the Rainbow with your students, explore the different roles involved in making a performance happen, from writing, directing and performing, to lighting, projection, set and costume design and construction.

Theatre Etiquette

Visiting the theatre is very exciting. There are some guidelines that students can follow regarding appropriate behaviour in the theatre and during the performance that will allow their visit to be even more memorable.  Prior to visiting the theatre prepare students for what they will experience as an audience member using the following questions:

Where can you sit?

  • An usher (front of house – FOH) will help you find your seat so you need to follow their directions.

How do you know when the performance begins?

  • The lights will dim and/or you might hear a voice-over or sound. That’s your cue that it has begun and it is time to settle and be quiet.

How is going to the theatre different to going to the movies or watching television in your loungeroom?

  • Something unique to theatre is that it is ‘live’ and the actors are real. You can hear and see the actors, and they can hear and see you.

What is the relationship between the audience and the performers?

  • As the actors can see and hear you, your responses to the performance show your appreciation to the actors. So, show your enjoyment!

Final points to remember:

  • turn off your mobile phone (even the vibration of a phone or lit screen is distracting);
  • avoid eating in the theatre and rustling paper;
  • cover coughs and sneezes;
  • don’t film or photograph the performance due to intellectual ownership.


Early Years Learning Framework



Australian Curriculum F-2



Additional Resources

Acknowledgements

Produced by Windmill Theatre Co. Developed and compiled by Drama Education Specialist Melissa Newton-Turner and Windmill Theatre Co.

The activities and resources contained in this document are designed for educators as the starting point for developing more comprehensive lessons for this work.

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

This resource is proudly supported by the South Australian Department for Education and the Lang Foundation.

 

  •  Lang Foundation