Yep! Right down to the specific criteria for assessment and the learning outcomes for your units. I’ve worked with many different syllabi, predominantly ACARA, QCAA, and International Baccalaureate, but I’ve had experience not only creating work, but also work programs in secondary and tertiary courses. While there are a multitude of syllabi around the world, there are also commonalities that you find when you have seen a lot of them. If you’re interested, I created a document that articulates these for both teachers and students which you can find here.

I have found that it is difficult to really get substantial results in anything less than a 90-minute workshop, and usually prefer 2 hours, however I understand the limitations of timetables and the difficulty of arranging time outside of them. Obviously, with less time, less can be covered, but I am happy to negotiate and discuss what can suit you as long as it doesn’t compromise the quality of the material I present.

We all know that organisationally, it always comes down to time and money. The answer is that it is dependent on your needs.

For student-devised performances, I can either teach students a devising process modelling the application to what they’re working on, or devise something with them and coach them all the way through to the final performance.

For full productions, rehearsal time would either need to be spread out or condensed into intensives, or a combination of both.

Again, the outcome will represent the amount of time available and if I am listed as director/ creator, I hold the work to a particular standard that requires certain time and engagement.

My objective is to help as much as I possibly can, so the fees are comparable with most independent artists and companies, scaled to the amount of time I am engaged for. Depending on where in the world you are and how long I hang out with you, travel and accommodation fees can also be negotiated.

These three styles are my speciality in which I have trained and taught extensively, but they are only three of many styles and forms that I have practically taught. I do believe that the Viewpoints are the best foundation for any performance, and the creation process of composition utilised by the SITI company one of the most flexible and adaptable means of developing performance regardless of the style. However, I have a passion for all performance styles with experience teaching a lot of them, so if there is something particular from Post-Dramatic performance, to Method, to Shakespeare, to Ancient Greek that you are interested in, let me know and we can work something out.