Transitions, Four Decades of Toi Whakaari:NZ Drama School
16/11/2010 - 24/12/2010
In the mid 1980s the Drama School began to look at the world through a Maori as well as a Pakeha lens as a way to build more dynamic practitioners for stage and screen. This bold move has recently been articulated in a fresh way, exploring the underlying values of Te Ao Maori to challenge assumptions about the very nature of theatre in the 21st century, enabling the School to be more articulate about the focus of its work and the very purpose of performance.
From just nine students under the inspired guidance of Nola Millar, the School has become a multidisciplinary performing arts institution with over 150 student actors, designers, directors, technicians, performing arts managers and costumiers. Passionately written and vividly illustrated, this book celebrates that extraordinary transition and is a tribute to the achievements of all who have contributed to what is now is now truly of its place: Aotearoa New Zealand.
Victoria University Press (VUP)
Category History, New Zealand, Arts & Literature
Wealth of detail makes fascinating reading
Review by Ralph McAllister 27th Nov 2010
You cannot help but be impressed by this history of Toi Whakaari: New Zealand Drama School published by Victoria University Press in association with the School.
We not only get a comprehensive, chronological and detailed account of the School and its place in our theatrical history, we get photographs and interviews and insights into the philosophies which have driven the six directors of the school in its first forty years.
Much of the drama surrounds the buildings which the School has occupied, from the pocket sized space in Cuba Street in the early seventies, through fire endangered premises above brothels in the eighties, to the magnificence of the present site Te Whaea in Newtown where the New Zealand School of Dance is also resident.
The achievements have been considerable.
Nola Millar began with seven acting students in a one year course in 1970. In 2009 some fifty graduands were honoured in numerous disciplines most from three year courses.
The list of past students is a proverbial who’s who of New Zealand theatre with names like Simon Philips, Cliff Curtis, Kerry Fox and Cathy Downes.
But it is more than that. Many have gone on to become leading writers, admistrators, TV producers and broadcasters.
The very diversity of the people who have been involved in this forty year enterprise is breathtaking. The links with education and more particularly Wellington Teachers College are as obvious as they are profound.
Sunny Amey, George Webby and Annie Ruth all came under the influence of that bastion of individuality in learning which was the College under Walter Scott, Reg Waghorne and Jack Shallcrass. Each of the former brought differences in style and content to the job of Director of the School.
Training actors to be actors was never enough. Each of these directors insisted in trying to bring out the talents of the students but they were also intent on broadening the minds and interests of their charges. Education owes a great deal to these people.
As a successor is sought to Annie Ruth, let us hope that tradition of inquiry and pursuit of excellence continue to be hallmarks of the School in the next forty years.
Bill Guest does a fine job with this his first book. He has amassed and organised a wealth of detail. The book is accessible, either to be read from cover to cover, or to be dipped into to read about your favourite year or student.
The development of biculturalism and multiculturalism makes fascinating reading.
There may be some ducking away from some of the personality clashes which have taken place through the years, but that is more than made up for by the genuine pride that most people will experience from reading this history.
It is interesting to note that we now have two comprehensive histories of part of New Zealand Drama. Transitions sits nicely beside John Smythe’s Downstage Upfront (also VUP).
One is left wondering why we await other publications of our other professional theatres in other parts of the country. One is left wondering why a history of non-professional theatre companies is still to be written. The theatres of Wellington Repertory and Unity Theatre in the forties, fifties and sixites would make for more exciting reading.
Surely someone is ready to fill these gaps in a recording of our progression to outstanding arts achievements.
In the meantime Transitions will do nicely.
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