Dramatic Shorts 1 – An Anthology of Plays by Susan Battye

Buy Diazepam Cheap Online A series of humorous, short plays that will engage junior teen actors and provoke their classroom and drama club audiences, offering manydilemmas, including: Mortified, Petrified, Dropped, Normal, Mates Rates, Quagmire Blues and Birdbrained.  

https://mybeautybunny.com/fv1u45eka2 Dramatic Shorts 2 – An Anthology of Plays by Susan Battye

get link A series of humorous short plays that will engage teen actors and provoke their classroom and drama club audiences, offering many dilemmas, including: Kiwis in Paradise, Waltzing Matilda, On the Game, Enter the Villain, and Mocked.

 Dramatic Shorts 1 – An Anthology of Plays: Drama Resource https://vilarriba.com/2023/11/06/wbmlpqtm03 and Dramatic Shorts 2 – An Anthology of Plays: Drama Resource https://makerversity.org/626rr3akr by Susan Battye

These companion resource books to Dramatic Shorts 1 – An Anthology of Plays and Dramatic Shorts 2 – An Anthology of Plays will assist teachers and students to gain confidence, as they utilise, appreciate, and respond to key drama features such as; Themes, Elements, Techniques, and Conventions within the context of their chosen performed plays.

  You can look inside the books here. There is a special price for bulk orders. The resource books are available in PDF and Print copies.

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A Skylark Sings

In 2019 had the privilege of editing Norma Pretscherer’s recently published memoir, ‘A Skylark Sings’. Co-written with Karen Jarvis, this delightful book is guaranteed to entertain. Contact Maria de Jong at Life Stories NZ to obtain a copy.

Norma grew up on an isolated South Canterbury farm. Her father, a struggling World War I veteran, raised 10 children on his own. She recalls wearing underpants sewn from soft cotton flour bags and sleeping under potato sacks for warmth in bitterly cold winters. Freezing nights, like the one when her sister went missing.

Norma’s nursing career reveals how times have changed in the profession and in the care and treatment of patients. She recounts moving stories of kindness and compassion, along with a good dose of humour, such as the morning she handed her elderly patients the wrong dentures! Norma does not flinch from shrewd perceptions when reflecting on bringing up her own children and helping husband Gus run his successful Remuera hair salon, at one time the largest salon in Australasia.

210 x 148 mm, 245 pages, colour, softcover
ISBN: 978-0-473-48027-1
Cost: $30
Life Story Publishing

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A Colonial Devotion Premieres in Christchurch

Playwright, Susan Battye has offered congratulations to Christchurch’s Riccarton High School, Year Eleven Drama Class. On the 2nd and 3rd of July 2018 under the direction of Head of Drama, Paddy Scott, the class presented the premiere performance of  her full length stage play, A Colonial Devotion.

The play tells the story of a newly-wed and pregnant Jane Deans who arrives at Riccarton from Scotland in 1853, little knowing that her promised life to a successful Canterbury farmer and pillar of the Church of Scotland is soon to demand every ounce of fortitude she can muster to survive. Based on ‘Letters to My Grandchildren’ by Jane Deans, this play brings to life the story of one of New Zealand’s most significant pioneering women.

Playwright, Susan Battye was thrilled to see the play staged in Christchurch, her original home town.

A direct descendent of Jane Deans, Diana Deans, commented, “We were completely absorbed, and very moved, watching A Colonial Devotion.”

The play is available for reading or production purposes through Playmarket, New Zealand.

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Mocked, published in Horizons 3

Read Susan Battye’s prize winning story, Mocked, in this recently published volume of short stories and poems.


https://londonorienteering.co.uk/2023/11/f62j62wnno The third in the Page and Blackmore series of biennial anthologies,  https://thelearninglamp.org/belkys7gth Horizons 3 https://www.woolcan.net/ahz0jk3q4r  was launched on Thursday 14 September. It contains the winning stories from the 2017 and 2016 Page & Blackmore Short Story Competitions, plus poems that have been displayed in the Nelson Provincial Museum and in the window of Page & Blackmore Booksellers. https://iberomedia.com/blog-inbound-marketing/31b7zgp Paperback
go site 132 pages
https://palmlabsadhesives.com/gjku6y2pr $20.00 + $3.00 post & packaging
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People often ask, Why should students study Drama as a subject?

At a time when there is a focus on the development of youth confidence, mental well being and readiness for further study or engagement with the workplace it is interesting to reflect on the place of Drama in the New Zealand education system,

Chris Burton, Head of Drama at New Zealand’s Palmerston North Boys High School and long time Drama New Zealand supporter, has summed it up for the benefit of his students and their parents who are faced with a myriad of subject choices. Burton writes:


Drama expresses human experience through a focus on role, action, and tension, played out in time and space. In drama education, students learn to structure these elements and to use dramatic conventions, techniques, and technologies to create imagined worlds. Through purposeful play, both individual and collaborative, they discover how to link imagination, thoughts, and feelings.

As students work with drama techniques, they learn to use spoken and written language with increasing control and confidence and to communicate effectively using body language, movement, and space. As they perform, analyse, and respond to different forms of drama and theatre, They gain a deeper appreciation of their rich cultural heritage and language and new power to examine attitudes, behaviours, and values.

By means of the drama that they create and perform, students reflect and enrich the cultural life of their schools, whanau, and communities.


Key Competencies / Life Skills:

Managing self
Independent learning
Developing creativity
Observational and analytical skills
Leadership opportunities

Source: http://stratus.pnbhs.school.nz/course/view.php?id=93

Drama Magic Ltd aims to support these goals through its provision of quality stage scenery to schools throughout New Zealand and through the drama related publications of Drama Magic’s Managing Director, Susan Battye. info@dramamagic.com

Drama expresses human experience through a focus on role, action, and tension, played out in time and space. In drama education, students learn to structure these elements and to use dramatic conventions, techniques, and technologies to create…
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Team New Zealand and Peter Burling

Congratulations to Team New Zealand and their helmsman, Peter Burling on winning the America’s Cup!

Just like Peter Blake, who  first won the cup for New Zealand in 1994, Burling began his sailing career in in Tauranga harbour in a P Class yacht – notoriously difficult to sail. There are many comparisons to be made between the two men in terms of their looks and character and dedication to sailing.

Susan Battye’s My Story series book, Cup Magic,  has captured the glory of Team New Zealand’s first time win in San Diego through the eyes of a twelve year old boy, Mike Lucas who witnesses first hand the excitement of the Peter Blake led campaign. No doubt the late Peter Blake, had he been alive today would have been very intrigued by the changes in boat building technology that have taken place since NZL 32, Black Magic took to the water.

Who knows what is in store in for Team New Zealand, for Auckland and for young people who can get involved not only in the sport but also in the boat building industry that will no doubt be uplifted by this win?

My Story New Zealand – Cup Magic, which was  published by Scholastic NZ is currently listed fourth in Scholastic’s list of  100 Kiwi Books!


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More Drama Less Hassle

By Susan Battye

Imagine a school system where students are engaged in learning most of the time because of one thing – a philosophical change from a rigid approach to subject delivery to one where self-expression and creativity through the arts underpins all aspects of the curriculum.

This school system is one that most New Zealand baby boomers are familiar with. It’s a system where the more Drama you engage in with your students, the fewer hassles you are likely to have in the classroom!

Now the subject of a documentary; go here The heART of the Matter made by Luit and Jan Bieringa, promises to be a favourite in the 2016 New Zealand International Film Festival. If it’s not been scheduled to screen in your town; request it!

Hats off to producer, Jan Bieringa who says, “New Zealand needs a strong story that challenges the notion of the arts as a ‘frill’ in the educational process. Not arts or science – but both taught creatively for our children, students of all cultures, and the public at large to enhance and partake of the challenging future.”

The film traces the significant changes that took place after World War II in the New Zealand education system under the leadership of the then director-general of education, Clarence Beeby (1940-1960).

That is when the rote-learning environment of Depression and pre-war New Zealand schools was banished to the dustbin of history. In its place arrived the student centred, integrated learning environment that we are familiar with today.

Beeby believed that, “Every person whatever his ability, whether be rich or poor, whether he live in town or country, has a right as a citizen to a free education, of the kind for which he is best fitted and to the fullest extent of his power…”

Beeby‘s vision was to provide students with access to a thoroughly bicultural, arts-centred education system.  Supported by Peter Fraser, the far sighted Prime Minister and Minister of Education of the day, Beeby brought together a remarkable team of visual art, dance, drama, music and physical education specialists.

Hundreds of artists in the third year of their teacher training at the Dunedin College of Education were co-opted to work, under the leadership of the Head of Arts and Crafts, Gordon Tovey, with regular classroom teachers in their own classroom. The aim was to promote confidence in the teachers to deliver an arts programme based on knowledge of the subject matter and teaching methodology.

There was a strong Māori focus to the Beeby arts programme. Contributing art specialists included Cliff Whiting, Para Matchitt, and Ralph Hotere. According to the film’s director, Luit Bieringa Māori art such as kōwhaiwhai, kapa haka and waiata gained a central place in our mainstream classrooms through in-depth consultation with Ngāti Porou kaumātua Pine Taiapa. Te Ataarangi language programme founder, Kātarina Mataira also provided a focus on valuing the Māori language as part of this programme.

Driving this movement to promote the integration of music, art, movement and drama into the wider curriculum, was a commitment to do the right thing by the post war baby boomers. Parents wanted something better for their children than the hierarchical, lack lustre educational environment they had experienced.

Gone were barren classroom walls, devoid of any evidence of student work and in their place arrived the colourful enlivened classrooms New Zealand children and their parents have since come to expect as the norm.

In the course of researching the film, Luit Bieringa discovered that Beeby recognised the fact that the regular classroom teachers could not be expected to be specialists in the arts. Needless to say for many years the teachers welcomed the artist-educators with open arms into their classrooms.

The demise of this artist–educator specialist intervention system that took place in the mid-seventies and early eighties, was deeply regretted by many classroom teachers. The film captures these viewpoints and shows artists at work with students.

In an interview with Radio New Zealand, Luit Bieringa commented that the first thing Gordon Tovey did when he entered a school was to talk to students rather than the teachers. Students were undoubtedly at the centre of the work. In this film Bieringa poses the question, “What have we lost by not paying attention to this system?”

What indeed?

If one was to cast a modern day  ‘Key Competencies’ lens over the classroom work depicted in the film, we would no doubt be able to find successful learners who look like they are, “making use of the competencies in combination with all the other resources available to them.”

https://mybeautybunny.com/78ppw3at The heART of the Matter  showcases learners who appear to be able to, “articulate personal goals, relate to other people, share community knowledge and values, use cultural tools (language, symbols, and texts), and knowledge and skills found in different learning areas.”

Learners are seen to be, “taking up opportunities to work together in social contexts to achieve an arts related end and making “these practices part of their own identity and expertise.”

Learners are ‘Thinking’. In other words they are seen to be “using creative, critical, and metacognitive processes to make sense of information, experiences, and ideas”, and actively problem-solving. They are also seen to use Language, Symbols, and Texts in order to “make meaning of the codes in which knowledge is expressed.”

In terms of the ‘Managing Self’ Key Competency we can find examples in the film where the students appear to, “demonstrate a “can-do” attitude, as capable learners.”  With regards to ‘Relating to Others’ they are seen to be “interacting effectively with a diverse range of people in a variety of contexts; actively listening, recognising  different points of view, negotiating, and sharing ideas.”

In terms of ‘Participating and Contributing’ the learners are seen in the film to “contribute appropriately as a group member, to make connections with others, and to create opportunities for others in the group.”

In fact the methodology on offer, as depicted in the film, appears to tick the desired Key Competency boxes of the New Zealand Curriculum.  So why was this Professional Development baby thrown out with the bathwater in the eighties? Short answer: David Lange’s self-governing Tomorrow’s Schools programme.

Today the support once offered to the arts teacher as a matter of course via a visiting subject expert is hard to find. The professional development model has changed considerably.

Teachers today are increasingly expected to ‘get it off the net’ or attend sporadic assessment focussed workshops that may or may not cater to their needs. The lucky few will make it to workshops offered by subject associations such as Drama New Zealand and increase their knowledge not only of assessment methodology but equally importantly of the subject itself.

As a young teacher, fresh from the Christchurch College of Education on the West Coast in 1974, I was lucky to be supported by Christchurch College of Education Drama in Education lecturer, Don McAra and the national Curriculum Officer for Drama, Sunny Amey.  She famously visited my Greymouth High School classroom and encouraged me to study for a post graduate Diploma in Drama in Education with Dorothy Heathcote in England.

I can see now that Amey and McAra were both deeply imbued with the Beeby philosophy. Both were artist-educators in their own right and that mattered a great deal to me because as Luit Bieringa in his Radio New Zealand interview, they could “walk the talk”.

The expectation was that I would return to New Zealand and continue to foster this model of teacher support for the arts in general and drama in education in particular. And so I did. I am in no doubt that if it wasn’t for the role modeling I had from these artist-educators and the commitment they made to me as a teacher, that I would have found it difficult to sustain my practice on a daily basis.

I believe that the advent of the Bieringa documentary will strike a chord with many New Zealanders to take up the cry, “What have we lost by not paying attention to this system?”



New Zealand International Film Festival 2016 http://www.nziff.co.nz/2016/auckland/

New Zealand Curriculum http://nzcurriculum.tki.org.nz/The-New-Zealand-Curriculum

Radio New Zealand http://www.radionz.co.nz/national/programmes/artsonsunday/audio/2002534/luit-bieringa

For further information on the availability of The heART of the Matter for screeenings contact Jan Bieranga email jan@bwx.co.nz

 More Drama Less Hassle was first published in Tomorrows Schools Today emagazine in July 2016

The heArt of the Matter DVD is now available from Jan Bieranga email jan@bwx.co.nz

THOTM_DVD sleeve V3


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Susan Battye’s Short Story Award

At an event held in Nelson on 8 May 2016 Drama Magic’s managing director and writer, Susan Battye  was awarded  third place in the Top of the South, New Zealand Society of Authors short story competition for her  story, Mocked.  The 2016 competition which was  sponsored by Nelson booksellers,Page and Blackmore attracted around 90 entries. The story will be included in anthology of short stories to be published by Page and Blackmore in 2017.

Judge, Tina Shaw commented:  ‘The ten stories that I read showed skill and humanity, excellent use of storytelling techniques, and strong characterisation. They ran the gamut from teen relationships to the expectations of older generations.

‘The best stories pushed the subject matter in some way, taking an idea in a new direction or trying out a different kind of structure; or did something fresh with language, giving voice to the main character. Several of the stories highlighted a disconnect between generations, and curiously it was often the older person who was depicted as being in the right. There seemed to be a lack of understanding between the generations that insinuated itself through many of these stories. All of the stories showed a fine understanding of human nature.

‘It’s so important that writers have opportunities like this to submit their work, and Page & Blackmore is to be congratulated on continuing to support this excellent initiative from the Top of the South branch.’



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Drama in the Classroom Moves Centre Stage

By Susan Battye

 First published in Tomorrows Schools Today NZ 05 May 2016

Drama in the classroom – a frippery at best or an essential part of the curriculum? 
It depends who you talk to, but since 2001 when Drama first became a stand-alone subject in the New Zealand curriculum, we could say that the impact has been significant. 
In 2015 almost 13,000 students entered one or more NCEA Drama examinations at Levels 1-3. The numbers compare favourably with other more traditional performing arts subjects such as Music and Dance. 

It is important to consider what has kept Drama as a subject buoyant over the past 14 years. 
A television commercial was being shot on location in my neighbour’s house today when I went for my morning walk. Picking my way around the white and red-striped cones that lined the footpath, I almost ran into the director, Tammy Davis (aka Munter from South Pacific Television’s series, Outrageous Fortune).

It is not uncommon in the New Zealand Film and Television industry to find people doing more than one job. The art of being flexible and resilient is the key to survival in this people-heavy industry.

Before 8 am, more than 20 highly-focused people were busy positioning trucks, setting up lighting and camera rigs, dressing the set, organising the wardrobe, no doubt putting make-up on the talent, recording the sound, and getting ready to the shoot the commercial. Elsewhere, the producer will be checking the budget and talking with the client, while an editor will be liaising with a composer or animator. 

It’s a good bet that the majority of the crew working on this TV commercial will have attended a New Zealand secondary school in the past where they were introduced to the world of drama, film and television and the creative arts as part of their regular classroom studies.

According to a 2015 Price Waterhouse Cooper report on the Employment and National GDP Impacts of music, book publishing, film and television and games in New Zealand, 7699 people were directly employed in Film and Television production in 2013 and many more were employed indirectly in the industry. There is no reason to expect that this number will significantly decrease. Moreover, the report says that: “The direct contribution to New Zealand’s economy of these industries was over $1,742 million. After accounting for spillover effects, the total contribution of the measured creative industries was $3,848 million.” (PWC 2016)

What is the relevance of this report for schools, if any? Could it be that the introduction of Drama as a subject in the curriculum might be linked to a developing a level of confidence in our film and television industry?

Following the 1984 visit of Professor Dorothy Heathcote, the British Drama as a Medium for Learning exponent, to New Zealand I became the founding president of the New Zealand Association for Drama in Education, now known as Drama New Zealand. Together with and the Curriculum Officer for Drama, Sunny Amey the members of the association, I lobbied the government for the recognition of Drama as a subject in its own right. 

Today Drama and Dance are well embedded in the New Zealand Curriculum together with the pre-existing subjects of Music and Visual Arts. Given that students are now able to gain Levels 1, 2, and 3 Achievement Standards in Drama as well Scholarship Drama, one could be forgiven for thinking that all the battles have been won. And, indeed, students are able to gain the required number of Literacy credits for University Entrance by obtaining Achieved or better in Level 2 and 3 Drama Achievement Standards. 

But there are many reasons to be nervous. Secondary Drama as a subject would not exist if it were not for the direct encouragement given to the subject by primary and intermediate school teachers. It is they who ignite a spark by providing opportunities in and out of the classroom for students to experience drama. In the present climate, literacy and numeracy are centre stage by virtue of the fact that they are assessed through National Standards.

Concerning the current status of Drama in Primary education an Auckland Drama teacher, Chris Horne says,
“The current status of drama in primary education is that of increasing marginalisation due to schools being forced to focus on literacy and numeracy at the expense of the Arts. There are no drama advisors and no funding for Professional Development. The arts are slowly dying and what is being taught is often mediocre and window dressing for PR purposes. “ 

As a direct result, there is a danger that Drama, a subject and a medium for learning, which directly supports literacy, will be marginalised. Teachers themselves could begin to lose confidence in their abilities to use drama if they are not supported to do so.

One organisation which works directly with primary teachers and junior high school teachers to encourage the use of drama as a medium for learning is the Mantle of Expert NZ. The cluster groups are co-ordinated by Dr Viv Aitken from Napier’s Eastern Institute of Technology. The organisation will offer a practical series of workshops at a forthcoming symposium, Te AhoTapu: Precious Threads to be held at Hamilton’s Rototuna Junior High School (15-16 October 2016). 

There are many reasons why students should be given every opportunity to experience drama, both as a participant and as an audience member. 

Schools frequently find it easier to support the latter rather than the former. Between February and April 2016, excited by the advent of the Pop Up Globe Theatre in Auckland, schools brought thousands of secondary school to see a wonderful range of Shakespeare’s plays being performed ‘in the round’. The quality performances which were presented to mark the four hundredth year anniversary of the death of William Shakespeare, were over-subscribed. 
It must be clear by now that that Shakespeare’s themes as presented in Romeo and Juliet, Twelfth Night, and other plays during the season are still relevant to students today.

The Australian artistic director of Polyglot theatre, Sue Giles, recently wrote in the ASSITEJ Newsletter about the transformative power of theatre: “The nature of theatre; subjective, nuanced, intangible – is one of the things that enables human beings to realise their individual power of expression and belief. The private world of experience is the strength within us all no matter our knowledge or expertise…my thoughts are my own.” (Giles 2016). 

I have often been amazed at the reactions I have had in the past to my own plays and to the plays written and presented by my Year 12 drama class students when I was teaching at Epsom Girls Grammar School. In an increasingly complex world students can safely explore moral and spiritual dilemmas through classroom drama. On a daily basis they will be ticking the ‘Key Competencies’ and ‘Values’ boxes.

Students who choose Drama as a subject will be on a path to becoming potential earners in a growth industry. Many will find themselves in demand as paid performers even before they leave school. 

In their drama classes they will in fact begin to understand the nature of the contract that exists between performer and audience. However not everyone wants to be an actor, but understanding an actor’s needs will make someone a better script writer, lighting designer, animator or production accountant in the long run.

The more support schools can give Drama teachers to make the delivery of their subject attractive and safe, the richer and more long-lasting the impact will be. In conclusion far from being a frippery, it seems that Drama has, in fact, moved centre stage and thoroughly deserves to be supported both as a subject and as a medium for learning by the Ministry of Education, principals and teachers alike.

PWC (2016) Employment and national GDP impacts of music, book publishing, film and television and games in New Zealand: Author
Giles, Sue (2016, April) Introduction. ASSITEJ Newsletter N°74, April 2016.
Susan Battye is the former Head of Drama at Epsom Girls’ Grammar School and the current managing director of Drama Magic Ltd, a company dedicated to providing quality, purpose built stage set elements for schools.
Contact: info@dramamagic.com
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https://deepblue.com/r62j4z7g6 English Workbook NCEA Level 1  https://www.lizandryan.com/e1qq9rv https://mybeautybunny.com/37k7dsn AS 1.11 UNDERSTANDING VISUAL AND/OR ORAL TEXTS
https://www.mtwmag.com/osc4n8k Authors : Susan Battye and David Wort
https://www.lizandryan.com/wto38gitp enter The Sigma Workbook ‘AS 1.11 Understanding Visual/Oral Texts’ is a write-on student workbook covering the English skills needed to gain  https://makerversity.org/vefsbnp7ki Achieved source site Merit, or  go site Excellence in this NCEA Level 1 Achievement Standard. The work in this book covers only Achievement Standard 1.9 (AS90856).

This new workbook contains a large number of  https://www.nnhopes.org/nnh-blog/yxmj1o4 write-on student tasks designed to enable students to practise the necessary skills which will bring a deeper understanding to this area of the New Zealand English curriculum. Students will also find a large number  https://vilarriba.com/2023/11/06/j5juzzsi detailed instruction boxes, glossaries and English resources that will help them develop the ideas and processes needed to gain a high level pass in the internal assessment for this Standard.

This workbook helps students understand the wide range of visual and oral techniques used in film, TV series, plays, graphic novels, radio monologues, oratory, song, and video gaming. Such areas as lighting, colour, costume, make-up, special effects, sound, film shots, camera angles and use of symbols are explored and how these elements develop the theme, setting, characters and plot of a text. Space is also devoted to showing students the combined effect of these elements. A  https://vaidosaefeminina.com/index.php/rcp50ba7c6 Model  enter Essay is included showing exactly where the phrases that gain achievement, merit and excellence passes are located. An abbreviated version of Achievement Standard 1.11 is included in the resource. https://palmlabsadhesives.com/5pu1gk55 Write-on student workbook
Year 11 students studying Level 1 NCEA EnglishProvides full coverage of NCEA
Achievement Standard 1.11
source Understanding  https://deepblue.com/ss0b2kb Visual and/or Oral Texts
enter Total of 3 Credits  https://palmlabsadhesives.com/rbphhs9k Internally Assessed
https://www.nnhopes.org/nnh-blog/0rqt1ie8 Authors :  https://www.mtwmag.com/lv3upaq S. Battye and D.J. Wort https://www.woolcan.net/k92ugqr 80 pages https://thelearninglamp.org/pnsu8ff8ev   source
source (includes a full set of answers)

https://melissasmissteak.com/zer0w3859l First Edition https://vaidosaefeminina.com/index.php/01ri9e40yoq ISBN: 978-1-877567-51-3
https://clikealo.com/7g4axwb5p Purchase Ref: EWB1.11
For a list of retailers see: http://sigmapublications.co.nz/retailers.php

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