Revue Factory Productions
Resto!

Gossip, Lies, Jealousy, Deceit
It's a mixture of Brechtian techniques, whirlwind contemporary skits, and heritage scenes from William Wycherley's 1675 play ‘The Country Wife' all packaged in a production, by young people for young people, that can come to you!
‘Resto!' shows the timeless use of gossip, lies, jealousy and deceit and how everything catches up with you in the end.
Accredited by Education QLD for years 11 and 12 English and Drama
- Performance length: 45 Minutes
- Discussion time: 15 Minutes
- (Workshops extra but need to be pre advised)
- Bump in/out 30 minutes
- Require 1 power outlet
- Can be performed anywhere indoors


Educational Purpose
‘Resto! Gossip, Lies, Jealousy, Deceit' gives English students a platform in which to enjoy the language of Restoration Comedy's while comparing it to the modern use of English. Students can reflect on a different time, place and language style, and see how language can be affected by culture and economics. The visual and audio experience gives students a vehicle in which to see theatrical text lifted from the paper and turned into dramatic action. This will help them develop their understanding of creative content and provoke critical thinking of the issues and meaning within the text. Watching ‘Resto! Gossip, Lies, Jealousy, Deceit' will give students an opportunity to experience a non Australian text from the past with links to the present time and language.
Through watching a theatrical performance drama students will be able to see how we assemble the work to formulate and create a presentation using two styles of theatre. The use of symbol, language and movement will be demonstrated in the performance as well as the use of business props, costume, and gesture. The performance will provoke drama students into questioning and analyzing Alienation methods, deciding if it works on modern audiences, and if it can be applied to different theatre styles. Students will recognize, and can reflect on, the use of roles and relationships, and discuss the differences and similarities between Epic theatre and Realism, as well as recognize the dramatic action and talk about how it was created and achieved (or not achieved). Drama students will also observe the types of acting styles used to create the performance: the Constantin Stanislavski based ‘thought, impulse and emotion', Stella Adler's method and Brecht's ‘gestus' style.


