Katherine Kennard Nude

Katherine Kennard Nude
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Treasure Island Kids: The Mystery of Treasure Island
Underbelly NZ: Land of the Long Green Cloud (Norma Fleet)
Xena: Warrior Princess (Miss Skiros)
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Katherine is a British-born actress who has been appearing on New Zealand screens for over 20 years. After a number of guest roles on various Kiwi television shows, Katherine landed the lead role of Joni Collins in the drama series Street Legal, where her performance earned her a Best Actress Award at the NZ TV Awards. Following this, Katherine appeared in drama series This Is Not My Life, true crime series Underbelly, and comedy-drama show Nothing Trivial. She has also appeared in a number of feature films including Bloodlines, The Vector File, and Everything We Loved. In 2021 Katherine can be seen on TV series Under the Vines and is currently starring on NZ's beloved drama, Shortland Street.
Under The Vines
Television
Role: Fiona
Producer: Richard Fletcher & Carmen Leonard

The Listener Winner - Critics Choice Best Actress Award - Live Theatre - Miss Julie
New Zealand Film & Television Award Winner - Best Actress - Street Legal
TV Guide Best on the Box People's Choice Awards Nomination - Best Actress - Street Legal
Film Construction - 48 Hour Film Festival Dir. Michael Duigan
James Wallace Productions Dir. Gabrielle Reed
Screentime NZ Limited - Tele Feature Film Dir. Peter Burger
Treasure Island Kids - The Mystery of Treasure Island
Daybreak Pacific Productions Dir. Michael Hurst
South Pacific Pictures Ltd Dir. Various
South Pacific Productions Dir. Various
Caligula's Mother - Agrippina The Elder
Telefeature - South Pacific Pictures Dir. Mark Beesley
South Pacific Pictures Dir. Various
South Pacific Pictures Dir. Various
Pacific Renaissance Spartacus LTD/Sparty Films LA, LLC Dir. Various
Underbelly - The Martin Johnstone Story
Screentime NZ Dir. Mike Smith and Ric Pellizzeri
GRST LTD Dir. Robert Sarkies/Peter Salmon
Walt Disney Productions/ ABC Dir. Michael Hurst
Auckland Film Studios Dir. Dale Bradley
ScreenWorks/TV1 Dir. Chris Bailey & John Laing
ScreenWorks/TV1 Dir. Chris Bailey & John Laing
Lady Anne, Katherina, Lady Capulet, Hermia, Beatrice
Brisbane Arts Festival Dir. Garry Henderson
The Court Theatre, Christchurch Dir. Garry Henderson
Snow White & The Seven Dwarves Tour
Photon Animation Dir. Nigel Godfrey
South Pacific Pictures Ltd Dir. Hanelle Harris
Bruce Guthrie Shakespeare Workshop - UK - 2014
McSweeney Newman Casting - Self Tape Workshop - 2014
Diploma in Acting for Film & Television - 1995, UNITEC, Auckland, New Zealand

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Katherine Kennard

Katherine Kennard, 19, Bath Spa University, Drama and Music Degree, Welsh.

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Owen Jones, 2012. Chavs: The Demonization of the Working Class. 1
Edition. Verso.
HOW TO SPOT A CHAV – Mirror Online. 2014. [ONLINE] Available at: http://www.mirror.co.uk/news/world-news/how-to-spot-a-chav-1597537 .
[Accessed 18 December 2014].
Augusto Boal, 2000. Theatre of the Oppressed (Pluto Classics). 3rd
Edition. Pluto Press.
Monica Prendergast and Juliana Saxton, 2010. Applied
Theatre: International Case Studies and Challenges for Practice. Edition.
Intellect Ltd.
Geese Theatre UK | Geese Theatre Company. 2014. [ONLINE] Available
at: http://www.geese.co.uk/ .
[Accessed 19 December 2014].
Augusto Boal, 2000. Theatre of the Oppressed (Pluto Classics). 3rd
Edition. Pluto Press.
Black & Tan Gala: Support About Face Youth Theatre! – YouTube. 2014.
[ONLINE] Available at: https://www.youtube.com/watch?v=FKLU9N7qJQQ .
[Accessed 18 December 2014].
Augusto Boal, Founder of the Theater of the Oppressed, Dies at 78.
Democracy Now 5/6/09 2 of 2 – YouTube. 2014. [ONLINE] Available at: https://www.youtube.com/watch?v=p7F7H9ejM6E .
[Accessed 21 December 2014].
Augusto Boal, 2000. Theatre of the Oppressed (Pluto Classics). 3rd
Edition. Pluto Press.
Gavin Bolton, 1995. Drama for Learning: Dorothy Heathcote’s Mantle of
the Expert Approach to Education (Dimensions of Drama). First Edition Edition.
Heinemann Drama.
Jenny Hughes and Karen Wilson, 2003. Playing a Part: A Study of
the Impact of Youth Theatre on the Personal, Social and Political Development
of Young People, National Association of Youth Theatres (NAYT).
Paulo Freire, 2000. Pedagogy of the Oppressed, 30th Anniversary
Edition. Bloomsbury Academic .
Mantle of the Expert. 2014. [ONLINE] Available at: http://dramaresource.com/strategies/mantle-of-the-expert .
[Accessed 18 December 2014].
I feel throughout this whole assignment I have contributed a
fair amount of time effort and commitment. This is through organising
rehearsals/meetings, keeping up to date with research and also utilising all
feedback given. I also think that during the actual workshop I worked
diligently in all aspects and dealt with most glitches accordingly. An example
of this was when there was a bit of miscommunication between the groups during
the workshop. I was the first person to notice this so quickly spoke to all
members of my group ensuring that we were all giving the same instructions.
This could have been a lot worse if we had not picked up on it and rectified it
as swiftly as we did which would have been a problem and the workshop would not
have run fairly. I think from this we all need to ensure that we know exactly
what is happening so there aren’t any discrepancies. The main body of the
workshop went really well in my opinion and our feedback was good. One thing we
were particularly conscious of was that our language was appropriate for the
age group. This is something we were picked up on in our trial workshop with
our peers. We tried to make the language simple yet not patronising. In an
instance where we were unsure whether the language was too mature for the age
group, we questioned if they knew what it meant; on each of these occasions, at
least one child put their hand up to answer and tell the rest of the class a
brief definition of the word. I am pleased with how this worked as it didn’t
humiliate anyone yet everyone was then aware of what the word meant. Another
thing we were picked up on initially with regards to language was that some of
the words in our facts were too complex for even our peer group to read at
first – we thought this was a major issue so had all the facts as short and
simple. I’m really glad, and although we didn’t need to use it, that we had a
backup task in case, like in our peer workshop, we ran drastically under the time
frame. This very much put me at ease as I wasn’t worrying that we would run
under the time limit. Something I think is very important to remember
throughout running a workshop, is Dorothy Hetcote’s quote: ‘they develop a
responsibility for their own learning’. We didn’t force any of the children to
be involved in anything. For example, one of the children wanted to pretend to
be the oil that would spill into the sea and pollute the ocean, to anyone that
may seem like a trivial thing but to him it may be something he remembers. It
could be that he remembers the ocean is polluted with oil because he was the
oil that polluted it.
If I was to run a similar workshop again, I would definitely
have more rehearsals and maybe in our private rehearsals, ask some peers to
come and sit in to help us with anything we could improve on. This would have
also helped us rather than us just imagining there were people in the room that
we were practicing in.
I definitely would like to do more facilitation work in the
future however with maybe an older age group and about a more personal topic. I
feel that that would be
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