Drama
Years 7–10
Syllabus
June 2003
Contents
1 Introduction.................................................................................................................. 5
1.1 The K–10 Curriculum.......................................................................................... 5
1.2 Students with Special Education Needs............................................................. 6
2 Rationale....................................................................................................................... 8
3 The Pathway of Learning for Drama in the
K–12 Curriculum..................................... 9
4 Aim............................................................................................................................. 10
5 Objectives................................................................................................................... 10
6 Outcomes.................................................................................................................... 11
7 Content....................................................................................................................... 13
7.1 Organisation of Content.................................................................................... 13
7.2 Content for Years 7–10..................................................................................... 18
7.3 The Elements of Drama..................................................................................... 38
7.4 Dramatic Contexts............................................................................................ 41
8 Life Skills Outcomes and Content............................................................................. 46
8.1 Outcomes.......................................................................................................... 46
8.2 Content.............................................................................................................. 47
9 Continuum of Learning in Drama K–10..................................................................... 52
9.1 Stage Statements............................................................................................... 52
10 Assessment................................................................................................................. 56
10.1 Standards.......................................................................................................... 56
10.2 Assessment for Learning................................................................................... 56
10.3 Reporting........................................................................................................... 58
10.4 Choosing Assessment Strategies....................................................................... 59
1.1 The K–10
Curriculum
This syllabus has
been developed within the parameters set by the Board of Studies NSW in its K–10 Curriculum Framework. This
framework ensures that K–10 syllabuses and curriculum requirements are designed
to provide educational opportunities that:
·
engage and challenge all students to maximise
their individual talents and capabilities for lifelong learning
·
enable all students to develop positive
self-concepts and their capacity to establish and maintain safe, healthy and
rewarding lives
·
prepare all students for effective and
responsible participation in their society, taking account of moral, ethical
and spiritual considerations
·
encourage and enable all students to enjoy
learning, and to be self-motivated, reflective, competent learners who will be
able to take part in further study, work or training
·
promote a fair and just society that values
diversity
·
promote continuity and coherence of learning,
and facilitate the transition between primary and secondary schooling.
The framework also
provides a set of broad learning outcomes that summarise the knowledge,
understanding, skills, values and attitudes essential for all students to
succeed in and beyond their schooling. These broad learning outcomes indicate
that students will:
·
understand, develop and communicate ideas and
information
·
access, analyse, evaluate and use information
from a variety of sources
·
work collaboratively with others to achieve
individual and collective goals
·
possess the knowledge and skills necessary to
maintain a safe and healthy lifestyle
·
understand and appreciate the physical,
biological and technological world and make responsible and informed decisions
in relation to their world
·
understand and appreciate social, cultural,
geographical and historical contexts, and participate as active and informed
citizens
·
express themselves through creative activity and
engage with the artistic, cultural and intellectual work of others
·
understand and apply a variety of analytical and
creative techniques to solve problems
·
understand, interpret and apply concepts related
to numerical and spatial patterns, structures and relationships
·
be productive, creative and confident in the use
of technology and understand the impact of technology on society
·
understand the work environment and be equipped
with the knowledge, understanding and skills to evaluate potential career
options and pathways
·
develop a system of personal values based on
their understanding of moral, ethical and spiritual matters.
The ways in which
learning in the Drama Years 7–10 Syllabus
contributes to the curriculum and to the student’s achievement of the broad
learning outcomes are outlined in the syllabus rationale.
In accordance with
the K–10 Curriculum Framework, the Drama Years 7–10 Syllabus takes into account the diverse needs of all
students. It identifies essential knowledge, understanding, skills, values and
attitudes. It enunciates clear standards of what students are expected to know
and be able to do in Years 7–10. It provides structures and processes by which
teachers can provide continuity of study for all students, particularly to
ensure successful transition through Years 5 to 8 and from Year 10 to Year 11.
The syllabus also
assists students to maximise their achievement in Drama through the acquisition
of additional knowledge, understanding, skills, values and attitudes. It
contains advice to assist teachers to program learning for those students who
have gone beyond achieving the outcomes through their study of the essential content.
In the K–6
curriculum, students with special education needs are provided for in the
following ways:
·
through the inclusion of outcomes and content in
syllabuses which provide for the full range of students
·
through the development of additional advice and
programming support for teachers to assist students to access the outcomes of
the syllabus
·
through the development of specific support
documents for students with special education needs
·
through teachers and parents planning together
to ensure that syllabus outcomes and content reflect the learning needs and
priorities of individual students.
Students with
special education needs build on their achievements in K–6 as they progress
through their secondary study and undertake courses to meet the requirements
for the School Certificate.
It is necessary to
continue focusing on the needs, interests and abilities of each student when
planning a program for secondary schooling. The program will comprise the most
appropriate combination of courses, outcomes and content available.
Life Skills
For most students
with special education needs, the outcomes and content in sections 6 and 7 of
this syllabus will be appropriate but for a small percentage of these students,
particularly those with an intellectual disability, it may be determined that
these outcomes and content are not appropriate. For these students the Life
Skills outcomes and content in section 8 and the Life Skills assessment advice
below can provide the basis for developing a relevant and meaningful program.
Access to Life Skills
outcomes and content in Years 7–10
A decision to allow
a student to access the Drama Years 7–10 Life Skills outcomes and content
should include parents/carers and be based on careful consideration of the
student’s competencies and learning needs.
The decision should
establish that the outcomes and content in sections 6 and 7 of the Drama Years 7–10 Syllabus are not
appropriate to meet the needs of the student. Consideration should be given to
whether modifications to programs and to teaching, including adjustments to
learning activities and assessment, would enable the student to access the
syllabus outcomes and content.
As part of the
decision to allow a student to access the Drama Years 7–10 Life Skills outcomes
and content, it is important to identify relevant settings, strategies and
resource requirements that will assist the student in the learning process.
Clear time frames and strategies for monitoring progress, relevant to the age
of the student, need to be identified and collaborative plans should be made
for future needs.
It is not necessary
to seek permission of the Office of the Board of Studies for students to
undertake the Drama Years 7–10 Life Skills outcomes and content, nor is it necessary to submit planning
documentation.
Life Skills assessment
Each student
undertaking a Drama Years 7–10 Life Skills course will have specified outcomes
and content to be studied. The syllabus content listed for each outcome forms
the basis of learning opportunities for students.
Assessment should
provide opportunities for students to demonstrate achievement in relation to
the outcomes and to generalise their knowledge, understanding and skills across
a range of situations or environments including the school and the wider
community.
Students may
demonstrate achievement in relation to Drama Years 7–10 Life Skills outcomes
independently or with support. The type of support will vary according to the
particular needs of the student and the requirements of the activity. Examples
of support may include:
·
the provision of extra time
·
physical and/or verbal assistance from others
·
the provision of technological aids.
Drama is an artform with a discrete body of
knowledge including conventions, history, skills and methods of working. It is
an integral aspect of our society and is taught in school curricula worldwide.
Drama fosters an understanding of continuity and change, and of the connections
between different times and cultures. It provides opportunities to explore
social, cultural, ethical and spiritual beliefs, including the diverse values
of Australian culture.
Drama encourages a cooperative approach to
exploring the world through enactment. The collaborative nature of this artform
engages students in a creative process of sharing, developing and expressing
emotions and ideas. It is a form of action in which students take on a role as
a means of exploring both familiar and unfamiliar aspects of their world. They
portray aspects of human experience while exploring the ways people react and
respond to different situations, issues and ideas.
In Drama, students can communicate in
complex and powerful ways how they perceive the world. They can investigate,
shape and symbolically represent ideas, interests, concerns, feelings,
attitudes, beliefs and their consequences. Drama can reflect the external world
and the inner world of thoughts and feelings through fictional contexts.
Learning experiences in Drama are provided which involve the intellect,
emotions, imagination and body, and engage the whole person. Self-confidence,
motivation and self-esteem are developed through the devising, workshopping, rehearsing and performing of individual and collaborative
works.
This syllabus draws on the contemporary
drama and theatre practices of making, performing and appreciating drama. These
practices are active, experiential, critical and reflective.
While students develop knowledge,
understanding and skills that pertain to each of these practices, it is vital
to integrate experiences in these areas in order to effectively realise the
outcomes. In their appreciation of drama and theatre, students are aware of the
collaborative contribution of actors, directors, playwrights, designers and
technicians to productions. Manipulation of a wide range of technologies
including traditional, electronic and digital applications helps students
achieve particular dramatic intentions.
In the Drama
Years 7–10 Syllabus, both the processes and performances of drama are
valued equally. Participants in drama processes create meaning by interacting
actively, creatively and imaginatively through improvised, spontaneous and
structured responses. Participants in drama performance create meaning through
their relationship with the audience and experience of this engagement is
essential in dramatic presentations.
Drama is a dynamic learning experience that
caters for a diverse range of students and prepares them for effective and
responsible participation in society, taking account of moral, ethical and
spiritual considerations. The study of drama engages and challenges students to
maximise their individual abilities through imaginative, dramatic experiences
created in cooperation with others.
The aim of the Drama
Years 7–10 Syllabus is to engage and challenge students to maximise their
dramatic abilities and enjoyment of drama and theatre through making,
performing and appreciating dramatic and theatrical works.
5 Objectives
Students will develop knowledge, understanding
and skills, individually and collaboratively, through:
1
making drama
that explores a range of imagined and created situations in a collaborative
drama and theatre environment
2
performing
devised and scripted drama using a variety of performance techniques, dramatic
forms and theatrical conventions to engage an audience
3
appreciating
the meaning and function of drama and theatre in reflecting the personal,
social, cultural, aesthetic and political aspects of the human experience.
Values and attitudes
Students will value and appreciate:
·
the collaborative and diverse nature of drama
and theatre
·
the contribution of drama and theatre to enriching
and sustaining cultures and societies.
The Drama Years 7–10
Syllabus provides an elective study linked to Stage 5 standards. Stage 4
outcomes have been provided to assist the assessment and reporting of student
achievement in those schools that choose to begin elective study before Year 9.
Objectives
Students will develop:
|
Stage 4 Outcomes
A student:
|
Stage 5 Outcomes
A student:
|
||
1. knowledge, understanding and skills, individually and
collaboratively, through
making drama
that explores a range of imagined and created situations in a collaborative
drama and theatre environment
|
4.1.1
|
identifies and explores the elements of drama to develop
belief and clarity in character, role, situation and action
|
5.1.1
|
manipulates the elements of drama to create belief,
clarity and tension in character, role, situation and action
|
4.1.2
|
improvises and playbuilds through group-devised processes
|
5.1.2
|
contributes, selects, develops and structures ideas in
improvisation and playbuilding
|
|
4.1.3
|
devises and enacts drama using scripted and unscripted
material
|
5.1.3
|
devises, interprets and enacts drama using scripted and
unscripted material or text
|
|
|
4.1.4
|
explores a range of ways to structure dramatic work in
collaboration with others.
|
5.1.4
|
explores, structures and refines ideas using dramatic
forms, performance styles, dramatic techniques, theatrical conventions and
technologies.
|
2.
knowledge, understanding and skills, individually and collaboratively,
through
performing devised and scripted drama
using a variety of performance techniques, dramatic forms and theatrical
conventions to engage an audience
|
4.2.1
|
uses performance skills to communicate dramatic meaning
|
5.2.1
|
applies acting and performance techniques expressively and
collaboratively to communicate dramatic meaning
|
4.2.2
4.2.3
|
experiments with performance spaces and production
elements appropriate to purpose and audience
explores and uses aspects
of dramatic forms, performance styles, theatrical conventions and technologies to create dramatic meaning. |
5.2.2
5.2.3
|
selects and uses performance spaces, theatre conventions
and production elements appropriate to purpose and audience
employs a variety of dramatic forms, performance styles,
dramatic techniques, theatrical conventions and technologies to create
dramatic meaning.
|
Objectives
Students will develop:
|
Stage 4 Outcomes
A student:
|
Stage 5 Outcomes
A student:
|
||
3. knowledge, understanding and skills,
individually and collaboratively, through
appreciating the meaning and function of drama and theatre in reflecting the personal, social, cultural, aesthetic and political aspects of the human experience |
4.3.1
4.3.2
4.3.3
|
identifies and describes elements of drama, dramatic
forms, performance styles, techniques and conventions in drama
recognises the function of drama and theatre in reflecting
social and cultural aspects of human experience
describes the contribution of individuals and groups in
drama using relevant drama terminology.
|
5.3.1
5.3.2
5.3.3
|
responds to, reflects on and
evaluates elements of drama, dramatic forms, performance styles, dramatic
techniques and theatrical conventions
analyses the contemporary and
historical contexts of drama
analyses and evaluates the
contribution of individuals and groups to processes and performances in drama
using relevant drama concepts and terminology.
|
Life Skills
For some students
with special education needs, particularly those students with an intellectual
disability, it may be determined that the above outcomes are not appropriate.
For these students, Life Skills outcomes and content can provide the basis for
the development of a relevant and meaningful program – see section 8.
In Drama Years 7–10 students engage in an integrated study
of:
·
the elements
of drama
·
through the practices
of making, performing and appreciating
·
within the context
of a range of dramatic forms, performance styles and their dramatic
techniques and theatrical conventions.
This content is organised under the practices and is
presented as what students learn to do and what they learn about. The elements
of drama and the dramatic contexts are integrated within each practice. Further
details regarding the elements and the contexts are presented in sections 7.3
and 7.4.
Learning in Drama in Years 7–10 must always begin with the
essential content and then progress through the additional content based on the
hours implemented at each school. Schools with students undertaking Drama in
Years 7 and/or 8 may develop courses that begin with the essential content
linked to the corresponding Stage 4 outcomes. Information regarding the
requirements for School Certificate credentialling can be found in section 5 of
the Assessment, Certification and
Examination (ACE) Manual (Board of Studies NSW, 2002).
Essential content
In Drama Years 7–10, the essential content constitutes 100
indicative hours of students engaging in an integrated study of the elements through the practices within the context of playbuilding and at least one other dramatic form or performance style.
Additional content
Additional content is included for courses of 200 hours
and beyond. For each additional 100 indicative hours of Drama, students are provided with
opportunities to explore aspects of drama in greater depth and/or breadth by
engaging in an integrated study of the elements
through the practices within the
context of playbuilding and at least two other dramatic forms or performance styles.
A 200-hour course includes the essential
content (100 hours) followed by additional content (100 hours). As students
progress through content there should be an emphasis on increasing the
complexity and sophistication of their engagement with the syllabus outcomes
and content. For schools wishing to offer Drama courses beyond 200 hours, the
syllabus provides a wide range of dramatic contexts that may be drawn from to
develop programs that broaden, deepen and extend students’ knowledge,
understanding and skills in Drama learning.
Content overview
Practices
·
Making refers
to participating in the creation of drama and theatre process work. Students
develop and explore imagining and creating fictional situations in both
dramatic and theatrical environments. Improvisation and playbuilding are key
methods of making which involve a group of students collaborating to devise
their own work.
·
Performing
refers to students actively engaging in acting and performing drama and
theatre for different audiences.
·
Appreciating
refers to students responding to, inquiring into, investigating and critically
studying a range of drama and theatre experiences.
Elements of drama (See section
7.3)
The elements of drama are the features that give drama
unique shape and form. They are interrelated and interdependent but distinct
and distinguishable. They can be expressed in the following way:
·
Role
and character are directed by focus driven by tension, made explicit in time,
place and situation through the use of space,
structure, language, sound, movement, rhythm and moment to
evoke atmosphere and symbol, which together create dramatic meaning and audience engagement.
Contexts (See
section 7.4)
The contexts of dramatic forms, performance styles and
theatrical conventions in Drama Years 7–10 refer to ways in which we engage in
and shape dramatic action. The context is the dramatic situation and framework
constructed for studying the elements of drama and engaging in the practices of
making, performing and appreciating.
·
Dramatic
forms are an established set of structural principles by which drama and/or
theatre is produced and/or appreciated. A dramatic form is shaped by the
framework through which it exists. As such, a particular dramatic form is
recognisable by its structure, techniques and conventions which allow it to
stand as an identifiable dramatic entity.
·
Performance
styles are the distinguishing aesthetic features of any part of the process
of making and performing a drama work. It is the style in which a drama work is
performed. Thus, one text may be performed in a number of different performance
styles.
·
Dramatic
techniques and theatrical conventions are the common principles of dramatic
forms and/or performance styles shared by performers and audiences. They are
the defining features, customs and practices which are associated with a
particular dramatic form or performance style. They are usually defined by tradition but sometimes they are negotiated
within the performance.
Life Skills
Life Skills outcomes and content are in section 8.
Cross-curriculum content
Cross-curriculum content assists students to
achieve the broad learning outcomes defined in the Board of Studies K–10 Curriculum Framework. It is
incorporated in the content of the Drama
Years 7–10 Syllabus in the following ways:
Information and Communication Technologies (ICT)
The integration of ICT into the Drama Years 7–10 Syllabus provides
opportunities for students to engage with a range of technologies used in the
practices of making, performing and appreciating drama.
Drama allows for students to demonstrate
achievement in the areas of ICT. In particular, teachers should allow students
the opportunity to explore different information communication technologies in
their class work.
Students should use, access and engage with
ICT applications in a variety of ways. This should include:
·
using
word processing in a range of individual, group or class activities such as
scriptwriting, writing reports, assignments and essays
·
using
electronic communication including the internet to research and analyse
data or communicate with individuals or organisations.
Schools may also use other
ICT to facilitate learning in Drama. Examples of these include:
·
video cameras, editing, sound and lighting
equipment
·
databases to research, compile, organise and
analyse drama materials such as sound effects, plays, reviews, and information
on writers and directors
·
multimedia to make, perform and appreciate drama
by using computer-based software to enhance learning strategies in areas such
as set design, scriptwriting, story-boarding or animation
·
graphics programs to
create, import and manipulate images to produce theatre posters,
programs and flyers, costume, lighting and set designs.
Work, Employment and Enterprise
In
Drama, students develop skills, competencies, understandings and attributes,
which equip them to identify potential areas of employment in drama and
theatre. In Drama, work and employment opportunities relate to each of
the learning experiences of making and performing and appreciating. As students
engage in these activities they will develop an understanding of the roles of
actors, writers, directors, and other drama and theatre practitioners, as well
as other key roles in the theatre, film and television industries. These
industries are globally significant and provide potential international
opportunities. Drama develops communication skills vital to all employment
areas.
Aboriginal and Indigenous
Aboriginal and Indigenous cross-curriculum
content in Years 7–10 Drama is applicable to the study of plays and texts which
deal with Indigenous issues and present a range of Aboriginal characters. An
exploration of the ways in which Aboriginal characters are portrayed in
contemporary drama and the role of Aboriginal writers and performers in
contemporary society may be explored. The content allows students to develop an
understanding of the importance of drama and ritual to Aboriginal people and
the significant role of drama in fostering cross-cultural understanding.
Civics and Citizenship
Students
will explore the work of particular Australian writers and performers who have
made a contribution to drama and theatre in this country. Students have the
opportunity to engage in a range of dramatic forms, performance styles and
theatre conventions related to Australian theatre in order to develop a broad
understanding of our cultural heritage and the characteristics of the
Australian psyche.
Difference and Diversity
An
appreciation of difference and diversity is achieved by engaging in the
practices of:
·
making drama, which emphasises improvisation and
self-devised and group-devised activities according to individual interests
which may deal with personal, social and cultural difference and diversity;
·
performing drama, which allows students to
perform in a diverse range of dramatic forms and performance styles with their
associated theatrical conventions and technologies; and
·
appreciating drama, which allows students to
respond to different viewpoints and beliefs in order to develop mature
awareness, understanding and acceptance of difference and diversity.
Environment
Environmental
issues are explored in Drama as students become aware of the impact of
performance spaces and conventions by performing in a diverse range of spaces
and environments. Thus students become aware that they are a part of the
environment’s interconnected structure, that drama and theatre is made and
performed in different environments and is also affected by them. Students may
study dramatic forms such as environmental and event theatre, engage in making
and performing street theatre or make drama that centres on environmental
issues.
Gender
Students
will explore the notion of gender in the context of the syllabus by considering
the achievements of significant female and male writers, performers and
practitioners. They will explore the contribution of significant women in the
traditionally male-dominated field of drama and theatre and analyse the social
construction and portrayal of gender stereotypes in dramatic and theatrical texts.
Key Competencies
Key
competencies are embedded in the Drama curriculum to enhance student learning.
The
key competencies of collecting, analysing
and organising information, communicating ideas and information, and planning and organising activities are
integral to the nature of drama education.
Students
collect,
analyse
and organise information as the basis of making, performing and
appreciating dramatic material. For example, these competencies underpin all
playbuilding activities. Students undertake research and investigation into
drama texts, issues and practitioners, as well as dramatic forms, performance
styles and theatrical conventions of both a historical and contemporary nature.
Communicating
ideas and information is pivotal to Drama and is undertaken creatively
through performance, or may be presented in other oral, written or visual
forms. Performing devised or scripted works, writing an essay or conducting a
multimedia presentation are all part of everyday Drama practice.
Students
work as individuals and collaboratively in classroom activities, and through
this the key competency of working with others and in teams is addressed. Collaboration is an
integral aspect of the process of drama especially in making and performing
drama.
The
nature of Drama requires students to consistently engage in problem-solving
activities. They make decisions about the inclusion and exclusion of materials,
ideas, design and production elements for playbuilding and performing scripted
works. They solve problems regarding the making and performing of Drama work
through a synthesis of dramatic forms, performance styles and theatrical
conventions, thus addressing the key competency of problem-solving.
Literacy
The Drama Years 7–10 Syllabus provides scope
within the content for students to develop skills in various literacies. This
may take the form of understanding subject-specific and general vocabulary. The
reading and writing of scripts and texts will assist students in their
acquisition of literacy skills, as will responding to and evaluating their own
works and the works of others. In Drama, students extensively explore a range
of literacies in a broad range of contexts. As both performers and audience
members, students become aware of reading the signs, symbols and meanings of
performances.
Multicultural
In
Drama Years 7–10, students develop an understanding and appreciation of a
variety of cultural contexts. In Drama this is most effectively done through
improvising and playbuilding about the diversity of cultures, beliefs,
attitudes, values and customs in Australian society, or through the study of
particular texts dealing with issues associated with the social and cultural
experiences of different groups at different times in Australia’s history. Drama
allows students to create their own works based on issues of special interest,
taking into account aspects such as the cultural and linguistic diversity in
Australian communities.
Numeracy
The
development of skills in numeracy is achieved through experiencing drama
content. Students apply problem-solving techniques in everyday practice. They
incorporate concepts such as spatial relationships in constructing performance
spaces and through deciding positions on a stage, and they apply mathematical
principles in areas such as design. The awareness and calculation of time plays
a vital role in drama.
7.2 Content
for Years 7–10
Making – Essential
Content
Objective 1
Students will develop knowledge, understanding and skills,
individually and collaboratively, through making
drama that explores a range of imagined and created situations in a
collaborative drama and theatre environment.
Outcome 4.1.1: A student identifies and explores the
elements of drama to develop belief and clarity in character, role, situation
and action.
|
|
Outcome 5.1.1: A student manipulates the elements of drama to create belief,
clarity and tension in character, role, situation and action.
|
|
Students learn to:
|
Students learn
about:
|
·
recognise, create and develop elements of
drama to produce dramatic action and meaning
|
·
the identification and development of the
elements of drama which together create
dramatic meaning and audience
engagement
|
·
develop a range of created and imagined
situations which explore the familiar and unfamiliar
|
·
using elements of drama to enhance a range of
created and imagined situations
|
·
explore roles/characters and relationships
through improvisation techniques within fictional situations and dramatic
action
|
·
using improvisation to approach role/character
within fictional situations and dramatic action
|
·
create roles/characters of their own
imaginings by experimenting with plot and narrative structures
|
·
exploring roles/characters using realistic,
surreal and abstract narratives
|
·
develop fundamental vocal and physicalisation
techniques appropriate to conveying role/character
|
·
the processes of developing and sustaining a
role/character through voice, stance, gesture and status
|
·
develop and use language appropriate to a
role/character
|
·
identifying and responding to the internal
factors of role/character and translating these into voice and language that
are unique to a role/character
|
·
explore basic movement techniques in relation
to roles/characters
|
·
ways in which movements assist character
development
|
·
explore role and character through script,
dramatic forms, performance styles and playbuilding
|
·
the function of characters/roles in different
forms of drama
|
·
develop roles/characters with commitment
|
·
the role of the individual in the
collaborative process of drama
|
·
use appropriate terminology to discuss and
write about dramatic activities while making drama.
|
·
the use of drama terminology to express ideas.
|
Making – Additional Content
Objective 1
Students will develop knowledge, understanding and skills,
individually and collaboratively, through making
drama that explores a range of imagined and created situations in a
collaborative drama and theatre environment.
Outcome 5.1.1: A student manipulates the elements of drama
to create belief, clarity and tension in character, role, situation and
action.
|
|
Students learn to:
|
Students learn
about:
|
·
manipulate elements of drama in a variety of
dramatic forms and styles
|
·
the role of focus, tension, time, space
staging, structure, language, sound, movement, rhythm, moment, atmosphere and
symbol, which together create dramatic meaning and audience engagement
|
·
develop sophisticated vocal and
physicalisation techniques appropriate to role/character
|
·
the process of developing and sustaining a
believable role/character
|
·
explore movement techniques in relationship to
fully realised or abstract roles/characters
|
·
the different functions of drama elements in
creating character, role or image
|
·
explore pertinent drama elements to reveal
interaction between role/characters
|
·
identifying and responding to the internal
factors of role/character using focus, tension, time, space, rhythm,
atmosphere and symbol
|
·
explore and reveal aspects of role/character
in dramatic situations
|
·
the use of varied conventions and techniques
to explore role/character such as objectives, motivations, tactics, status,
independent activities, backgrounds, experiences
|
·
explore fully realised characters with clear
and or simple/complex situations and actions.
|
·
the process of developing and sustaining a
believable role/character
|
·
explore role/character through scripts,
dramatic forms, performance styles and playbuilding
|
·
the function of roles/characters in different
forms of drama
|
·
evaluate and refine the effectiveness of their
role/characterisation through experimentation in rehearsal.
|
·
the use of stagecraft and rehearsal skills
appropriate to process work.
|
Making – Essential
Content
Outcome 4.1.2: A student improvises and playbuilds through group-devised processes.
|
|
Outcome 5.1.2: A student contributes, selects, develops and
structures ideas in improvisation and playbuilding.
|
|
Students learn to:
|
Students learn
about:
|
·
make, accept and extend offers in
improvisation
|
·
the process of improvisation and contributing
ideas in spontaneous and rehearsed improvisations
|
·
play improvisation games to develop
improvisation skills
|
·
the process of extending and developing
improvisation skills through established games and rules
|
·
use improvisation as a form as well as a key
technique to devise playbuilding
|
·
the process of using an active, collaborative
process to create group or self-devised works
|
·
playbuild using a variety of stimuli
|
·
a variety of ways to approach playbuilding
including setting, theme, narrative, character, issues and personal
experiences
|
·
link playbuilding scenes
|
·
creating a cohesive performance by using
transitions such as music, punchlines, exits, blackouts, freezes, movements,
repeated dialogue, images, poetry etc
|
·
use elements of drama to manage the action in
playbuilding
|
·
the creation and enhancement of dramatic
meaning through elements of drama such as tension, moment or symbol
|
·
create narrative structures to convey dramatic
meaning
|
·
the development of various plot structures in
playbuilding (simple, complex, compound, linear, non-linear)
|
·
research material from a number of sources
such as local and Indigenous communities to use in playbuilding.
|
·
ways to develop different styles of
group-devised plays by drawing on community sources such as local identities,
Indigenous communities, media, government bodies and institutions, libraries
or the internet.
|
Making – Additional Content
Outcome 5.1.2: A student contributes, selects, develops and
structures ideas in improvisation and playbuilding.
|
|
Students learn to:
|
Students learn
about:
|
·
develop sophisticated improvisation skills
through improvisation games and processes
|
·
a variety of ways to use improvisation in
spontaneous and rehearsed situations
|
·
develop, structure and use improvisation as a
key technique to devise works
|
·
the process of using an active, collaborative
process to create devised works
|
·
playbuild using a variety of familiar and
unfamiliar stimuli
|
·
a variety of ways to approach playbuilding.
including current or historical, social, cultural, political issues, themes
or philosophies
|
·
create narrative structures to convey a
dramatic intention
|
·
the complexity of plots and narrative
structures in playbuilding
|
·
link playbuilding scenes in different ways
|
·
creating a cohesive performance and the impact
and effect of a range of appropriate transitions and linking devices
|
·
create dramatic metaphors to communicate ideas
|
·
a variety of ways to create comparisons in
group-devised work
|
·
apply theatrical dialectics to communicate
ideas
|
·
a variety of ways to present conflicting or
contrasting ideas in a dramatic work
|
·
research material from a number of local,
community and global sources
|
·
ways to develop sophisticated styles of
self-devised or group-devised plays by drawing on a range of sources
including the internet
|
·
research material which is issue-specific to
explore personal, social and cultural difference and diversity
|
·
the presentation of key social and cultural
issues such as multicultural, gender, Aboriginal, Indigenous or environmental
issues through drama and theatre
|
·
adapt aspects and conventions from a range of
dramatic forms and performance styles to develop works.
|
·
conventions which exist in dramatic forms and
performance styles, eg stock characters in commedia dell’arte which they can adapt in their own works.
|
Making – Essential Content
Outcome 4.1.3: A student devises and enacts drama using scripted and unscripted
material.
|
|
Outcome 5.1.3: A student devises, interprets and enacts drama using scripted
and unscripted material or text.
|
|
Students learn to:
|
Students learn
about:
|
·
explore and/or devise and enact scripts and
texts in different dramatic forms or performance styles, written by
themselves or others
|
·
the conventions and techniques associated with
writing or enacting scripts or texts
|
·
analyse and interpret scripts and texts
|
·
the inter-relationship of features such as
form, style, theme, purpose and intended audience in drama scripts or texts
|
·
write, draft and edit scripts or texts
|
·
computer-based technologies including the use
of word-processing software programs to devise scripts or texts
|
·
use improvisation techniques to explore the
dramatic structures of scripts and texts
|
·
a variety of approaches to explore scripts or
texts
|
·
identify and respond to the use of stage space
and stage geography within their script and text work
|
·
the use of improvisation and stagecraft in
shaping and interpreting initial script/text work
|
·
set up a basic student script book
|
·
the process of preparing and recording the
rehearsal process
|
·
explore character and character relationships
in drama works and develop a sustained character and/or role
|
·
the dynamics of relationships in scripted
works and developing character and/or role interaction on stage
|
·
use drama elements when creating or enacting
scripts or texts
|
·
the application of elements of drama such as
focus, tension, time, space, rhythm, atmosphere and symbol to dramatic works
|
·
experiment with voice and movement activities
that develop their understanding of the script or text in action
|
·
the transformation of the words of a text into
a dynamic and active experience
|
·
contribute ideas, collaborate and support the
collective process to create effective drama
|
·
the way in which group dynamics impacts on the
creation of drama
|
·
explore techniques used for refinement during
the rehearsal process
|
·
different structures of refinement in
rehearsal for the performance of a script or text
|
·
explore and use drama terminology when making
drama.
|
·
the use of appropriate language and literacy
in script and text making.
|
Making – Additional Content
Outcome 5.1.3: A student devises, interprets and enacts drama using scripted
and unscripted material or text.
|
|
Students learn to:
|
Students learn
about:
|
·
devise, explore and enact a variety of texts,
scripts or plays including an Australian component
|
·
the conventions and techniques associated with
Australian and/or world plays, texts, scripts and playwrights and the
characteristics of such works in a multicultural world
|
·
recognise and apply the conventions of script
or text when making drama
|
·
the function of language, plot structure,
subtext, climax and relationships
|
·
devise and enact scripts or texts of different
dramatic forms or performance styles
|
·
the conventions, techniques and technologies
associated with various forms and performance styles
|
·
analyse, interpret and explore simple or
multi-layered scripts and texts
|
·
the interrelationship of features such as
form, style, theme, purpose and intended audience in a drama script or text
|
·
select and use appropriate information and
communication technologies in the process of devising collaborative dramatic
works
|
·
the role and function of word processing,
video, sound and lighting, multimedia, graphics and electronic communication
when constructing drama
|
·
set up an actor’s blocking/script book
|
·
the process of preparing, recording and
reflecting on the rehearsal process
|
·
explore character and character relationships
and develop sustained characters and/or roles
|
·
the effect of believable interaction on stage
and the difference between a fully developed character and a role
|
·
demonstrate a range of metaphoric and literal
interpretations of the dramatic action
|
·
identifying the use of symbols and metaphors
in theatrical texts and creating them in their own works
|
·
explore the scope and breadth of visual
elements in creating drama
|
·
identifying the use of visual elements such as
staging, properties, costumes and lighting in drama
|
·
explore the social relationships between text,
performance and audience.
|
·
identifying the appropriateness of chosen
texts, styles and performance spaces for an audience.
|
Making – Essential Content
Outcome 4.1.4: A student explores a range of ways to structure dramatic work in
collaboration with others.
|
|
Outcome 5.1.4: A student explores, structures and refines ideas using dramatic
forms, performance styles, dramatic techniques, theatrical conventions and
technologies.
|
|
Students learn to:
|
Students learn
about:
|
·
develop linear scene and plot structures to
communicate dramatic ideas
|
·
the format of traditional plot structures
including beginning, build-up, climax and denouement
|
·
develop non-linear plot structures and use
shifting time frames to present dramatic ideas
|
·
the effect of overturning traditional plot
structures
|
·
use different dramatic theatrical techniques
and conventions to vary dramatic presentations
|
·
the presentation of dramatic material in a
variety of ways using techniques such as chorus, mask, narrator,
tableau/still image and flashback
|
·
refine work in collaboration with others
|
·
the nature of an ensemble and the
collaborative process
|
·
research and apply the conventions and
techniques of chosen forms or styles
|
·
the conventions applicable to various dramatic
forms and performance styles
|
·
adapt features of established dramatic forms
to create their own group-devised works.
|
·
the flexibility of approaches available to
create works by drawing on established dramatic forms and their conventions.
|
Making – Additional Content
Outcome 5.1.4: A student explores, structures and refines ideas using dramatic
forms, performance styles, dramatic techniques, theatrical conventions and
technologies.
|
|
Students learn to:
|
Students learn
about:
|
·
manipulate a variety of scene and plot
structures in order to structure particular dramatic forms
|
·
the creation of traditional and/or innovative
plot structures in different dramatic forms
|
·
manipulate a variety of dramatic and theatrical
techniques to enhance dramatic texts in different forms and styles
|
·
the application and effect of a range of
techniques, conventions and technologies in a variety of forms and styles
|
·
use techniques such as juxtaposition to create
contrast in dramatic works
|
·
the presentation of ideas in stimulating ways
to provoke audience thought
|
·
research and apply concepts of relevant drama
practitioners and their works
|
·
the adaptation of features of dramatic forms
or performance styles to self-devised and group-devised works
|
·
adapt features of established dramatic forms
to create their own group-devised works.
|
·
the flexibility of approaches available to
create works by drawing on established dramatic forms and their conventions.
|
Performing – Essential Content
Objective 2
Students will develop knowledge, understanding and skills,
individually and collaboratively, through performing
devised and scripted drama using a variety of performance techniques, dramatic
forms and theatrical conventions to engage an audience.
Outcome 4.2.1: A student uses performance skills to communicate dramatic
meaning.
|
|
Outcome 5.2.1: A student applies acting and performance techniques expressively
and collaboratively to communicate dramatic meaning.
|
|
Students learn to:
|
Students learn
about:
|
·
use vocal skills to communicate dramatic
meaning
|
·
the importance of breath, voice and expression
in performance
|
·
use movement skills to enhance performance
|
·
realistic and abstract movements in
performance
|
·
use
body language and physicalisation to help an audience to read performance
|
·
aspects of body language and physicalisation
such as posture, gesture and facial
expression
|
·
move
through and act with confidence in a designated performance space
|
·
performing
with confidence in a variety of spaces and developing trust and collaboration
with others
|
·
develop
timing in performance
|
·
the contribution of timing to the creation of
impact and dramatic tension in dramatic works
|
·
use
techniques to create a character/role
|
·
different techniques to approach the creation
of a character/role, eg observation, animal characteristics, physicality and
status
|
·
create and maintain clarity of focus in
dramatic action
|
·
maintaining clarity of focus as action
advances – using props, gestures, eye contact, language and voice
|
·
create
a basic actor/audience relationship in a variety of performance situations.
|
·
the function of the actor/audience
relationship.
|
Performing – Additional Content
Objective 2
Students will develop knowledge, understanding and skills,
individually and collaboratively, through performing
devised and scripted drama using a variety of performance techniques, dramatic
forms and theatrical conventions to engage an audience.
Outcome 5.2.1: A student applies acting and performance techniques expressively
and collaboratively to communicate dramatic meaning.
|
|
Students learn to:
|
Students learn
about:
|
·
use breath and voice as key instruments of
performance
|
·
breathing and vocal skills such as projection,
clarity, tone, pitch, pace, pause and dynamics and diaphragmatic breathing
|
·
use movement and stillness to enhance
performance
|
·
the significance of movement skills such as
energy, spatial awareness, dynamics, flexibility and control in performance
|
·
create
sub-text and emotional complexity in performance
|
·
the effect of a multi-dimensional dramatic
action
|
·
explore
the dynamics of timing in performance
|
·
the creation of impact and dramatic tension in
dramatic works through control of line delivery,
responses to cues, awareness of rhythms, pace and tempo
|
·
apply acting techniques to create a
fully realised or stock character
|
·
established systems of actor training and
their techniques such as observation, emotional memory, motivation,
objectives and given circumstances
|
·
create
a dynamic actor-audience relationship in a variety of performance situations.
|
·
a variety of ways to perform dramatic works
according to audience and purpose.
|
Performing – Essential Content
Outcome 4.2.2: A student experiments with performance spaces and production
elements appropriate to purpose and audience.
|
|
Outcome 5.2.2: A student selects and uses performance spaces, theatre
conventions and production elements appropriate to purpose and audience.
|
|
Students learn to:
|
Students learn
about:
|
·
improvise and explore some of the
collaborative roles of the production team in a drama, theatre production or
workplace
|
·
various roles in the theatre (eg actor,
stagehand, technician, director, designer, dramaturge, audience member) and
their input into the theatrical experience
|
·
explore the variety of performance spaces
through managing and manipulating imagined or created spaces
|
·
the visual impact of design in a space, using
elements such as shape, colour or composition to enhance a performance
|
·
design/alter the performance space to suit
particular playbuilding, dramatic form or performance-style needs
|
·
identifying performance spaces, eg arena,
amphitheatre, thrust, closed and open stages/spaces, for various dramatic
forms and styles
|
·
appreciate that performance spaces and
production elements must take into account their potential audience
|
·
the relationship between performers and
audience according to the type of production and the chosen theatre space,
eg hospital, nursing home, primary school, arena spectacular or street theatre |
·
understand and use some production elements
creatively in a performance situation
|
·
the impact of production elements on the
theatrical experience, eg costume, set, sound, front of house, stage
management, publicity and technologies
|
·
explore and use theatre conventions and
production elements which affect the actor-audience relationship
|
·
a range of theatre conventions and production
elements from differing dramatic forms and contexts, eg the use of a chorus,
mask or music
|
·
use a range of improvisation techniques to
explore performance spaces and production elements.
|
·
using improvisation techniques while exploring
performance spaces and production elements.
|
Performing – Additional Content
Outcome 5.2.2: A student selects and uses performance spaces, theatre
conventions and production elements appropriate to purpose and audience.
|
|
Students learn to:
|
Students learn
about:
|
·
improvise and explore the collaborative roles
of the production team in a drama, theatre production or workplace
|
·
various roles in the theatre, eg actor,
stagehand, technician, director, designer, dramaturge, audience member and
their input into the theatrical experience
|
·
understand and manipulate elements of
stagecraft and production, using them perceptively and creatively in a
performance situation
|
·
the impact of stagecraft and production
elements on the theatrical experience, eg costumes, makeup, sets, sound,
front of house, back stage, or publicity
|
·
explore and perform in a variety of
performance spaces
|
·
the conventions associated with spaces such as
classrooms, blackbox theatres, thrust stages, theatres-in-the-round, outdoor
venues, empty spaces or a proscenium arch
|
·
explore the nature of different theatre
companies and their dramatic function in relationship to an audience
|
·
the different configurations and uses of performance spaces and positioning of
audiences by different theatre groups and practitioners in areas such as
theatre in education, mainstream theatre, physical theatre, community theatre
or street theatre
|
·
use dramatic techniques suitable to explore
different performance spaces, dramatic meanings and audience relationships
|
·
using and exploring a range of improvisation,
acting and playbuilding approaches appropriate to different performance
spaces
|
·
use theatre conventions and production
elements suitable for different purposes and audiences.
|
·
theatre conventions and production elements
applicable to a variety of performances and audiences.
|
Performing – Essential Content
Outcome 4.2.3: A student explores and uses aspects of dramatic forms,
performance styles, theatrical conventions and technologies to create
dramatic meaning.
|
|
Outcome 5.2.3: A student employs a variety of dramatic forms, performance
styles, dramatic techniques, theatrical conventions and technologies to
create dramatic meaning.
|
|
Students learn to:
|
Students learn
about:
|
·
actively demonstrate skills, knowledge and
understanding of chosen dramatic forms or performance styles
|
·
a variety of dramatic contexts and their
conventions
|
·
explore drama technologies to create dramatic
meaning
|
·
the technologies and conventions associated
with small screen, video, radio, design software, lighting and sound that
enhance dramatic meaning
|
·
use improvisation skills, where appropriate,
to explore dramatic contexts
|
·
the different conventions and techniques of
forms and styles that create particular dramatic meanings
|
·
explore and use an Australian dramatic form
and/or performance style to communicate ideas
|
·
the diversity of Australian cultural beliefs,
attitudes and values
|
·
explore and enact dramatic forms in their own
right
|
·
the specific conventions associated with
various dramatic forms
|
·
use dramatic forms and performance styles in
playbuilding performances
|
·
ways to adopt or adapt features of dramatic
forms in playbuilding
|
·
select and explore performance styles in their
own right
|
·
devising and performing work in a particular
performance style
|
·
develop acting, performance and physical
skills to enhance specific performance styles
|
·
using acting or performance techniques in
areas such as voice, movement, mask, mime, characterisation, role-play,
script or on-camera production
|
·
explore, understand and use the dynamics of
space
|
·
the ways in which levels, physical proximity
and groupings can affect dramatic meaning
|
·
understand the dynamics of the actor audience
relationship
|
·
identifying the importance of the actor/
audience relationship
|
·
demonstrate appropriate acting skills to
communicate with different audiences
|
·
the nature of actor/audience relationships
|
·
develop terminology appropriate to dramatic
contexts and technologies.
|
·
terminology associated with dramatic forms,
styles and technologies.
|
Performing – Additional Content
Outcome 5.2.3: A student employs a variety of dramatic forms, performance
styles, dramatic techniques, theatrical conventions and technologies to
create dramatic meaning.
|
|
Students learn to:
|
Students learn
about:
|
·
explore and use some Australian, Aboriginal,
gender-specific and/or cross-cultural dramatic forms and performance styles
to communicate ideas
|
·
different drama and theatre constructs and how
they can delve into diverse cultures, beliefs, attitudes and values to create
dramatic action, meaning and actor/audience reflection
|
·
select, explore and enact specific dramatic
forms
|
·
the specific conventions of various dramatic
forms
|
·
select, explore and use specific performance
styles
|
·
devising and performing work in a particular
performance style, eg realism
|
·
use knowledge and understanding of dramatic
forms and performance styles to shape and refine their own playbuilding and
performance work
|
·
investigating and examining dramatic forms,
performance styles, dramatic devices, technologies and conventions in order
to create a desired dramatic intention
|
·
demonstrate acting skills appropriate to the
chosen dramatic context and to communicate with an audience
|
·
the nature of the actor/audience relationship
|
·
explore the actor/audience relationship in
light of a particular dramatic focus or intention
|
·
the different effects that dramatic forms,
performance styles and their conventions can have on an audience, eg comedy,
realism (forms and styles), alienation, spect-actors (conventions)
|
·
use terminology appropriate to dramatic
contexts and technologies.
|
·
the terminology associated with different
dramatic forms, performance styles, technologies and conventions.
|
Appreciating – Essential Content
Objective 3
Students will develop knowledge, understanding and skills,
individually and collaboratively, through appreciating
the meaning and function of drama and theatre in reflecting the personal,
social, cultural, aesthetic and political aspects of the human experience.
Outcome 4.3.1: A student identifies and describes elements of drama, dramatic
forms, performance styles, techniques and conventions in drama.
|
|
Outcome 5.3.1: A student responds to, reflects on and evaluates elements of
drama, dramatic forms, performance styles, dramatic techniques and theatrical
conventions.
|
|
Students learn to:
|
Students learn
about:
|
·
recognise and discuss elements of drama in a
variety of drama activities for dramatic meaning
|
·
the identification and importance of the
elements of drama that together create
dramatic meaning and audience
engagement
|
·
recognise and discuss the techniques,
conventions and technologies of various dramatic forms and performance styles
|
·
conventions, techniques and technologies applicable
to various forms and styles
|
·
describe the conventions, techniques and
technologies used in different performances
|
·
the roles of the performer and audience and
ways to read and respond to performance
|
·
respond appropriately to their work and the dramatic
work of others
|
·
recording their ideas in a drama workbook or
in other forms such as oral/aural, visual representation, discursive, written
or word-processed forms
|
·
exhibit appropriate audience behaviour when
watching various dramatic forms or performance styles
|
·
conventions associated with experiencing a
live performance in comparison to cinematic and small screen viewings
|
·
describe and respond to the conventions,
dramatic techniques and technologies used in different performances.
|
·
the role of the performer and audience, and
ways to read and reflect on performance.
|
Appreciating – Additional Content
Objective 3
Students will develop knowledge, understanding and skills,
individually and collaboratively, through appreciating
the meaning and function of drama and theatre in reflecting the personal,
social, cultural, aesthetic and political aspects of the human experience.
Outcome 5.3.1: A student responds to, reflects on and evaluates elements of
drama, dramatic forms, performance styles, dramatic techniques and theatrical
conventions.
|
|
Students learn to:
|
Students learn
about:
|
·
reflect on and evaluate elements of drama in a
variety of dramatic forms and performance styles
|
·
the identification, manipulation and
importance of the elements of drama that together create dramatic meaning and
audience engagement.
|
·
reflect on and evaluate the nature of
different dramatic forms and performance styles
|
·
recording, analysing and evaluating their
ideas in a drama workbook or in other forms such as oral presentations,
formal essays etc
|
·
analyse and respond to conventions and
techniques used in different performances
|
·
the various roles of performers and audiences,
and ways to read performance – its signs, symbols and meanings
|
·
identify specific social, cultural, gender,
aesthetic and political issues in dramatic forms and performance styles
|
·
the ways dramatic forms have reflected or
facilitated change in various societies
|
·
respond appropriately to their work and the
work of others, and exhibit appropriate audience behaviour
|
·
the effect that different dramatic forms and
performance styles can have on an individual or a group
|
·
recognise and apply a range of responses as an
audience member.
|
·
the diverse roles an audience member may have
such as viewer, participant or spect-actor.
|
Appreciating – Essential Content
Outcome 4.3.2: A student recognises the function of drama and theatre in
reflecting social and cultural aspects of human experience.
|
|
Outcome 5.3.2: A student analyses the contemporary and historical contexts of
drama.
|
|
Students learn to:
|
Students learn
about:
|
·
experience and appreciate dramatic and
theatrical performances
|
·
various ways to read and appreciate drama and
theatre performances
|
·
investigate the issues and themes present in a
range of scripts, texts and performances
|
·
the ways in which writers and practitioners
present social and cultural issues through drama texts and performances
|
·
inquire into the nature of various
contemporary and historical dramatic forms and performance styles
|
·
the ways in which people have used drama since
the beginning of time to represent their ideas
|
·
respond to and express ideas about drama in a
variety of oral, written, active or computer-based formats
|
·
ways to reflect on their ideas, such as in a
drama workbook, essay, dramatic presentation, debate, speech, monologue,
discussion, multimedia presentation, video or through other appropriate forms
|
·
investigate, discuss and debate the
representation of gender-based, racial and cultural stereotypes in various
dramatic forms or performance styles
|
·
the development of critical questioning in
order to appreciate and understand the role of drama and theatre in provoking
questions, thoughts and ideas about race, gender and culture
|
·
value and use information and communication
technologies in drama and theatre to help reflect on aspects of human
experience.
|
·
the use of a range of computer-based
technologies, such as databases, multimedia, graphics programs and electronic
communication, to enhance dramatic meaning in their playbuilding, scripts, texts,
and performances.
|
Appreciating – Additional Content
Outcome 5.3.2: A
student analyses the contemporary and historical contexts of drama.
|
|
Students learn to:
|
Students learn
about:
|
·
experience and appreciate a range of dramatic
and theatrical performances
|
·
various ways to read, appreciate and evaluate
drama and theatre performances
|
·
deconstruct and analyse contemporary and
historical texts and forms
|
·
the way the study of different contexts can
inform contemporary practice
|
·
understand the contemporary and historical
contexts of drama and theatre
|
·
the impact of social, political, economic and
cultural influences on the creation and performance of drama and theatre in
different forms and styles
|
·
analyse and debate the representations of
difference and diversity related to race, gender and culture in drama and
theatre
|
·
the significance of contemporary and
historical contexts in shaping views through texts and performances
|
·
enjoy the aesthetic and dynamic nature of
drama.
|
·
the fact that entertainment is a powerful form
of learning.
|
Appreciating – Essential Content
Outcome 4.3.3: A student describes the contribution of individuals and groups
in drama using relevant drama terminology.
|
|
Outcome 5.3.3: A student analyses and evaluates the contribution of individuals
and groups to processes and performances in drama using relevant drama
concepts and terminology.
|
|
Students learn to:
|
Students learn
about:
|
·
investigate and analyse dramatic ideas through
enactment, drama workbook, discussion and debate
|
·
the selection and use of various ways to
present ideas and information about drama
|
·
use appropriate language individually and
within the group when devising, enacting, discussing, debating or writing
about drama
|
·
the value of a shared terminology
|
·
reflect on their own work and the work of
others
|
·
the importance of accepting positive,
constructive feedback, evaluation and analysis of group or individual works
|
·
recognise dramatic problems and solve them
individually and in a group
|
·
the process of refinement through trial and
error
|
·
recognise the contribution and commitment of
individuals and groups to drama and acknowledge a diversity of views
|
·
respecting and appreciating commitment in the
collaborative process and the diverse approaches to drama making and
performing
|
·
value the collaborative nature of drama work
|
·
acknowledging the attitudes and views of
others through working collaboratively in the development of dramatic meaning
|
·
enjoy drama and theatre as a community
activity.
|
·
the ways drama and theatre can provide enriching
experiences for young people.
|
Appreciating – Additional Content
Outcome 5.3.3: A student analyses and evaluates the contribution of
individuals and groups to processes and performances in drama using relevant
drama concepts and terminology.
|
|
Students learn to:
|
Students learn
about:
|
·
investigate, analyse and synthesise dramatic
ideas through enactment, workbook, formal writing, discussion and debate
|
·
expressing emotion and ideas, thinking
critically, enacting, discussing and writing dramatic material in various
ways
|
·
use appropriate drama terminology
|
·
key drama terms and concepts
|
·
recognise and negotiate dramatic problems and
solve them individually and in a group
|
·
the process of refinement through trial and
error in process drama
|
·
research the contribution of various
historical and contemporary drama practitioners and groups
|
·
appreciating innovative dramatic approaches of
individuals and groups in different social, cultural, political and
historical contexts
|
·
consistently value and respond to the collaborative
nature of drama work
|
·
acknowledging the attitudes and views of
others through working collaboratively in process drama
|
·
critically reflect on their own work and the
work of others
|
·
the value of reflective practices in drama and
theatre
|
·
enjoy and experience drama and theatre as a
community activity.
|
·
social/cultural competencies and the enjoyment
and enrichment that drama provides for lifelong learning.
|
Life Skills
For some students with special education needs,
particularly those students with an intellectual disability, it may be
determined that the above content is inappropriate. For these students, Life
Skills outcomes and content can provide a basis for the development of a
relevant and meaningful program – see section 8.
7.3 The Elements of
Drama
Role and character
Role: Embracing a role involves representing a point of
view and identifying with a particular set of values and attitudes. When a role
is assumed, relationships can be established pivotal to dramatic action such as
relationships between people, between people and ideas, between people and the
environment. This negotiation of the situation and roles is an important and necessary phase in all drama.
Character:
Characterisation is the process of developing from a role to build a complex
personality and background for a particular character. Intention, status and
attitude are integral ingredients for a character’s motivation and belief.
Complexity in character can be developed through interaction and relationship
with others.
Focus
In Drama Years 7–10, two types of focus are developed. The
first point of focus is the performer’s focus, used to create and sustain
concentration and belief. The second type of focus refers to the point where
the dramatic action is directed. The focus of any dramatic situation can be
planned to help frame the action and can be created by attention to space,
motifs, props, gestures, eye contact, language, voice and contrasts. As the
drama progresses, a sharp focus must be maintained; otherwise the action will
become blurred and the direction lost.
The following techniques could assist in maintaining
clarity of focus:
·
Space: levels,
physical proximity and groupings are all means of focusing an action
·
Motifs: dramatic
action will provide opportunities for characters to create things to do, which
can be repeated regularly throughout the drama. Once these patterns have been
established a clear focus for the action is ensured every time the character
returns to the motif
·
Props: props are often essential to dramatic
action; when introduced they can serve to focus the drama
·
Gesture: any
gesture which concentrates attention (for example, pointing, facing the action,
touching), also helps establish focus
·
Eye Contact: eye contact between individuals and
within groups is an important way of controlling and focusing the action
·
Language and Voice: focus is determined not just
by who is speaking, but also by what is being said and the way it is being said
·
Contrasts: focus is also achieved through
contrasting images, eg all performers moving quickly except one who is still;
all performers speaking together softly except one who speaks above the others;
all performers in darkness except one who is in the light.
Tension
Tension is the force which drives all drama. It creates a
powerful and complex form of energy on stage which, in turn, generates a level
of excitement in the audience. There are four major ways of creating and
intensifying dramatic tension:
·
the creation of a problem or task that characters must complete in
order to achieve a goal or not
·
the development of relationships between characters and managing the relationships, eg
someone may change, someone may leave
·
the creation of surprise where the characters and audience don’t know what’s ahead.
Suddenly the circumstances unfold and a shock occurs
·
the development of a notion of mystery with the characters and audience not knowing what it all means. The
action moves forward; everything becomes clear.
Time
Time refers to the period in which the dramatic action can
occur. Time can remain constant or shift, depending on the circumstances and
contexts of the drama. Time affects the place and situation that characters
find themselves in.
Place
All dramatic action occurs at a time and place. Different
settings dictate other characters that might be introduced, certain settings
will intensify the action, multiple
locations can enable us to explore many aspects of the situation, while the use
of contrasting settings can help to build the dramatic tension.
Situation
Situation refers to the circumstances the characters are
in. Characters and their relationships are shaped by the situation. The
situation is also created by the intentions or motivations of the characters.
Space
Space refers to both the shape of the stage/performance
space and the spatial design contained in the performance space. Awareness of
spatial dynamics and spatial relationships within the design are essential to
the realisation of dramatic coherence. The physicality of the performer’s body
in relation to other performers’ bodies and the spatial design of the
performance area constantly create meanings, which are visually read or
interpreted by the audience.
Structure
The structure is the framework through which the content
of the drama is presented. Structural elements such as narrative and plot can
shape or order the nature of how the dramatic message is communicated.
·
Narrative:
Drama is comprised of a narrative structure. The events in a narrative are
not random, but linked by cause and effect.
·
Plot lines: The plot line carries the dramatic
action forward. Plot lines can be simple, complex or cyclic. They can be linear
or non-linear. The plot line creates a dramatic framework for the narrative.
Language
In drama, ideas, feelings and needs are expressed through
verbal and non-verbal language. Dramatic action is enriched when vocal and
physical dynamics are carefully used to reinforce and strengthen the language.
Sound
Sound incorporates many aural devices to enhance
performance, create mood and establish atmosphere, generate emotion and build
dramatic tension. Sounds may be as diverse as the use of realistic sound
effects, music or soundscapes through to the use of body percussion.
Movement
Movement expresses action and, like language, is dictated
by situations, roles and relationships. It can be realistic or abstract. Mood,
symbols and motifs can be expressed in movement, which can enrich the dramatic
action and create powerful meanings.
Rhythm
Rhythm is the manipulation of timing through pace and
tempo. It involves an awareness of the internal patterns within the
performance. Rhythms are manipulated according to focus, situation, characters
and dramatic tension, which impacts on the desired audience reaction.
Moment
Moments in the drama are fundamental to the pacing of the
dramatic action. The tempo, which
refers to the management of time in a broad sense, is often punctuated by the
moment. The precise use of time from one moment to the next is called timing.
It is an integral factor in building dramatic tension. The control or
manipulation of key moments affects the audience’s engagement and understanding
of the performance.
Atmosphere
Atmosphere is
the feeling or mood that is created by, and emerges through, dramatic action.
It is closely linked with tension: as the tension in a drama builds so too does
the mood and this strengthens the tension. Drama appeals to the senses to evoke
the atmosphere and the emotions to intensify the mood.
Symbols
Symbols can help you understand and focus the drama – they
can sum up the meaning of the performance, sometimes on a subconscious level.
They can be expressed through the visual imagery of language, movement,
gesture, objects, design and staging, helping to reinforce the meaning of the
whole experience.
Dramatic meaning
Dramatic meaning is
created through the manipulation of the elements of drama which are
interrelated and interdependent. The purpose of any piece of drama is integral
to its form or style. Dramatic meaning is what is communicated between the
performers and the audience to create an actor-audience relationship.
Audience engagement
The level and type of an audience response depends on the
drama maker’s awareness and control of the desired actor-audience relationship
in relation to the chosen form or style, and within the context of the
performance space. The purpose of the performance impacts on the type of
audience engagement created, from laughter to alienation, and makes clearer
dramatic meaning.
7.4 Dramatic
Contexts
The contexts of dramatic forms,
performance styles and their dramatic techniques and theatrical conventions
refer to the ways in which we engage in and shape dramatic action. Dramatic
forms and performance styles, as terms, are somewhat interchangeable in the Drama Years 7–10 Syllabus. For example,
mime is a dramatic form as is street theatre. However, a single text may be
done in many different performance styles such as realistic, comic or absurd
styles or in the style of a morality play (even though a Medieval Morality play
is a dramatic form in its own right).
Each form or style has its own
recognisable techniques and conventions. These techniques and conventions can
be taught as part of the form or style, or separated out. For example,
playbuilding could incorporate the conventions of chorus or mask (from Ancient
Greek theatre) and shadow puppets (Theatres from Asia) and the dramatic
technique of juxtaposition. Improvisation might use the conventions of a
Shakespearian sonnet or rhyming couplets, encouraging audience members to
become spect-actors (Boal’s Theatre of the Oppressed) or it might use stock
characters (commedia). These are indicative of some techniques or conventions
associated with established forms and styles.
Compulsory context –
playbuilding
Playbuilding is the compulsory dramatic context and a unit
of playbuilding must be studied in every 100 hours of drama undertaken. It is a
key method of making, as well as a style of performance, and it stands alone as
a dramatic form in its own right.
Playbuilding refers to a group of students collaborating
to make their own piece of drama. Through playbuilding students should be able
to explore their own worlds, create worlds beyond their immediate environment
and investigate the social/cultural context of the human experience. Students
should playbuild in response to a range of different stimuli and investigate a
range of dramatic forms and performance styles to assist them to devise and
structure their own works.
Other dramatic
contexts
At least one other dramatic form or performance style must
be studied as part of the essential content. At least two other dramatic
contexts must be studied for each subsequent 100 hours of additional drama
content. The dramatic forms and performance styles listed below, together with
their associated dramatic devices, technologies and theatrical conventions, may
be used as a starting point for in-depth study or an integrated unit of
drama-learning, depending on students’ age and experience. Other appropriate
forms or styles may be studied.
Examples of relevant dramatic forms and performance styles
appropriate to study in Drama Years 7–10 include:
Improvisation
Inter-cultural drama and theatre
Political/protest
theatre
Theatres from Asia
Small screen drama
Physical theatre
Creative movement
Scripted drama
Aboriginal performance
Medieval drama
Ancient Greek drama
Mime
Puppetry
Commedia dell’arte
Clowning/comedy
Vaudeville
Mask
Realism
Shakespeare
Melodrama
Street and environmental theatre
Improvisation
Improvisation is spontaneous, unscripted performance, used
either as a key method of making drama, or as a rehearsal or live performance
technique to communicate ideas and construct drama. Students use spontaneous or
rehearsed improvisations to develop situations and dramatic meaning through the
use of their imagination and increasing level of skills.
Inter-cultural
Drama and Theatre
Inter-cultural drama refers to devising text that draws on
a range of features from different cultures to develop and perform drama. For
example, students may devise their own playbuilt piece using languages other
than English or incorporate various cultural features such as dance, movement,
songs, lullabies, images or costumes from their own or other cultures.
Examining segments of texts such as ‘Tess Lysotis’ ‘The Forty Lounge Café’ may
be beneficial.
Protest/Political Theatre
Protest/political theatre involves devising a piece of
drama as a response to a chosen issue. Students explore their own world and
worlds beyond their own environment to experience a sense of empowerment by
utilising aspects of this form of theatre. Protest theatre usually involves
presenting one view, a protest in relation to an issue, while political theatre
may present a dialectic. Experimentation with different performance spaces and
the conventions of working with different audiences would be beneficial.
Research into a chosen issue and into drama practitioners who use political
theatre, such as Boal, Fo or Brecht, may be advantageous.
Theatres from Asia
This dramatic context involves
drawing on the conventions of traditional and contemporary Asian theatrical
forms to create an original piece of drama in a particular performance style.
Such dramatic forms may include: Japanese Kabuki, Noh, Bhutto or Bunraku puppet
theatre, Indonesian Wayang puppetry, Chinese Opera, Indian Sanskrit drama or
other Asian forms. Research into theatres from Asia and practitioners who use
their conventions such as Suzuki may be advantageous.
Small Screen Drama
TV, film and video drama
involves a group of students collaborating to create dramatic meaning using
screen production technology. Students should investigate skills and techniques
for devising, structuring and performing their own screen works. They should
use appropriate technologies to shoot, edit and present their works.
Physical Theatre
Physical theatre is created from
physical action, characterisation and stage composition. Inspiration and
training is drawn from several performing arts disciplines, including
improvisation, acrobatics, circus skills, mime, pantomime, street theatre,
stage combat, buffooning, clowning, commedia dell’arte etc. Movement, dynamic stillness, gesture and
physicalisation are its primary means of expression. Students should explore
and present issues in a primarily physical yet safe way. Examining the work of
groups such as ‘Legs on the Wall’ may be advantageous.
Creative Movement
Creative movement involves the
interpretation and expression of a concept, symbol, theme, text, narrative etc
through movement. Students focus on the body as the primary vehicle of
expression and may research and experience the work of practitioners such as
Laban in order to assist their own expression through movement.
Scripted Drama
Scripted drama involves the interpretation and performance
of a written play text. Students should experience a variety of ways to
approach and perform a script according to purpose and audience. Workshopping
and performing whole or part segments of scripts from a range of styles and
periods, including Australian theatre, would be advantageous.
Aboriginal Performance
A study of Aboriginal
performance traditions involves students in researching the significance of
performance in Indigenous cultures. Students may explore the significance of
various conventions such as movement, makeup and markings, storytelling,
narratives etc in order to understand the form and to inform contemporary
practice. A further exploration of the ways in which Aboriginal characters are
portrayed in contemporary drama and the role of Aboriginal writers and
performers in contemporary society would be advantageous.
Medieval Drama
Medieval drama explores the role
of the Christian Church in bringing theatre to life in the Middle Ages.
Students might explore the social and historical context, form, content and
staging of the Mystery, Miracle and Morality plays, and may experiment with
ways to present such material in both traditional and contemporary ways.
Presenting contemporary issues in the form of a modern Morality play would be advantageous.
Ancient Greek Drama
Ancient Greek drama grew out of
celebrations, rituals and religious festivals. Historical perspectives in the
study of this form could inform contemporary practice. Students might explore
the conventions of comedy, tragedy, chorus, mask, costuming and performance
styles relevant to this form through devising their own piece of drama or
experimenting with scripts. They can experience staging through both indoor and
outdoor settings.
Mime
Mime is a nonverbal form of
expression that involves visual communication through gesture and actions.
Students explore the distinct physical techniques of mime, both literal and
abstract, through: experimenting with mimicking everyday actions; exaggerating
actions; or presenting moments from stories, visual images from poetry or
creations of their own imagination. Research into the conventions of the form
and drama practitioners who have used it may be advantageous.
Puppetry
Puppetry involves the use of
inanimate objects and a puppeteer’s skill in breathing life into these objects.
The study of this area could include traditional forms, from marionette and
hand and rod puppets, to cultural forms of shadow puppetry (eg Wayang Kulit),
lifesize puppetry (eg Banraku), to
experimental forms where any object can become a puppet. Research into the
innovative practices of companies such as Handspan in Australia and Philippe
Genty from France and other practitioners would be beneficial.
Commedia dell’Arte
Commedia dell’arte means the
comedy of the professional players and it relies greatly on the skills of the
performers. Students might use improvisation and the creation of spontaneous
scenarios to explore the stock characters and plot situations inherent to this
form of Italian comedy. Performance in mask is integral to commedia dell’arte and students could experiment with the
intricacies of this acting style. Research into historical and social contexts
would be advantageous.
Clowning/Comedy
The clown is the jester, joker or
wild card in the pack that can take on any value. The clown is a social
lubricant, a creator of laughter that shakes things loose – a liberator. The
study of this form could lead students to discover and develop their own clown
and their story as each of us has our own clown buried within, presenting an
irreducible playful essence. Clowning techniques such as juggling, simple
balancing work, tumbling, tricks and unicycling, all within safe practice,
could also be explored. An exploration of comedy as a performance style, the features
of modern comedy and comedians, and the techniques they use may assist students
in creating their own work.
Vaudeville
Vaudeville is a form of light
entertainment interspersed with song, dance, and revue, in which recent events
and popular ideas are parodied. Classical styles combine singers, dancers,
comedians, acrobats, magicians, ventriloquists and animal acts. Students could
explore the variety of acts within this form and draw on individual strengths
to create their own Vaudeville show with relevance to contemporary events.
Mask
The origin of the mask is embedded
in early ritual. A mask’s function, then and now, is as diverse as masks
themselves. Masks can be used in the classroom in a wide variety of activities
and contexts, including playbuilding, movement or script work. Mask work allows
students to cross language and cultural barriers and can be used to tell
stories, to understand and engage with different cultures and to create
ritualistic forms of expression. Research into diverse forms such as commedia
dell’arte, Noh, Greek, Roman, and masks such as masquerade, neutral and Basel
may be advantageous and assist students in making and using their own character
masks.
Realism
Realism is a performance style
grounded in reality and truth at all stages of the drama process. It developed
in response to artificial acting styles. Realism encourages a response to
scripts, playbuilding and dramatic forms in a truthful way that allows the
performer and audience to be ‘in the moment’. Realism techniques range from
students exploring answers to such questions as ‘who?’, ‘where?’, ‘when?’,
‘what?’ and ‘why?’ and building a specific physical and emotional profile for a
character, to using more complex techniques to develop a character’s actions,
such as concentration, inner truth, given circumstances, attention to
specifics, goals and objectives. Research into the methods of practitioners
such as Stanislavski may be advantageous.
Shakespeare
Shakespearian drama involves
active engagement in a range of segments of Shakespearian texts or an in-depth
study of a particular play. An exploration of the emergence of professional
theatre and the style of acting, language and staging employed, as well as the
social and historical context of Elizabethan England, may help inform
contemporary practice. Students may choose to adapt ideas and narratives to a
contemporary setting or experiment in producing text in a variety of ways.
Melodrama
Melodrama was a popular form of
theatre in the 19th century which used spectacular settings and stage effects,
and was formulaic in its use of a hero, heroine, villain, romance, violence and
tear-jerking sentiment. Students may explore segments of traditional scripts or
adapt the conventions of this form to devise their own works in a contemporary
performance style such as soap opera.
Street and Environmental Theatre
Street theatre or environmental
theatre, often called site-specific theatre, involves students exploring the
performance of group-devised works in an outdoor environment in response to a
chosen issue. Experimenting with different performance spaces and exploring
conventions such as large-scale visual imagery, colour, costume, repeated
motifs, music and audience engagement would be beneficial.
The Board of
Studies recognises that a small percentage of students with special education
needs may best fulfil the mandatory curriculum requirements for Drama by
undertaking Life Skills outcomes and content. (Requirements for access to Life
Skills outcomes and content are detailed in Section 1.2.)
Life Skills
outcomes will be selected on the basis that they meet the particular needs,
goals and priorities of each student. Students are not required to complete all
outcomes. Outcomes can be demonstrated independently or with support.
In order to provide
a relevant and meaningful program of study that reflects the needs, interests
and abilities of each student, schools may integrate Drama Life Skills outcomes
and content across a variety of school and community contexts.
and content across a variety of school and community contexts.
8.1 Outcomes
Objectives
|
Outcomes
|
|
Students will
develop knowledge, understanding and skills through:
|
A student:
|
|
1 making drama that explores a range of
imagined and created situations in a collaborative drama and theatre
environment
|
LS.1.1
LS.1.2
LS.1.3
|
explores
characters, roles, situations and actions through drama activities
explores a variety
of playbuilding activities
participates in
drama experiences in which role-taking is used to enhance their understanding
of ideas and feelings
|
2 performing devised and scripted drama
using a variety of performance techniques, dramatic forms and theatrical
conventions to engage an audience
|
LS.2.1
LS.2.2
|
explores dramatic
forms and theatrical conventions
participates in the
preparation of drama works and theatrical productions
|
3 appreciating the meaning and function
of drama and theatre in reflecting the personal, social, cultural, aesthetic
and political aspects of the human experience.
|
LS.3.1
LS.3.2
LS.3.3
|
experiences a variety
of drama or theatre performances
identifies and
responds to the elements of drama or theatre in performances
recognises that
drama and theatre performances can communicate meaning and ideas.
|
The content forms
the basis for learning opportunities. Content will be selected on the basis
that it meets the needs, goals and priorities of each student. Students are not
required to complete all of the content to demonstrate their achievement of an
outcome.
The examples
provided are suggestions only.
Objective 1
A student will
develop knowledge, understanding and skills through making drama that explores a range of imagined and created
situations in a collaborative drama and theatre environment.
Outcome LS.1.1:
|
A student
explores characters, roles, situations and actions through drama activities.
|
|
Students learn to:
|
Students learn about:
|
|
·
identify a range of familiar characters
|
·
the characteristics of familiar
roles/characters from live theatre, TV, film/video, literature, personal life
|
|
·
explore familiar roles/characters in drama
activities
|
·
the characteristics of familiar
roles/characters such as mothers, policemen, sporting heroes etc
|
|
·
explore the use of verbal and non-verbal
communication appropriate to roles/characters
|
·
ways to create verbal and non-verbal
communication such as voice, stance and gesture
|
|
·
explore movement appropriate to
roles/characters
|
·
ways to use movement to create character,
eg walk slowly, walk shyly, walk excitedly |
|
·
explore voice appropriate to roles/characters
|
·
ways to use voice to create characters,
eg speak in monotone, speak with a high-pitched voice, speak hesitantly |
|
·
explore roles/characters through improvisation
techniques.
|
·
the use of improvisation to explore
roles/characters and relationships, eg a number of characters meeting in a
variety of situations for a range of reasons.
|
|
Outcome LS.1.2:
|
A student
explores a variety of playbuilding activities.
|
|
Students learn to:
|
Students learn about:
|
|
·
play improvisation games to develop
improvisation skills
|
·
improvisation skills through established games
and rules
|
|
·
playbuild using a variety of stimuli to
communicate dramatic meaning
|
·
playbuilding strategies such as improvisation,
different stimuli (such as place, situation, theme, characters and
issues)
|
|
·
sequence playbuilt scenes in an ordered way.
|
·
a dramatic sequence – beginning, middle,
climax, end – to convey dramatic meaning.
|
|
Outcome LS.1.3:
|
A student
participates in drama experiences in which role-taking is used to enhance
their understanding of ideas and feelings.
|
|
Students learn to:
|
Students learn about:
|
|
·
participate in role-taking experiences
|
·
the fact that taking on a role is like
‘stepping into another person’s shoes’
|
|
·
display different ideas and feelings when in
roles
|
·
showing feelings such as happiness, anger,
excitement in different roles
|
|
·
display appropriate behaviour when stepping
into the roles of others
|
·
respect for others and collaboration in drama
activities
|
|
·
use role-taking as a technique, eg to
communicate effectively with others.
|
·
communicating ideas, negotiating with others,
exploring other people’s feelings and points of view, and exploring
strategies for resolving problems.
|
|
Objective 2
A student will
develop knowledge, understanding and skills through performing devised and scripted drama using a variety of
performance techniques, dramatic forms and theatrical conventions to engage an
audience.
Outcome LS.2.1:
|
A student
explores dramatic forms and theatrical conventions.
|
|
Students learn to:
|
Students learn about:
|
|
·
explore a variety of dramatic forms and
theatrical conventions in order to vary drama performances
|
·
techniques and conventions such as
improvisation, mime, puppetry, mask, chorus, monologue, narrator and movement
|
|
·
use performance skills to participate in the
making and performing of a variety
of drama and theatre performances |
·
the use of performance and expressive skills
in dramatic presentations such as voice, projection, movement, timing and
facial expressions
|
|
·
develop confidence when moving and acting in a
designated performance space
|
·
developing confidence, trust and collaboration
with others
|
|
·
maintain focus in a drama or theatre
performance.
|
·
concentration and focus in drama and theatre.
|
|
Outcome LS.2.2:
|
A student participates in the preparation of drama works and
theatrical productions.
|
|
Students learn to:
|
Students learn about:
|
|
·
identify some of the different activities
associated with a dramatic or theatrical production
|
·
production elements such as acting, lighting,
sound, costumes, makeup, sets, front of house, stage management and publicity
|
|
·
participate in a range of activities involved
in preparing for a dramatic or theatrical production.
|
·
the operation of basic lighting and sound
equipment, finding or making costumes, applying makeup, helping with sets,
publicity, front of house or backstage work.
|
|
Objective 3
A student will
develop knowledge, understanding and skills through appreciating the function of drama and theatre in reflecting the
personal, social, cultural, aesthetic and political aspects of the human
experience.
Outcome LS.3.1:
|
A student experiences a variety of drama or theatre performances.
|
|
Students learn to:
|
Students learn about:
|
|
·
recognise that drama may be performed in
different forms and styles and for a range of purposes
|
·
the variety of dramatic forms or styles and
the different reasons that drama may be performed, eg comedy to make us laugh
|
|
·
experience a range of live or recorded drama
or theatre performances
|
·
appreciating different performances, eg
individual student and class performances, performances at school by visiting
groups, performances in the community
|
|
·
identify and display appropriate audience
behaviour in different situations
|
·
appropriate ways of engaging in audience
participation, such as expressing appreciation at appropriate times, actively
participating in performances when invited, listening attentively, entering
and leaving performances at appropriate times, locating and sitting in an
allocated seat
|
|
·
enjoy drama and theatre as a community
activity.
|
·
the way drama can promote lifelong enjoyment
and learning.
|
|
Outcome LS.3.2:
|
A student identifies and responds to the elements of drama or
theatre in performances.
|
|
Students learn to:
|
Students learn about:
|
|
·
identify particular elements of a performance
which are of special significance
|
·
the way meaning and significance is conveyed
through elements such as plot, characters, costumes, sets, lighting and sound
|
|
·
indicate a preferred/favourite character in a
drama and give reasons for their choice
|
·
the main features or developments in a
role/character in a drama or theatre performance which are appealing to an
audience
|
|
·
communicate responses to drama and theatre in
different ways
|
·
different ways to express ideas about drama,
such as in a drawing or collage, class discussion, or on a computer
|
|
·
communicate responses to their work or the
work of others, or to live or recorded drama and theatre performances.
|
·
different responses to drama, such as
displaying empathy for a particular character in a drama, expressing enjoyment
in response to a comedy, agreeing with an idea or issue raised in a
performance, or describing how the interaction between characters affected
the mood of a particular performance.
|
|
Outcome LS.3.3:
|
A student recognises that drama and theatre performances can
communicate meaning and ideas.
|
|
Students learn to:
|
Students learn about:
|
|
·
express their own ideas in a piece of drama
|
·
ways to turn their ideas into a monologue or
playbuilt scene
|
|
·
recognise that drama and theatre are ways for
individuals and groups to convey meaning and ideas
|
·
the way an individual drama or theatre
performance, TV show or film has conveyed ideas
|
|
·
identify some key ideas conveyed through a
drama or theatre performance.
|
·
the fact that ideas can be presented in an
entertaining way.
|
|
Stage statements illustrate the continuum of learning in
the Drama Years 7–10 Syllabus and are
summaries of the knowledge, understanding, skills, values and attitudes that
have been developed by students as a consequence of achieving the outcomes for
the relevant stage of learning.
Early Stage 1
Students who have achieved Early Stage 1 are able to take
on basic roles and create imagined situations within their own dramatic play
and in drama initiated by the teacher. In drama structured by the teacher, or
with the teacher in role, students can respond within group roles, for example,
all taking on the roles of ‘market stall sellers’ in the dramatic context.
Fantasy characters and situations are taken from literature, the screen, and
the students’ imagination and from the representation of people and places in
their everyday lives. Improvisation, movement, mime and storytelling forms
convey the meaning of drama. Students are becoming aware that the elements of
drama such as tension, contrast (loud/soft, fast/slow) and symbol can emphasise
a specific aspect of the dramatic situation. Students reflect on their drama as
makers and audience so that they begin to distinguish between imagined situations
and everyday experiences.
Stage 1
Students who have
achieved Stage 1 engage in many aspects of drama by taking on a range of
imagined roles and situations, which may be sustained through changes in
location or time. They explore roles of people with whom they are familiar and
whom they observe in their everyday experiences. These include men and women of
different ages from diverse social/cultural groups and involved in different
occupations. They also create fantasy roles and situations.
Students make
decisions with the teacher about how to establish the dramatic context by
discussing dreaming stories, folk tales, selecting artifacts and adapting the
classroom space or listening to music or a sound effect. Students demonstrate
an understanding of extending imagined situations. For example, if the action
of the drama revolves around a ‘child’ lost in the bush, then movement or
storytelling could be used to explore the context of the lost, tired and hungry
‘child’ before they are found. In these ways students begin to understand
narrative and alternative narrative structures in drama.
Students
collaborate to make dramatic meaning about the human experience by
investigating the forms of drama such as improvisation, movement, mime,
storytelling, reader’s theatre and puppetry.
Students develop
their work using the drama elements of tension, contrast (loud/soft, fast/slow)
symbol, time, space, focus and mood structured by the teacher. They are guided
by the teacher to discuss these elements in their own and others’ work. They
reflect on drama from the perspective of the maker/deviser and audience.
Stage 2
Students who have
achieved Stage 2 have taken on a diverse range of roles within various dramatic
contexts. Students demonstrate an awareness of the drama processes of
establishing the action of the drama, taking on roles and exploring a
topic/issue in a dramatic context. Students refine aspects of role by
sustaining their role either in their own groupings or with the
teacher-in-role. They devise drama through playbuilding techniques, including
improvising, researching, and sequencing dramatic episodes. Through
playbuilding students explore alternative narrative sequences to convey the
action of the drama and develop the dramatic context. For example, students
create a still image or photograph that locates the drama at the beach then
produce a series of sounds (sound-scape) that shifts the drama from the city to
the forest. They make decisions on their own about movement, gesture, language
and voice to develop the dramatic context and assist them in portraying
distinctive characteristics of the diverse roles and situations they
investigate.
Students have
developed skills in the selection and use of the elements of drama including
dramatic tension, contrast, symbol, time, space, focus and mood to portray a
dramatic context. They are guided by their teacher in the use of the elements
of symbol, the creation of dramatic mood and the inclusion of contrasts to
convey meaning.
They can
differentiate between and use the forms of drama such as improvisation,
movement, mime, storytelling, puppetry, mask and playbuilding. They use these
forms to create and portray imagined situations and role interactions. Students
appreciate drama from the perspective of the maker/deviser, actor and audience.
Stage 3
Students who have
achieved Stage 3 have developed and sustained roles and situations over
extended periods of time within a diverse range of dramatic contexts. They have
developed voice and movement skills that allow them to display more demanding
aspects of their role such as status, which identifies the differences in the
relationship between roles. Their role skills extend to portraying and
challenging character stereotypes by placing emphasis on research and critical
reflection. Their understanding of role, dramatic context, drama forms and
elements enables the students to explore the nature of performance. They use
various artefacts (items of significance), props, costumes, scripts, and texts
(such as poems or screen material) to develop the action of the drama.
Students select and
use the elements of drama — with decreasing dependence on the teacher —
including dramatic tension, contrast, symbol, time, space, focus and mood to
portray a dramatic context. They can differentiate between and use the forms of
drama such as improvisation, movement, mime, storytelling, puppetry, mask,
video drama and playbuilding. They are aware of the traditions associated with
these and possibly other drama forms. Students recognise the elements and forms
of drama and are able to talk about them with others. They recognise the
importance of viewing drama from the perspective of deviser, actor and
audience. They use these understandings to inform and challenge their own drama
practice.
Stage 4
Students who have achieved
Stage 4 Drama have made and explored imagined and created situations in a
collaborative drama and theatre environment. They are able to identify and
explore the elements of drama to create belief and clarity in character, role,
situation and action. Students have developed skills in making drama through
improvisation and playbuilding and exploring a range of ways to structure
dramatic work using scripted and unscripted material.
Students have developed
skills in performing drama using a variety of dramatic forms, performance
styles, performance techniques and theatrical conventions and technologies to
engage an audience and create dramatic meaning. They can create familiar and
unfamiliar characters using expressive skills as key instruments of
performance. Students have experimented with performance spaces and production
elements appropriate to purpose and audience.
Students can appreciate the
meaning and function of drama and theatre in reflecting the personal, social,
cultural, aesthetic and political aspects of human experience. They are able to
identify and describe elements of drama, dramatic forms, performance styles,
dramatic techniques and theatrical conventions using drama terminology.
Students recognise the contribution of individuals and groups in the creation
of drama. They evaluate and interpret drama, viewing it from the perspectives
of maker, performer and audience, and use these understandings to inform, guide
and challenge their own drama practice in a collaborative manner.
Stage 5
Students who have achieved Stage 5 articulate
a sophisticated understanding of the elements of drama through an engagement in
the integrated practices of making, performing and appreciating drama within
the context of playbuilding and other dramatic contexts. They manipulate the
elements of drama to develop tension, belief and clarity in character, role
situation and action. They demonstrate performance and acting skills that allow
them to imagine, create and integrate demanding aspects of characters and
roles, such as emotional complexity, physicality, status, motivation and
intent. They are able to develop and enact a range of characters by placing
emphasis on observation, research, and critical reflection and analysis.
Students have developed skills in making
drama through improvisation and playbuilding, and through interpreting,
creating and enacting scripts and texts. They enter into the collaborative
process of devising drama through exploring and refining ideas and shaping
their work using traditional and innovative dramatic structures. They have
skills in using a range of dramatic devices and performance techniques to
create and perform original and engaging work. They use dramatic forms,
performance styles, dramatic techniques and theatrical conventions to shape
dramatic meaning. Students have developed their skills in making drama in Stage
5 in areas such as design, direction, video-making and in manipulating the
elements of production to meet a desired intention.
Students
can perform drama using a range of dramatic forms and performance styles and
they can manipulate performance spaces, technologies, and design and production
elements, to communicate dramatic meaning. They apply appropriate acting and
performance skills for a range of performance styles. They understand the
significance of stagecraft and use appropriate voice and movement techniques to
communicate effectively with an audience. Students can evaluate, use, adapt or
manipulate aspects of chosen forms and styles to convey an intended meaning to
an audience.
Students
appreciate the function of drama and theatre in reflecting social and cultural
aspects of human experience. They analyse and communicate the contemporary and
historical contexts of drama, and can analyse contributions made by various
individuals and groups to drama and theatre. Students evaluate and interpret
drama using appropriate drama terminology, with an awareness of the unique
relationship which exists between performer and audience. They use this
understanding to make meaning of their world and to reflect and challenge
audiences through devised and scripted works. Students have developed
collaborative skills at each stage of their work and appreciate the notion of
the ensemble in drama.
10 Assessment
10.1 Standards
The Board of Studies K–10
Curriculum Framework is a standards-referenced framework that describes,
through syllabuses and other documents, the expected learning outcomes for
students.
Standards in the framework consist of two interrelated
elements:
·
outcomes and content in syllabuses showing what
is to be learnt
·
descriptions of levels of achievement of that
learning.
Exemplar tasks and student work samples help to elaborate
standards.
Syllabus outcomes in Drama contribute to a developmental
sequence in which students are challenged to acquire new knowledge,
understanding and skills.
The standards are typically written for two years of
schooling and set high, but realistic, expectations of the quality of learning
to be achieved by the end of Years 2, 4, 6, 8, 10
and 12.
Using standards to improve learning
Teachers will be able to use standards in Drama as a
reference point for planning teaching and learning programs, and for assessing
and reporting student progress. Standards in Drama will help teachers and
students to set targets, monitor achievement, and, as a result, make changes to
programs and strategies to support and improve each student’s progress.
Assessment for
learning in Drama is designed to enhance teaching and improve learning. It
is assessment that gives students opportunities to produce the work that leads
to development of their knowledge, understanding and skills. Assessment for learning involves
teachers in deciding how and when to assess student achievement, as they plan
the work students will do, using a range of appropriate assessment strategies
including self-assessment and peer assessment.
Teachers of Drama will provide students with opportunities
in the context of everyday classroom activities, as well as planned assessment
events, to demonstrate their learning.
In summary, assessment
for learning:
·
is an essential and integrated part of teaching
and learning
·
reflects a belief that all students can improve
·
involves setting learning goals with students
·
helps students know and recognise the standards
they are aiming for
·
involves students in self-assessment and peer
assessment
·
provides feedback that helps students understand
the next steps in learning, and plan how to achieve them
·
involves teachers, students and parents in
reflecting on assessment data.
Quality Assessment Practices
The following Assessment
for Learning Principles provide the criteria for judging the quality of
assessment materials and practices.
Assessment for learning:
·
emphasises
the interactions between learning and manageable assessment strategies that
promote learning
In practice, this means:
– teachers
reflect on the purposes of assessment and on their assessment strategies
– assessment
activities allow for demonstration of learning outcomes
– assessment
is embedded in learning activities and informs the planning of future learning
activities
– teachers
use assessment to identify what a student can already do.
·
clearly
expresses for the student and teacher the goals of the learning activity
In practice, this means:
– students
understand the learning goals and the criteria that will be applied to judge
the quality of their achievement
– students
receive feedback that helps them make further progress.
·
reflects
a view of learning in which assessment helps students learn better, rather than
just achieve a better mark
In practice, this means:
– teachers
use tasks that assess, and therefore encourage, deeper learning
– feedback is
given in a way that motivates the learner and helps students to understand that
mistakes are a part of learning and can lead to improvement
– assessment
is an integral component of the teaching-learning process rather than being a
separate activity.
·
provides
ways for students to use feedback from assessment
In practice, this means:
– feedback is
directed to the achievement of standards and away from comparisons with peers
– feedback is
clear and constructive about strengths and weaknesses
– feedback is
individualised and linked to opportunities for improvement.
·
helps
students take responsibility for their own learning
In practice, this means:
– assessment
includes strategies for self-assessment and peer assessment emphasising the
next steps needed for further learning.
·
is inclusive
of all learners
In practice, this means:
– assessment
against standards provides opportunities for all learners to achieve their best
– assessment
activities are free of bias.
Reporting is the process of providing feedback to
students, parents and other teachers about students’ progress.
Teachers can use evidence gathered from assessment to
extend the process of assessment for
learning into their assessment of
learning. In a standards-referenced framework this involves teachers in making professional judgements about student
achievement at key points in the learning cycle. These may be at the end of a
year or stage, when schools may wish to report differentially on the levels of
knowledge, understanding and skills demonstrated by students.
Descriptions of levels of achievement for Stage 4 and
Stage 5 in Drama have been developed to provide schools with a useful tool to
report consistent information about student achievement to students and
parents, and to the next teacher to help plan the next steps in the learning
process. These describe observable and measurable features of student
achievement at the end of a stage, within the indicative hours of study.
Descriptions of levels of achievement provide a common language for reporting.
At Stage 5 there are six levels of achievement. Level 6
describes a very high level of achievement in relation to course objectives and
outcomes. Level 2 describes satisfactory achievement, while the level 1
description will help identify students who are progressing towards the
outcomes for the stage.
At the end of Year 10, teachers of Drama Years 7–10 will
make an on-balance judgement, based on the available assessment evidence, to
match each student’s achievement to a level description. This level will be
reported on the student’s School Certificate Record of Achievement.
At Stage 4 there are four levels of achievement. Level 4
describes a very high level of achievement; levels 2 and 3 describe
satisfactory and high achievement that should provide a solid foundation for
the next stage of learning. The level 1 description will help identify students
who are progressing towards the outcomes for the stage.
For students undertaking Life Skills outcomes and content
in Years 7–10, the content listed for each identified Life Skills outcome forms
the basis of the learning opportunities for these students. It also provides
examples of activities on which teachers can base judgements to report student
progress in relation to individual learning goals.
10.4 Choosing Assessment Strategies
Planning for assessment is integral to programming for
teaching and learning. In a standards-referenced framework, teachers assess
student performance on tasks in relation to syllabus outcomes and make
on-balance judgements about student achievement. Assessment relies on the
professional judgement of the teacher and is based on reliable data acquired in
a fair and challenging environment, from multiple performances in a variety of
contexts. Assessment is fundamental for furthering student learning.
In planning programs, teachers, individually and
collaboratively, review the syllabus and standards materials. They use these
materials to describe for themselves what students should know and be able to
do at a particular stage, and they consider the kinds of evidence their
students could produce to show they have learnt what they needed to learn.
Students are provided with a description of the learning
expected to be accomplished, opportunities to discuss the criteria on which
judgements will be based, time to learn, and where possible, examples of what
that learning looks like.
Assessment is used to determine the students’ initial
knowledge, understanding and skills, to monitor student progress and to collect
information to report student achievement. The assessment cycle is continuous;
students receive and give themselves feedback on what they have learnt, and
what needs to be done to continue their learning. Students gain information
about their learning through feedback from teachers and from self-assessment
and peer assessment. The challenge and complexity of assessment tasks increase
to enable students to develop evaluative independence as they assess their own
knowledge, understanding and skills, and determine ways to improve their
learning.
Teachers of Drama should employ a range of assessment
strategies to ensure that information is being gathered regarding the knowledge
and understanding that are being acquired, and the skills that are being
developed. Strategies should be appropriate to the outcomes being addressed, be
manageable in number and be supportive of the learning process. Teachers could
work collaboratively in planning appropriate assessment strategies. Working
collaboratively leads teachers to develop a shared understanding of the
syllabus standards and also supports teachers in making consistent and
comparable judgements of student achievement in relation to these standards.
In planning for assessment in Drama it is important for
teachers to consider:
· the
requirements of the syllabus
· the
accessibility of the proposed activity in terms of language requirements
· the
appropriateness of the challenge presented to individual students
· resource
availability
· how
the task will be administered
· the
way in which feedback will be provided.
In planning for assessment, teachers of Drama need to
consider how results will be recorded, with a view to ensuring that there is
sufficient and appropriate information collected for making an on-balance
holistic judgement of the standard achieved by the student at the end of the
stage. The evidence collected should enable teachers of Drama to make
consistent judgements to meet the various reporting requirements that the
system, school and community may have.
A number of assessment techniques are used and integrated
within the practices of making, performing and appreciating drama. Such
assessment activities may include; inquiry-based research assignments and
projects, presentations, peer assessment and self-assessment.
Making
Making allows students to contribute, select, develop,
structure, create, interpret, enact, refine and manipulate (both individually
and in a group) in the process of making drama. Making fosters an understanding
of how drama/theatre works in both imagined and created situations.
Assessment activities might include:
·
devising drama works and refining work in
progress
·
developing roles/characters through
improvisation and/or text study
·
creating small screen drama
·
researching various social and cultural issues
from a number of sources including the internet
·
structuring playbuilding scenes using a range
narrative and linking devices
·
investigating and enacting conventions and
techniques of chosen dramatic forms and/or performance styles.
When making is used for assessment purposes, students could
be assessed on their ability to demonstrate:
·
understanding of dramatic forms and performance
styles in practice
·
improvisation and creation of narrative
structures, roles and characters from various stimuli
·
development, expression and communication of
ideas and intentions through selecting and enhancing appropriate elements of
drama
·
use of appropriate terminology when describing
dramatic meaning while making
·
performance, expressive and collaborative skills
in process drama.
Performing
Performance allows students to demonstrate acting and
performance skills using dramatic forms, performance styles, dramatic devices,
technologies and theatrical conventions to explore, structure and refine ideas.
It is a collaborative process where meaning is created through the performers’
relationship with the audience.
Assessment activities might include:
·
performing group-devised playbuilding which
demonstrates an understanding of the elements of drama and which achieves an
intended meaning for an audience
·
performing scripted drama such as monologues,
duologues, short scenes or entire works
·
performing playbuilding which explores features
of dramatic forms, performance styles, dramatic devices, theatrical conventions
and technologies
·
performing dramatic forms in their own right.
When performing is used for assessment purposes, students
could be assessed on their ability to demonstrate their:
·
acting and performance techniques that
communicate dramatic meaning to a given audience
·
ability to use performance spaces, theatre
conventions and production elements and technologies appropriate to purpose and
audience
·
understanding of the features of various
dramatic forms, styles, conventions and technologies for a variety of different
audiences
·
collaboration skills as a part of an ensemble.
Appreciating
Appreciation allows students to demonstrate their
understanding, experience, investigation, development, and evaluation through a
variety of methods both individually and in a group. Appreciating fosters
reflection on the personal, social, cultural, aesthetic and political aspects
of the human experience. It provides a cultural and historical context for
drama as an artform. Appreciating is a pathway to dramatic literacy through
interpretation and analysis.
Assessment activities might
include:
·
formal writing about dramatic forms, performance
styles, dramatic devices, theatrical conventions and technologies
·
written drama workbook as a record of the
development of understanding of the elements of drama, reflections and
responses to process drama
·
oral presentations critiquing drama/theatre
processes and performances
·
evaluation sheets (self & peer), feedback,
character profiles, design worksheets relating to drama activities
·
analysis of historical and contemporary contexts
of drama including primary and secondary sources regarding performances,
writers, texts, directors, designers and companies.
When appreciating is used for assessment purposes, students
could be assessed on their ability to demonstrate their:
·
understanding of the elements of drama and how
they are used to create dramatic meaning and audience engagement
·
understanding of the ways dramatic forms reflect
the personal, social, cultural and political aspects of the human experience
such as change or conflict
·
understanding of performance styles and how to
analyse and evaluate them
·
understanding of the characteristics of
different dramatic techniques, theatrical conventions and technologies
·
ability to critically reflect on their work and
the work of others in a variety of forms.
Peer assessment
Drama encourages the active involvement of students in the
learning process. Opportunities exist for individual and collaborative work.
Activities involving peer assessment might include evaluating the contribution
of individuals to a group task, and reflecting on a peer presentation.
Self-assessment
In Drama students are encouraged to acquire basic skills
to become self-directed learners. Opportunities exist for students to reflect
on their progress towards the achievement of the syllabus outcomes. This
reflection provides the basis for improving their learning. Developing
self-assessment skills is an ongoing process, becoming increasingly more
sophisticated and self initiated as a student progresses.