Drama 2017 HSC exam pack

Students should:

• display evidence of research and the techniques of playbuilding
• workshop and revise pieces including each character and role
• communicate meaning and fully support all actors on stage
• use sophisticated dialogue which has been refined by a constant and meaningful rehearsal process and tight editing of the script
• ensure that the piece has been performed often in front of an audience
• focus on developing theatre via powerful actor/audience relationships created by dramatic tension and skillful use of dramatic elements
• layer dramatic meaning and manipulate the mood of the audience.

Students can prepare for this examination by:

• being very clear in the intent and use of performance styles
• keeping to the time limit of 8–12 minutes
• editing the piece so each moment is powerful and integral
• ensuring all scenes add to the overall coherency and theatre of the piece.

In the better responses, students were able to:

• present a clear and fully developed concept showing flair, creativity and innovation
• present a sophisticated performance incorporating evident research into specific theatrical and performance styles
• fully engage the audience throughout the performance with a clear journey and through-line
• employ an appropriate and effective dramatic structure with a clear beginning, middle and end
• demonstrate a unity of purpose, by which each dramatic moment contributes to the meaning of the piece
• manipulate and control the elements of drama, for example focus, tension, symbol, space and mood, to create powerful moments in the piece
• create a theatrical ‘world’ that was clear to the audience
• display performance skills appropriate to the dramatic and theatrical demands of the style of the performance
• closely workshop and edit their performances, both in terms of script and physical action.

Students can prepare for this examination by:

• choosing performance pieces and theatrical styles that suit their strengths as actors and the space in which the examination takes place
• extensively rehearsing and workshopping their performances and developing the confidence which comes from performing in front of an audience
• carefully considering decisions regarding staging choices, blocking and the resulting actor/audience relationship.

Students should:

• be aware of the time limits of six to eight minutes and make scripting and stylistic choices that produce powerful, succinct performances within this timeframe
• only choose to perform self-devised scripts if they are extremely strong writers with an extensive knowledge of the theatrical style to be portrayed
• be aware of the audience response to a solo performance and ensure the audience engages physically and emotionally through the actor’s intentions.

In better responses, students were able to:

• be well-rehearsed and present complete and clear theatrical journeys for their characters, derived from a thorough action/objective analysis of the text
• demonstrate an understanding of the role of the audience in the performance and manipulate this relationship to ensure the focus is always clear for the audience
• demonstrate an understanding of the conventions of the style adopted for the performance
• select props and costumes to enhance characterisation and dramatic meaning
• realise their character in each moment with absolute conviction, clarity and truth
• effectively use dramatic elements such as rhythm, pace, timing, mood, atmosphere and dramatic tension
• select pieces that suit their performance skills, abilities and strengths.

Costume

Students should:

• present a clear rationale which explains choices and includes a clear theatrical concept
• devise a concept and/or genre that is a fully executed and effective interpretation of the play
• provide renders of a complete figure of 300mm, (including hands, head, legs, feet), mounted with fabric swatches/colour samples and special construction information
• label renders clearly with character name, act/scene or page numbers (for example, War Crimes) and quote/stage direction for a dramatic moment on stage rather than as a fashion model template
• select a concept beyond a one dimensional development. For example, in A Midsummer Night’s Dream, present not only the fairy world but also the court, the lovers or mechanicals, or for Summer of the Aliens present the teenagers as well as the adult world
• select at least two characters across the 4–6 renders and 4 preliminary sketches/descriptions of other costumes
• include preliminary sketches/written descriptions of four other costumes for the production. The preliminary sketches should show relationships or a transformation of characters in the dramatic moments of the play. For example, in A Midsummer Night’s Dream Hermia may be chosen as a main render and Lysander or Demetrius as a preliminary sketch so we see the two characters’ relationship, or the girls in War Crimes as the main renders and preliminary sketches/descriptions of how they transform to play male characters. Preliminary sketches may be provided for minor characters
• provide fabric to match the renders in colour, style or pattern, for example avoid using a lining fabric for all costumes in Les Liaisons Dangereuses when characters wear a variety of fabrics
• ensure each render communicates clearly what the audience would see on the stage, for example, the pattern of a fabric
• include essential construction information, for example, whether Bottom’s ‘ass’ head is a headband or mask and how the transformation works
• show how the costume hangs on a human body.

In better responses, students were able to:

• demonstrate an understanding of a director’s concept and how that informs a design concept in costume
• present the required four to six renderings with unity of design and presentation, and often flair
• clearly present the whole play through the renders, preliminary sketches/descriptions and then confirm in the rationale (in a director’s concept/vision)
• provide fabric swatches to match the rendered costumes in colour, pattern and style. The fabric also matches social status, for example, a scratchy dirty cotton for the beggars in The Threepenny Opera or a satin/silk for the woman’s Japanese Kimono in Summer of the Aliens
• present costume designs that are appropriate for the play’s setting (era/period/place)and the character’s role, social status and personality.

Lighting

Students should:

• consider presenting traditional overlays or computer aided designs
• devise a concept/vision that moves beyond being practical to one that is more symbolic/metaphoric and supports the subtext of the play
• provide a clear statement for each scene that describes the impact that the lights will achieve
• provide all necessary support materials that are clear and well presented: cue sheet, list of lanterns, annotated script and a floor plan (1:25 scale)
• choose a venue sympathetic to the needs of the play
• present a clear, even simple set to light
• consider choosing scenes that present creative vision for the lighting designer to show mood and atmosphere.

In better responses, students were able to:

• demonstrate an understanding of a director’s concept and how that informs lighting design
• work as a director and designer, showing how the concept works for the whole play which is confirmed by reading the rationale (in the form of a director’s concept/vision)
• present an appropriate set design (no matter how simple), so that the lighting designer has something with which to work
• understand the importance of the lighting designer in creating and supporting the dramatic meaning of the play
• provide a set with descriptions or diagrams showing how changes are suggested with light both within and between scenes
• have a clear, theatrical concept supported by documentation showing how the vision could be achieved on stage.

Promotion and program

Students should:

• show understanding of the purpose and function of each item of promotional material
• convey a clear and consistent directorial vision that is an effective interpretation of the play and is evident in the design concept of all pieces of promotion
• provide original text on the flyer; 150 words of promotional copy that communicates the directorial vision of the student (not simply the plot of the play)
• use the media feature to offer the reader further insight into the directorial vision of the play and how it works/looks on stage; not simply a description of the plot and themes
• use the program to convey the directorial vision explicitly in the director’s notes, and implicitly through casting and other appropriate program features
• use images that are unique and original rather than predictable, to communicate the directorial vision. Students should not use images from past productions or existing promotional materials.

In better responses, students were able to:

• demonstrate an understanding of a director’s concept and how that informs a design concept for poster and publicity
• present an original directorial vision for the chosen play developed in both the textual and written components of the project
• demonstrate a deep understanding of the profile of the chosen theatre company and manipulate the visual elements of the promotional package to communicate the company profile
• show awareness of the target audience of the company and choose an appropriate play to appeal to this audience
• create their own theatre company whose purpose and profile serves to communicate the directorial concept
• present a design concept that unifies each of the promotional items to convey one clear and consistent directorial vision.

Set

The work in this project was characterised by students dealing with the complexities inherent in their chosen play. Working as a director, students often created a theatrical concept where the vision could be achieved in a stage design.

Students should:

• provide a rationale in the form of a director’s concept/vision
• devise a visually clear concept which may move beyond the practicalities of the play’s needs, to a more symbolic or metaphoric level
• design for the entire play, meeting its demands and difficulties and showing how set changes will occur
• provide detailed and accurate support materials, including a floor plan (1:25 scale) and documentation that thoroughly explains the workings and manipulations of the set
• design for a specific theatre/performance space
• understand audience sightlines and provide those sightlines on the floor plan
• construct appropriate items of set as opposed to using inappropriate, purchased items
• omit technical effects (such as battery-operated lighting) unless they serve the play or are justified in their vision.

In better responses, students were able to:

• demonstrate an understanding of a director’s concept and how it informs a design concept for a set
• provide a sophisticated interpretation of a unified concept/vision
• consider all the elements, particularly lighting, and the set’s impact on the audience
• have a strong understanding of the context of the play and relate a vision to this context
• select a specific performance space and work appropriately in that space
• present a model that displays precision and accuracy and manipulates texture and colour to support dramatic meaning
• use appropriate materials creatively.

Portfolio of theatre criticism

Students should:

• demonstrate their understanding of how all relevant elements of production and performance work together to create dramatic meaning
• meet the word count and edit their work to ensure clarity and coherence
• read professional reviews of their chosen productions as samples and guides only as to how other reviewers and writers approach theatre criticism.

In better responses, students were able to:

• identify the significant element of each production and use this to inform their critique of dramatic elements and specific theatrical moments
• adopt a review style and voice that allows them to demonstrate their strengths in manipulating language and style
• choose a diverse range of productions that allow for in-depth and perceptive analysis and synthesis of their selected theatrical experiences
• critique plays using their own reviewer’s voice and sometimes choosing to write for a range of existing publications.

Director’s folio

Students should:

• use the rationale to communicate a directorial concept/vision, including their motivation for developing this vision, rather than describing their process
• find a balance between textual analysis, staged scenes and production experience, rather than focusing primarily on design
• ensure that all decisions about staging the production are communicated clearly and are driven by the stated concept/vision.

In better responses, students were able to:

• incorporate directorial concepts from a wide variety of plays and folio styles (professional pitch, experiential walk-through, academic report)
• communicate a concept/vision with integrity, grounded in an in-depth knowledge of theatre and the play chosen
• present clear and highly theatrical directorial concepts (explicit or embedded) in a variety of styles that clearly immerse the reader in the imagined theatrical experience, and include relevant support materials (visual and/or textual) that illuminate and reinforce the concept/vision
• choose rehearsal techniques that are often embedded in staged moments from the production and clearly achieve their directorial vision in performance.

Applied research project

Students should:

• use an hypothesis that is manageable within the word limit while having enough scope for investigative research
• use appropriate academic language, footnotes and referencing
• ensure that research is carefully selected, analysed and is not overly reliant on anecdotal evidence or small sample groups.

In better responses, students were able to:

• investigate a diverse range of topics with insight and clarity
• communicate a clear and original hypothesis (often in the form of a statement) that evolves from initial research generated by personal interest and passion for a particular area of theatre (survey of the area of study)
• use multiple methodologies (including primary sources) to gather extensive data, which they clearly analyse through application of their hypothesis
• draw an insightful, clearly structured conclusion which proves/disproves the initial hypothesis.

There was a variety of scripts characterised by enthusiastic writing.

Students are reminded to:

• consider a wide range of genres and styles and not limit themselves to popular choices such as Absurdism
• use dramatic language effectively to reveal character and subtext
• adhere to or overthrow audiences’ expectations using a variety of theatrical techniques such as chorus or technology
• sustain a complete and engaging theatrical journey which can be imagined on stage
• embed elements of drama (such as tension or symbol) throughout the script
• include page numbers on the script.

In better responses, students were able to:

• edit scripts carefully and consider the practicability of staging their work
• include stage directions that are clear and evocative without being prescriptive
• write convincing character voices and relationships appropriate to the form chosen
• write about a range of current, relevant issues to engage an audience
• use conventions and techniques associated with their chosen theatrical form and/or style
• use techniques such as metaphor, irony and rhythm
• demonstrate an understanding of theatre as a live medium
• demonstrate an understanding of the role of dramatic action, which is causal and built effectively over the course of the play and provides a satisfying experience for the audience.

Students presented a range of video dramas and crafted some highly engaging and well-produced works.

Students should:

• ensure the video drama presents a narrative and not a lecture on a theme, a recitation of a poem or a mood piece that has been used in place of a narrative
• select appropriate locations and props for the chosen genre and narrative
• assemble the footage to create a particular feeling for an audience, rather than editing it together just to make the time limit.

Students are reminded that:

• there is a 7-minute maximum time limit on this project to which they must strictly adhere
• videos should be presented on a USB and preferably in .mp4 format as this provides the best quality compression for the smallest file size
• they should aim for a file size of 500mb.

Teachers are reminded to:

• monitor student safety while filming the videos.

In better responses, students were able to:

• present original narratives that are causal and powerfully impact audiences
• work in a chosen genre to establish audience expectations and engagement in the narrative or later, to undercut these expectations
• control the focus, framing and movement of the camera as well as elements of
• mise-en-scene to compose shots that reveal information to the audience
• edit the film to create tension and atmosphere for their audience.

Students should:

• address all parts of the question
• consider planning their responses on the first page of the examination booklet, clearly labelled ‘plan’
• consider defining key words
• develop and maintain a clear thesis that addresses all aspects of the question
• provide a coherent response, including logical sequencing of ideas and balanced treatment of texts studied
• avoid writing a prepared response that does not answer the question.

Question 1

In better responses, students were able to:

• ensure that the evidence chosen clearly puts the action of the play on stage through experiential examples that move beyond what is presented in the text
• articulate knowledge of key moments in the plays that identify outsider characters
• understand and respond to all facets of the question, including 'outsider', 'empathy' and 'audience' and the connections between them
• show how theatrical techniques, performance styles and conventions are used on stage to generate empathy in the audience
• use a variety of convincing and relevant practical examples, ranging from classroom workshops to real or imagined productions, as evidence to respond to the question
• provide a strong response to the question showing relevance to the texts studied and supporting this with appropriate evidence.

Question 2 – Tragedy

In better responses, students were able to:

• demonstrate a strong understanding of the nature of tragedy and a comprehensive knowledge of the texts studied
• write articulately about the cause of the tragedy in each play, showing an understanding of the plays set for study
• grapple with one aspect of the question: ‘actions beyond their control’
• provide detailed examples of practical experiences of the texts (whether real or imagined) that supported their argument
• choose to discuss scenes from the plays that illustrate ‘punishment’
• move beyond a retelling of the plots of the set texts
• construct a thesis that dealt with all three aspects of the question.

Question 3 – Approaches to acting

In better responses, students were able to:

• demonstrate a comprehensive knowledge of the training styles and philosophies of all four practitioners set for study
• draw on personal, practical experiences of both practitioners studied
• respond insightfully and comprehensively, discussing the actor training and highlighting techniques specific to each practitioner
• respond insightfully to the way practitioners create both a unique stage presence and a relationship with the audience
• link the actor training to the actor/audience relationship and stage presence
• reflect on relevant examples of their classroom workshop and performance experiences in the style of the practitioners.

Question 4 – Verbatim theatre

In better responses, students were able to:

• approach the question using practical examples from the set texts as well as from their own original Verbatim performance as required in the rubric
• discuss how the authenticity of the Verbatim form is engaging in itself, and how this can be sustained by theatrical elements embedded in the text
• identify a range of relevant, practical examples in each text and their own original work
• provide accurate details of how Verbatim theatre is created, and the process of its creation specifically from each text.

Question 5 – Black comedy

In better responses, students were able to:

• demonstrate a strong knowledge of the texts and the intentions of the playwright
• demonstrate sound understanding of the specific forms, styles, techniques and conventions employed in black comedy plays and how these affect an audience
• identify aspects and ideas provoked by the question, for example, 'laughing with those who inflict pain and loss'
• present a range of relevant evidence that included class workshop experiences, imagined productions and examples from the texts
• provide evidence that is relevant to the question and moves beyond the narrative of the plays to show how the plays were brought to life in the classroom
• evaluate the extent to which the given statement is true
• define terms such as ‘catharsis’ correctly and provide pertinent evidence to explain how this was or was not experienced by the audience.

Question 6 – Multi-discipline theatre

In better responses, students were able to:

• show ownership of their own theatre-making inspired by either McBurney or Lepage and their knowledge of the legacy of these practitioners
• acknowledge the vital importance of collaboration
• define collaboration as rehearsal strategies, research, devising and presenting final performances
• select precise workshop examples that are relevant and revealing (these can include real or imagined performances, digital theatre examples)
• address how practitioners used new technologies in the creative process.

Question 7 – Significant plays of the 20^th century

In better responses, students were able to:

• successfully discuss in-depth examples from the texts, balanced with live classroom experiences of the plays
• understand the difference between the structure provided by the playwright and the work of directors and performers in staging moments
• use drama terminology that demonstrates their ability to see the plays as living texts performed to a live audience
• link narrative styles and performance techniques to live explicit classroom experiences
• understand the context of the plays which led to a theatrical paradigm shift
• identify the legacy of the chosen playwrights and their contribution to paradigm shifts in narrative styles and performance techniques
• identify a range of evidence and well-chosen examples that best suit the question.

Question 8 – Japanese traditional and contemporary theatre

In better responses, students were able to:

• have a comprehensive knowledge of the styles of both Suzuki Tadashi and their chosen traditional style
• are able to skilfully link both styles to each other and to all aspects of the question
• re-create staged examples on the page in a way that was explicit and easy for a reader to understand
• discuss Suzuki’s approach insightfully and comprehensively with an understanding of the connections between the traditional and contemporary forms
• identify how performance styles use the energy of the body
• identify aspects of both Suzuki’s work and the chosen traditional style that create spectacle for an audience
• reflect on relevant examples of classroom workshop and performance experiences to use as evidence
• identify how traditional and contemporary Japanese Theatre creates meaning for an audience.