Drama 2018 HSC exam pack

All Individual Projects must have a 300-word rationale clearly explaining the intention of the project and the approach taken. The rationale is considered part of the project. It is not marked externally, but is referred to by markers in the marking process to confirm the intent of the work.

The Rationale is not a description of why the project was chosen but the vision of the director/designer/writer/filmmaker/researcher/reviewer with justification of the choices made.

Students should:

• demonstrate evidence of research and play building techniques   
• communicate dramatic meaning appropriate to the style
• workshop and revise the piece including each character and role
• fully support all actors on stage with a sense of ensemble
• use sophisticated dialogue which has been refined by a constant and meaningful rehearsal process and tight editing of the script
• develop powerful actor/audience relationships through dramatic tension and skilful use of dramatic elements
• layer dramatic meaning and manipulate the mood of the audience
• ensure that the piece has been performed often in front of an audience
• keep to the time limit of 8–12 minutes.

In better performances, students were able to:

• present a clear and fully developed concept showing flair, creativity and innovation
• use an appropriate and effective dramatic structure with a clear beginning, middle and end
• present a sophisticated performance that displayed research into specific theatrical and performance styles
• demonstrate a unity of purpose where 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 always clear to the audience
• fully engage the audience throughout the performance with a clear journey and through-line
• 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.

Areas for students to improve include:

• being very clear in the intent and use of performance styles
• ensuring all scenes add to the overall coherency and theatre of the piece
• editing the piece to ensure that each moment is powerful and integral.

Students should:

• use an authentic actor’s voice appropriate to their skills and the material
• be aware of the audience response to a solo performance and ensure the audience engages physically and emotionally through the actor’s intentions
• ensure self-devised scripts are well supported by strong writing and extensive knowledge of the theatrical style  
• be aware of the time limit of six to eight minutes and ensure scripting and stylistic choices produce powerful, succinct performances within the timeframe.

In better performances, students were able to:

• select a piece that suited their performance skills, abilities and strengths
• demonstrate an understanding of the role of the audience in the performance and manipulate this relationship to ensure the focus is always clear
• demonstrate an understanding of the conventions of the style adopted for the performance and maintain this through 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
• present a well-rehearsed, complete and clear theatrical journey for their character, derived from a thorough action/objective analysis of the text.

Areas for students to improve include:

• choosing a performance piece and theatrical style that suits their strengths as an actor, in regard to skills in movement, physicality and voice
• choosing a performance piece appropriate for the space in which the examination takes place
• carefully considering decisions regarding staging choices such as set and props, blocking and the resulting actor/audience relationship
• extensively rehearsing and workshopping their performance and developing the confidence which comes from performing in front of an audience.

Costume

Students should:

• present a Rationale in the form of a director’s concept/vision that informs a design concept for the costumes of the chosen play
• present renderings of 4–6 costumes for characters in the play
• include preliminary sketches/written descriptions for four different costumes to the 4–6 renderings.

In better projects, students were able to:

• present the required 4–6 renderings with flair and unity of design and presentation
• present the whole play through the renderings, preliminary sketches/descriptions
• design insightful costumes for the era/period/place and to reflect the characters’ role/status/personality
• provide fabric swatches to match the rendered costumes in colour, pattern and style
• include essential construction information, for example, Bottom’s ‘ass’ head - is it a headband or mask and how does the transformation work?
• show how each costume hangs on a human body according to age, weight and design.

Lighting

Students should:

• present a Rationale in the form of a concept/vision that clearly outlines how lighting supports the intended dramatic meaning of that vision
• design a set and indicate key acting zones to be lit.

In better projects, students were able to:

• choose two contrasting scenes that embrace and support the intended dramatic vision
• write an impact statement for each scene showing how the directorial vision is brought to life in each scene through lighting
• capture the visual essence of each scene with descriptions, photographs or diagrams demonstrating an understanding of how the lighting works with the set
• provide support materials that are clear, organised and not overly complicated.

Promotion and program

Students should:

• select an appropriate play to appeal to the target audience
• present a Rationale in the form of a director’s concept/vision that informs a design concept for the poster and publicity of the chosen play
• develop the directorial vision for the play in the written components of the project, especially the director’s notes in the program.

In better projects, students were able to:

• create evocative visual images that support the intended director’s vision across the project, especially in the poster
• manipulate the visual elements of their promotional package to communicate an understanding of the chosen theatre company’s profile
• execute a design concept that unifies the promotional items to convey one clear and consistent directorial vision
• use the media feature to offer further insights into the directorial vision and how it works/looks on stage rather than a description of the plot and themes
• provide original, incisive text on the flyer; 150 words of promotional copy that communicated the directorial vision of the student, (not simply the plot of the play)
• complete the project with technical proficiency.

Areas for students to improve include:

• using images that are unique and original to communicate the directorial vision rather than images that are predictable or derived from past/existing promotional materials.

Set

Students should:

• present a Rationale in the form of a concept/vision that clearly outlines how the set will support the intended dramatic meaning of that vision
• present a design for a chosen theatre venue that considers the entire play, ensuring that no scenes are omitted
• present a model that is to scale and includes all necessary support material (that is, floor plans with sightlines and explanations, indication of entrances to the acting space).

In better projects, students were able to:

• expand the vision of the design across the play through a combination of diagrams, descriptions and/or a photographic sequence of the play
• create the model using appropriate and evocative materials rather than commercially available construction products
• avoid an over-reliance on electronics, particularly 240 volts sockets.

Areas for students to improve include:

• indicating the correct number of set pieces and making certain that the packaging is appropriate so the model arrives securely and unbroken
• putting any additional images in the logbook, rather than on a USB sticks which is not viewed by markers.

Portfolio of theatre criticism

Students should:

• choose a diverse range of productions that allow for in-depth, perceptive analysis and synthesis of their theatrical experiences across the portfolio as a whole
• identify the key ideas in each play and how the production brings these to life in a unique way.

In better projects, 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 in each review
• adopt a review style and voice that allowed them to demonstrate their strengths in manipulating language and style to bring to life specific moments of the productions for a reader
• write evocative, original material without plagiarising the ideas of other reviewers
• develop positive and/or negative reviews across the portfolio of four reviews
• meet the word count, and edit their work to avoid punctuation, spelling and syntax errors.

Director’s folio

Students should:

• present a Rationale that communicates a directorial concept/vision for the chosen play, including motivation for developing this vision, rather than a description of their process.

In better projects, students were able to:

• communicate a concept/vision with integrity, growing from 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 which clearly immersed the reader in the imagined theatrical experience, and included relevant support materials (visual and/or textual) that illuminated and reinforced the concept/vision
• choose rehearsal techniques that were often embedded in staged moments from the production and clearly achieved their directorial vision in performance
• find a balance of textual analysis, staged scenes and production experience, rather than focusing too heavily on design.

Applied research project

Students should:

• avoid a hypothesis that is too broad to be manageable within the word limit, or so narrow that the conclusion is self-evident
• write using appropriate academic language, footnotes and referencing.

In better projects, students were able to:

• develop a clear and original hypothesis (often in the form of a question) that evolved from initial research into a student’s passion for a particular area of theatre, such as, the survey of the area of study
• use multiple methodologies (including primary sources) to gather extensive research which they clearly analysed through application of their hypothesis
• draw an insightful conclusion which proved/disproved the initial hypothesis and concluded a fully synthesised, clearly structured journey for the reader.

Students should:

• write a script for a complete play for live performance (not film or TV), choosing a definite style from a wide range of forms and styles including realism etcetera
• build and sustain a complete, engaging theatrical journey which can be imagined on stage
• tell an original story or write about a known story inventively through a fresh perspective
• include page numbers on the script.

In better projects, students were able to:

• demonstrate that theatre is ‘live on stage’ through dramatic action, which is built effectively over the course of the play to provide a satisfying experience for the audience
• use theatrical techniques and conventions such as metaphor, irony and rhythm to create a coherent theatrical experience for an audience
• adhere to or overthrow audiences’ expectations to create engagement, using a variety of theatrical techniques such as chorus or technology
• embed dramatic elements such as tension, symbol and visual images in the script
• use dramatic language effectively to reveal character and subtext, and create dramatic action
• write authentic character voices and relationships brought to life through dialogue, subtext and clear stage directions appropriate to the form chosen
• use purposeful stage directions that are clear and evocative without being prescriptive.

Areas for students to improve include:

• considering the practicability of staging their work
• avoiding reliance on overly detailed character lists/descriptions or a synopsis that an audience will not read
• avoiding filmic devices/techniques such as multiple location transitions or special effects
• editing scripts carefully.

Students should:

• select appropriate cast members, locations and props for the chosen genre and narrative
• edit the video using headphones to check and balance sound levels
• check that the video file plays through to the end after it has been exported
• present videos on a USB preferably in mp4 format.

In better projects, students were able to:

• work in a chosen genre to establish audience expectations and engagement in the narrative or later, to overturn these expectations
• present original, often simple narratives, that were causal and engaged and/or impacted audiences
• use a range of techniques in the script such as humour, irony, and visual techniques such as symbol or metaphor
• 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 the audience.

Areas for students to improve include:

• assembling footage to create a particular feeling, rather than to make the time limit.

Students should:

• analyse the questions during the reading time, reflecting on what the questions are asking
• avoid using language from past questions or pre-prepared answers
• use staging workshops as evidence for both sections of the paper to show their experiential learning of the topics
• use key words from the question in the response.

Question 1

In better responses, students were able to:

• clearly articulate a specific time and place relevant to the plays that they studied (which could include the settings of the plays, other real locations or eras, psychological or metaphorical places)
• select particular images to write about using visual aspects of key moments on stage or suggest images that are created within the plays (for example, an image of the Australian male)
• move beyond the evidence from the text to use insightful evidence from classroom stagings of the plays that demonstrate their understanding of theatre
• indicate clear issues and concerns relevant to a particular culture and/or Australia (which could include a set of behaviours, for example, a culture of disconnection)
• make links between the evidence chosen and a particular audience response.

Question 2 – Tragedy

In better responses, students were able to:

• demonstrate a strong understanding of the nature of tragedy and a comprehensive knowledge of TWO texts studied
• construct a thesis that dealt with all aspects of the question
• write articulately about the staging of the tragedy equally for each play, referring to lighting, costume, music, space and levels, set and props and other relevant aspects
• discuss staging choices related to BOTH the controlling nature of society and individual hubris
• provide detailed examples of practical experiences of the texts (real or imagined) to support their argument
• select relevant scenes from the plays that illustrate how the focus of contemporary audiences is influenced
• move beyond a retelling of the plots of the set texts.

Question 3 – Approaches to acting

In better responses, students were able to:

• respond directly to the question by discussing the relative importance of the practitioners’ philosophies and the resulting performance aesthetic
• discuss all key aspects of the question including audience engagement and contemporary theatre practice
• demonstrate a comprehensive knowledge of the philosophies and practices of the practitioners set for study
• demonstrate an understanding of the way a practitioner’s philosophy manifests itself in practical training exercises, resulting in a range of theatrical performances
• evaluate the role of actor training in the development of contemporary theatre practice
• analyse their own personal workshop experience as contemporary practice and wider contemporary theatre practice in relation to either the practitioner’s philosophy or the intended performance aesthetic.

Question 4 – Verbatim theatre

In better responses, students were able to:

• provide accurate details of how Verbatim theatre is created, and the process of its creation specifically for each text, sometimes incorporating awareness of historical perspectives to engage with question components of tension, truth and theatricality
• provide evocative descriptions of text experiences/workshops, referencing the employment of theatrical elements such as staging, lighting and costume
• analyse the ways in which tension can be used to engage an audience in Verbatim theatre
• discuss both texts and their own Verbatim project equally and insightfully, providing specific details to support their response.

Question 5 – Black comedy

In better responses, students were able to:

• address all aspects of the statement explicitly
• discuss the statement with specific reference to not only the laughter and possible tears evoked by black comedy, but also the possibility for thought about controversial issues
• demonstrate strong understanding of the specific forms, styles, techniques and conventions employed in black comedy plays and how these allow controversial ideas and images to be staged in a comedic way
• select examples relevant to the question such as moments from the plays that are ‘controversial’
• present a range of relevant evidence that moves beyond the narrative of the texts to demonstrate an understanding of how moments from the plays can be theatrically brought to life in the classroom
• include class workshop and staging examples, imagined productions and quotes from the plays.

Question 6 – Multi-discipline theatre

In better responses, students were able to:

• use their own work as a key piece of evidence throughout the response, showing ownership of their own theatre-making inspired by either McBurney or Lepage
• acknowledge that practitioners represent individual and community experiences, using workshop experiences to substantiate this
• avoid using memorised workshop experiences not suited to the question
• address how practitioners challenge traditional representations by using new technologies, referring to real, imagined and digital theatre examples.

Question 7 – Significant plays of the 20^th century

In better responses, students were able to:

• disagree with the statement and argue that the plays have left a significant legacy for future theatre-makers
• show the ground-breaking impact of each play at the time of the original production and compare this to the experiences of an audience in 2018 (which may be less powerful)
• write an original response rather than memorise a pre-prepared essay with no thesis or through-line
• identify a range of evidence and well-chosen examples that best suit the question
• link examples of ground-breaking content and staging to explicit classroom experiences and workshops
• use drama terminology that demonstrates their ability to see the plays as living texts performed to a live audience.

Question 8 – Japanese traditional and contemporary theatre

In better responses, students were able to:

• link both styles skilfully, to each other and to the quote in the question
• reference the texts studied equally and insightfully
• identify how both traditional and contemporary Japanese theatre create meaning for an audience
• discuss Suzuki’s approach insightfully and comprehensively with an understanding of the connections between the traditional and contemporary forms, demonstrating comprehensive knowledge of performance styles and staging
• re-create staged examples in an explicit way with reference to theatrical elements
• reflect on relevant examples of classroom workshop and performance experiences as evidence.