Drama 2020 HSC exam pack

Students should:

• consider the vocal requirements of the role(s) they play in accord with the stylistic demands of their selected material and the truthful realisation of the role(s)
• be aware of the audience’s responses to each developing moment and control the elements of drama, particularly focus and tension, to manipulate the audience
• 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 time limits.

In better responses, students were able to:

• select a piece that suited their performance skills, abilities and strengths
• manipulate the relationship with the audience to ensure powerful engagement
• demonstrate an understanding of the conventions of the style and adopt and/or adapt these conventions appropriately and consistently throughout the performance
• make minimal use of props and costumes to enhance the semiotics and symbolism of the dramatic meaning of the piece   
• realise their character in each moment with absolute conviction, focus, clarity and truth
• skilfully 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 analysis and understanding of the text and the character’s moment-by-moment intentions.

Areas for students to improve include:

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

Costume

Students should:

• provide a Rationale in the form of a director’s concept/vision that informs a design concept for the costumes of a chosen play on the current course prescriptions list
• present renderings of four to six costumes for characters in the play
• include preliminary sketches/written descriptions for four different costumes that are presented with the project
• meet the specific requirements of the project.

In better projects, students were able to:

• show thorough knowledge of the whole play through a clear director’s concept/vision
• present four to six renderings with flair and unity
• present the whole world of the play through the renderings and preliminary sketches/descriptions
• design insightful and appropriate costumes for the era/period/place and to reflect the characters’ roles/status/personalities and director’s vision
• provide fabric swatches to match the rendered costumes in colour, pattern and style
• include essential construction information, if required
• show how each costume hangs on a human body according to age, weight and design.

Set

Students should:

• provide a Rationale in the form of a directorial concept/vision that clearly outlines how the set design supports, and is integral to, 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, including floor plans with sightlines and indication of entrances to the acting space
• include visual representations and/or explanations that explain thoroughly, the entrances and exits, workings and manipulations of the set.

In better projects, students were able to:

• show thorough knowledge of the text and provide a sophisticated and stylistic interpretation of the material
• select a specific performance space and work appropriately in that space
• expand the vision of the design across the play through a combination of diagrams, descriptions and/or a photographic sequence of the play
• go beyond the literal to use metaphor, symbol, semiotics or imagery in the design
• create the model using appropriate and evocative materials.

Lighting

Students should:

• provide a Rationale in the form of a directorial concept/vision that clearly outlines how lighting supports, and is integral to, the intended dramatic meaning of that vision
• choose two contrasting scenes that embrace and support the intended dramatic vision
• indicate the set elements and key acting zones to be lit.

In better projects, students were able to:

• present a concept that shows a thorough analysis of the play’s central action from a director’s perspective
• develop a directorial concept/vision that moves beyond just being practical, to a vision that is metaphoric, symbolic, theatrical and supports the subtext, images or meaning of the play
• provide all the necessary support materials: cue sheet, annotated script and floor plans (1:25 scale)
• provide descriptions or photographs that illustrate how the lighting works with the set
• provide support materials that are clear, organised and not overly complicated, either drawn by hand or computer aided.

Promotion and program

Students should:

• provide a Rationale in the form of a director’s vision/concept for the play which flows into a design/publicity concept and justifies the creative choices
• select a theatre company and target audience appropriate for the chosen play
• develop a strongly unified and consistent directorial vision through all visual and textual components of the project
• avoid plagiarising material. If material is appropriated, the original source must be acknowledged, and the images or text must be manipulated or applied in a new and original way to suit the student’s directorial vision/concept.

In better projects, students were able to:

• design and create powerful visual images that clearly express the director’s concept which is then developed in the poster, flyer and program
• create and use their own original photographic images throughout the project or manipulate existing images in an original and effective way to suit their director’s concept
• demonstrate control over all visual elements in the promotional package to reflect an accurate understanding of the concept and chosen theatre company’s profile
• enrich and extend the directorial vision for the play through all written components of the project, particularly the director’s notes, which appear in the program, and appropriate casting choices
• use the media feature to explore how practitioners or audience might experience specific aspects of the production onstage, such as staging, set design, sound, lighting and costume, using evocative language. This should support and develop the directorial vision
• provide 150 words of original, persuasive, promotional text on the flyer in addition to essential booking information. This text should use aspects of the directorial vision to appeal to the potential audience
• extend the vision for the production in each written element rather than repeating the same information in the different written components
• show awareness of the journey of the potential audience member as they encounter each piece of promotional material, and an understanding of the different functions of each component of the promotional package.

Portfolio of theatre criticism

In 2020, students were permitted to base their theatre criticism on live or filmed theatrical productions.

Students should:

• choose a diverse range of productions that allow for in-depth, perceptive analysis and synthesis of their theatrical experiences across the portfolio
• identify the key ideas in each play and how the production brings these to life in a unique way
• write in a way which creates clear visual images of specific moments of the production
• develop positive and/or negative reviews across the portfolio of four reviews
• edit their work to avoid punctuation, spelling and syntax errors
• state and adhere to the word count.

In better projects, students were able to:

• identify the significant element(s) of each production (whether viewed live or online) and use this to inform their critique of dramatic elements and the specific impact in each review
• differentiate the voice as appropriate in the four reviews, if writing for specific publications
• adopt a review style and voice that allowed them to demonstrate their strengths in manipulating language and style to clearly bring to life for the reader specific moments and images of the productions
• write evocative, original material without plagiarising the ideas of other reviewers.

Director’s folio

Students should:

• provide a Rationale that communicates a directorial concept/vision for the chosen play from the current list of texts, including motivation for developing this vision, rather than a description of their process
• ensure that the concept is theatrical and able to be realised practically on stage.

In better projects, students were able to:

• communicate a clear concept/vision with integrity, developed from an in-depth knowledge of theatre and an analysis of the central action of the chosen play which moves beyond just stating the key idea of the play
• present a clear and theatrical directorial concept (explicit or embedded) in a form(s) and style(s) that is justified by the play itself rather than imposed
• demonstrate knowledge and understanding of appropriation and modernisation, underpinned by understanding that the original text cannot be rewritten by the director
• choose appropriate rehearsal techniques that were often embedded in staged moments from the production and clearly achieve their directorial vision in performance
• immerse the reader in the imagined theatrical experience by including relevant support materials (visual and/or textual) that illuminate and reinforce the concept/vision
• provide a balance of textual analysis, staged scenes and production experience throughout the play, rather than only the beginning and end, without focusing too heavily on design and production elements.

Applied research project

Students should:

• undertake broad research and then pose a hypothesis to investigate
• include application of the investigation and research
• write a hypothesis that is not too broad and/or too personal to be manageable within the stated word limit, or so narrow that the conclusion is self-evident.

In better projects, students were able to:

• design an initial survey into their area of interest to assist in developing a clear and original hypothesis (usually expressed in the form of an important research question focused on a particular area of theatre)
• use multiple methodologies, including primary sources, to gather extensive research which they clearly analyse through application of their hypothesis
• apply their research in appropriate test conditions through running a workshop, viewing a production, performing a theatrical work or other applications
• draw an insightful conclusion which proves/disproves the initial hypothesis and concludes a fully synthesised, clearly structured journey for the reader
• use academic conventions such as footnotes and referencing, even if the style is personal.

Students should:

• communicate a clear idea or message, effectively explored in a short, 15-minute play for the theatre that clearly communicates what a live audience sees on the stage
• write a narrative that is original or take a known story and theatrically shape it in an original way
• choose a clear theatrical style in which to write, such as Absurdism, Realism, Black Comedy, and sustain this style throughout the play
• include page numbers on the script, write no less than 15 and no more than 25 pages, adhering to formatting requirements including font type, spacing and margins.

In better projects, students were able to:

• include dramatic action that can be realised on the stage
• control the number of characters and changes of setting in order to sustain an engagement with the audience of a short play
• communicate clearly how the scenes change within the play
• ensure the dialogue was suited to the characters’ ages, status and personalities
• create clear and distinct ways of speaking for each character so the reader ‘hears’ and sees that character
• include dramatic action that is engaging and moves the narrative forward
• ensure there is effective use of the Elements of Drama, especially tension, to sustain audience engagement
• develop a play that aims to engage an audience either emotionally or intellectually
• sustain their theatrical vision from the start to the finish of the play
• create characters that have clearly defined voices and relationships.

In 2020, submitted documentation replaced the final film as the ‘product’ of the Video Drama project. This documentation included:

• a 300 word rationale highlighting what the video drama is about, the directorial vision, production and post-production decisions and intentions, and the key ideas driving the action
• a 5–7 minute screenplay
• up to 2 minutes of edited footage showcasing elements of the student’s production and post-production treatment. This should include one of the following:
  • shot and edited footage of a scene or sequence
  • a montage of moments or scenes
  • a trailer of the movie
  • location and establishing sequences.

Students should:

• have a definite idea or concept to express in a short film written in the form of a Rationale/Director’s Vision
• craft a dramatic narrative, written for the screen, to drive the drama, in a complete screenplay
• submit 2 minutes of film footage only, as key moments or as a trailer to give a sense of the full film.

In better projects, students were able to:

• write a Rationale in the form of a concept/vision which outlined the film’s intent, key symbols, images and style
• choose a genre, and control the tropes of that genre
• control the directorial vision on film with a clear idea of the intended audience response whether in a trailer or key moments of film
• write a screenplay for the entire film, often supported by detailed storyboards, so that the reader understood the vision and intent of the film
• edit the two minutes of film, balancing levels in the diegetic and non-diegetic sound
• select appropriate cast members, locations and props for the chosen genre and narrative in the submitted footage, considering the narrowed scope of the film this year
• create a world on screen for the characters to inhabit, paying attention to the production design/mise en scene
• use post-production techniques, especially editing, to create and maintain pace, tension and audience engagement.

Students should:

• analyse the questions during reading time, reflecting on what is being asked and developing a thesis
• address key words from the question throughout their response and avoid using language from past questions or pre-prepared answers
• address all aspects of the question in a cohesive argument that is considered in each of the essay paragraphs
• use staging workshops as evidence for both sections of the paper where possible to demonstrate their experiences with the topics and a practical understanding of theatre as a live medium.

Question 1

In better responses, students were able to:

• address cultural tensions, confronting the audience and staging, and synthesise these into a coherent and convincing response
• identify accurately, cultural tensions relevant to the plays set for study, such as xenophobia, issues relating to cultural identity, violence in Australian culture, sexism, contemporary existential tension, and incorporate clear analysis of these throughout the response
• choose pertinent scenes and moments from the plays set for study as evidence to enhance the response to the question
• move beyond textual evidence or a recount of action to demonstrate an understanding of theatre as an experiential art form
• select relevant and specific staged examples drawing on theatrical techniques such as gesture, use of space, proxemics, intentions, vocal tone, physicality and/or the use of production elements such as lighting, costume, set and sound in an evocative manner
• refer to audiences in a manner that is appropriate to the evidence chosen, such as classroom audiences, theatre audiences or personal responses from the student's perspective as an audience member
• identify why audiences are confronted and make insightful connections to specific cultural tensions.

Question 2 – The voice of women in theatre

In better responses, students were able to:

• compare the similarities and differences between socio-cultural judgements about women in both plays throughout the extended response
• compare the similarities and differences between techniques used in both plays throughout the essay
• articulate clearly what the socio/cultural judgements were in the plays they had studied, rather than making a generalised statement about judgements
• link the judgement expressed to experiential material that demonstrates that judgement clearly, rather than describe experiential material that is not clearly linked to the question
• demonstrate an understanding that the plays studied were made to be performed on stage by referring to the techniques that directors, actors and theatre designers could use to highlight socio-cultural judgements. This was done through reference to experiential material such as class workshops
• use quotations from the plays that were relevant to the question and supported their thesis about socio/cultural judgements.

Question 3 – Approaches to acting

In better responses, students were able to:

• define clearly and analyse the meaning and significance of tension and discipline in the philosophies and actor training methods of the two practitioners studied. Tension and discipline were defined in many ways and many candidates successfully argued against the statement
• make insightful links between the practitioner’s approach to discipline and tension and the realisation of a theatrical work for an audience
• provide relevant and evocative evidence from the student’s own workshop and/or theatre experience to show an understanding of the way actor training manipulates discipline and tension
• show a comprehensive understanding of the practitioner’s philosophies, practices and performance aesthetic, linked convincingly to the statement.

Question 4 – Verbatim theatre

In better responses, students were able to:

• discuss both texts and their own Verbatim piece of theatre equally and insightfully, providing specific details to support their response
• refer to specific characters and their experiences in the plays as a way of communicating and explaining a community’s social context
• provide evocative and relevant descriptions of staged experiences/workshops from the plays, referencing theatrical elements
• discuss all aspects of the statement equally with insightful linking of a community’s social context and the creation of theatrical truth
• demonstrate a comprehensive knowledge of the plays studied.

Question 5 – Black comedy

In better responses, students were able to:

• discuss the statement with reference to theatrical and dramatic techniques used when staging the plays to create rhythm. These could include the pace of dialogue or movement, disruptions in rhythm, juxtaposition of rhythm, use of silence or pause or rhythms created by the structure/form of the play
• answer the question by making a clear and explicit judgement about the extent to which rhythm affects the audience's experience of loss and catharsis
• provide a balanced discussion of all key aspects of the question and both plays
• present a range of relevant examples which clearly showed how rhythm can be manipulated by actors and directors to impact an audience
• present a range of evidence beyond the narrative to include examples from class workshops, productions and/or imagined productions that demonstrate how staging moments from the plays bring them to life theatrically, rather than discussing warm-up activities or improvisations based on the themes in the plays. 

Question 6 – Multi-discipline theatre

In better responses, students were able to:

• identify and explain how imagination is used not just by the director, but by all collaborators, including the audience themselves, through the devising and performance of multi-discipline theatre
• Identify and describe insightfully specific examples of physical expression shown in the performances of the practitioner studied, in class work and their own original multi-discipline performance
• identify clearly, the challenges multi-discipline theatre creates through perceptive discussion of the philosophies and practices seen in performances of the practitioner studied, in classwork and their own original multi-discipline performance
• provide insightful, evocative and convincing practical examples from works of their practitioner, the provided texts and their own original piece of multi-discipline theatre work, not just class workshops or warm-ups.

Question 7 – Significant plays of the 20^th century

In better responses, students were able to:

• go beyond simple statements to provide relevant, insightful analysis supported by appropriate examples and illustrations of their thesis
• use clear and evocative examples of staging the texts in classroom workshops, going beyond simply quoting dialogue or stage directions to explore how the moments of action highlight the shifting paradigm or challenge the audience
• discuss stylistic techniques through important moments of action in the plays
• articulate the challenge to an audience, either the original audience, or the student's perspective as an audience member, with reference to how the narrative provoked this response
• show how the texts approached narrative in new and revolutionary ways to shift the paradigm of theatre from what audiences had previously expected
• demonstrate an understanding of relevant specific styles such as Brechtian, Magic-realism, Verbatim and Absurdist.

Question 8 – Japanese traditional and contemporary theatre

In better responses, students were able to:

• demonstrate comprehensive knowledge of the styles of both Tadashi Suzuki and the chosen traditional style
• discuss staged examples evocatively, in a way that was easy for a reader to understand
• use relevant examples of performance experiences as evidence, for example, discussing performance choices when staging class workshops and performances, with less reliance on elements of production such as make up or costume
• link both styles skilfully to all aspects of the question
• discuss insightfully, the use of movement and stillness and the contrast between the two in relation to making meaning in performance
• demonstrate comprehensive knowledge of the set texts and styles.