Drama 2023 HSC exam pack

Students should:

• demonstrate evidence of research and play building techniques
• create and communicate dramatic meaning appropriate to the style
• workshop, revise, rehearse and polish the piece, including each character and role
• fully support all actors on stage with a strong ensemble
• use sophisticated, stylistically appropriate dialogue, refined through an extended workshop and rehearsal process, including tight editing of the script
• develop powerful actor/audience relationships, manipulate the mood of the audience and layer dramatic meaning through use of the dramatic elements
• ensure the piece has been performed in front of an audience
• keep to the time limit of 8–12 minutes
• be familiar with exam conditions, performance set-up requirements, scheduled times and student crew/audience protocols.

In better performances, students were able to:

• present a highly theatrical and coherent dramatic journey with confidence, flair, and innovation
• sustain their performance in a theatrical style and manipulate the conventions to enhance dramatic meaning
• evoke a strong audience response through dynamic interactions with other roles/characters.

Areas for students to improve include:

• avoiding an overreliance on sets and props to communicate dramatic meaning
• incorporating purposeful transitions that enhance the dramatic journey
• using theatrical devices appropriate to the chosen style and form to assist in creating and sustaining effective audience engagement.

Students should:

• demonstrate insightful interpretation of the chosen material
• use an authentic character voice appropriate to their skills and the demands of the material
• be aware of the audience response and engagement to a solo performance
• ensure self-devised scripts are well supported by strong writing and extensive knowledge of the theatrical style
• ensure scripting and stylistic choices produce powerful, succinct performances within the 6–8 minutes time limit
• be familiar with exam conditions, performance set-up requirements, scheduled times and student crew/audience protocols.

In better performances, students were able to:

• present sophisticated, creative and theatrical interpretations of the chosen material
• manipulate and control a diverse range of performance skills appropriate to the chosen style/form
• present a sustained and sophisticated character journey with dimension and complexity.

Areas for students to improve include:

• avoiding an overreliance of sets, props, and costume to communicate dramatic meaning
• making theatrical choices that effectively manipulate the dramatic elements and performance conventions
• developing a stronger awareness of appropriate actor/audience relationships
• developing and sustaining clear characters that have an emotional and physical life.

Costume

Students should:

• provide a Rationale in the form of a director’s concept/vision, informing a design concept for the costumes of a chosen play
• present renderings of four to six costumes for at least two different characters
• include preliminary sketches/written descriptions for at least four other costumes for the production, presented with the project and not in the logbook
• ensure the whole world of the play is covered in the costumes represented.

In better projects, students were able to:

• provide eight to ten costume designs for characters across the world(s) of the play
• present an original and engaging concept that shows deep and thorough understanding of the chosen play
• design costumes that demonstrate clear understanding of the characters’ journeys and experiences throughout the play
• include fabric swatches that accurately match the renderings
• choose specific, detailed moments from the play, supported by quotes and theatrical poses, that clearly place characters in a moment in time.

Areas for students to improve include:

• ensuring all components of the project are submitted
• providing preliminary sketches or written descriptions for the four costumes in addition to the four to six renderings
• demonstrating an understanding of character journey and experience across the submitted project as a whole.

Lighting

Students should:

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

In better projects, students were able to:

• provide a design concept that works for a director, showing a thorough knowledge of the play and a clear vision for the production
• clearly show what set elements were being lit
• provide all the necessary support materials such as a cue sheet, annotated script and floor plan.

Areas for students to improve include:

• providing a concept/vision that moves beyond just being practical or literal to realise the play with clarity, integrity and originality including a simple set to light
• ensuring there is sufficient contrast in the two selected scenes to show the broad creative vision for the lighting designer
• presenting a clear a concise design vision statement
• presenting support materials that clearly show how the lighting will work on the stage.

Promotion and program

Students should:

• provide a Rationale in the form of a clear director’s vision/concept that expresses an original interpretation of the play
• ensure that the concept encompasses all the worlds of the play and its characters
• communicate the concept through both the visual and textual elements of the promotional material
• select a suitable theatre company (real or imagined) and make casting decisions that are appropriate for the chosen play and company
• ensure that visual elements are unified across the project and that they reflect the promotional style, tone of voice and profile of the company
• express a clear directorial vision though director’s notes in the program and unpack this further through the flyer content and the media feature article.

In better projects, students were able to:

• express a clear concept that is communicated through each component, often in different or extending ways
• convey a clear understanding of the functions of different promotional materials
• make controlled, considered visual design choices with consideration of gaze, composition, colour, symbol, negative space, fonts and typography
• demonstrate understanding of the differing functions of language and tone of voice in each marketing element
• adopt the authentic voice of a director in the director’s notes, use persuasive language conventions in the flyer and unpack production elements in the media feature article.

Areas for students to improve include:

• avoiding using plagiarised material in any areas of the project, including the visual images, director’s notes and flyer content
• developing an original directorial concept that interpretsthe play, rather than simply staging the play as written
• ensuring that the concept emerges from the play rather than being imposed upon it
• exploring different ways to extend the concept visually, rather than repeating the same image across poster, flyer and program cover
• considering how the program is assembled and formatted to align with the visual aesthetic and style of the company’s profile
• using the media feature article as an opportunity to unpack and promote some of the unique aspects of the production and explain how the concept is brought to life on stage.

Set

Students should:

• provide a Rationale in the form of a directorial concept/vision, clearly outlining how the set design supports, and is integral to, the intended dramatic meaning of the vision
• present a design for a chosen theatre venue considering the entire play
• present a model, to scale, that includes support material, floor plans with sightlines and indications of entrances to the acting space
• include visual representations and/or written notes explaining the entrances and exits, workings and manipulations of the set.

In better projects, students were able to:

• show a thorough knowledge of the text and provide a sophisticated and stylistic interpretation of the material
• present a unified concept/vision
• select a specific performance space and work appropriately with that space
• manipulate texture and colour to support dramatic meaning
• present a model that is precise and accurate
• use appropriate materials creatively.

Areas for students to improve include:

• providing support materials that articulate the concept/vision
• demonstrating an awareness of the entire play
• addressing the demands of the play for the actors, audience and director in the design
• communicating a theatrical understanding of how set changes will occur
• working to scale (1:25)
• demonstrating understanding of audience sightlines and providing sightlines on a floor plan.

Director’s folio

Students should:

• provide a Rationale in the form of a directorial concept/vision for the chosen play from the current list of texts, including justification for the staging of the text rather than a description of the decision-making process
• submit a project that creatively presents a concept/vision that is theatrical, coherent and can be realised practically on stage.

In better projects, students were able to:

• present a sophisticated, engaging and creative directorial concept/vision that could be readily imagined as a staged production
• embed research and text analysis throughout the project
• integrate their vision throughout all parts of the project, supported by appropriate choices of theatrical elements, such as lighting, sound, set, costume and actors’ processes
• include textual analysis, wider research and staged scenes that integrated production experience throughout the imagined production of the play
• create a strong sense of the intended audience experience
• clearly connect rehearsal processes and practices to the directorial concept/vision and how the approach to working with the actors affects the audience experience.

Areas for students to improve include:

• avoiding overreliance on generalised research and plot recounting research
• clearly justifying research into design elements and describing how they relate to the production concept
• understanding appropriation, modernisation and the original text.

Applied research project

Students should:

• undertake broad research into an area of interest and pose a specific hypothesis to investigate further
• write a hypothesis that is concise and clear.

In better projects, students were able to:

• structure their work as an academic/research report with appropriate headings and referencing
• use relevant, insightful and engaging language and graphs (where appropriate)
• devise a manageable hypothesis.

Areas for students to improve include:

• selecting and analysing a range of research materials and methods
• ensuring the hypothesis is linked to the initial research
• using headings to structure of their report.­­

Portfolio of theatre criticism

Students should:

• choose a range of productions that allow for in-depth, perceptive analysis and synthesis of theatrical experiences across the portfolio
• identify the key ideas in each play and how the production brings these to life in a unique way
• create clear visual images of specific moments in the production in order to support the evaluation and engage the reader.

In better projects, students were able to:

• bring the reader into the world on stage through evocative and insightful use of language
• analyse key moments in relation to the intention of the production
• synthesise relevant knowledge or research about the production and theatrical elements.

Areas for students to improve include:

• selecting a variety of productions to demonstrate an understanding of theatre
• substantiating all opinions with appropriate and relevant knowledge or research
• using a variety of language devices to create a confident and engaging voice.

Students should:

• communicate a clear idea in a complete play of approximately 15 minutes running time
• communicate the action a live audience sees on the stage
• write an original narrative or theatrically shape a known narrative in an original way
• choose and sustain a theatrical style such as Black Comedy, Verbatim, Multi-Discipline, Expressionism, Realism, Tragedy, Magical Realism, Absurdism throughout the script
• create a theatrical experience that shapes the audience's experience of the world of the play
• adhere to formatting requirements including font type, spacing and margins.

In better projects, students were able to:

• present concepts which were original, sustained and could be brought to life on the stage
• manipulate the techniques and conventions of a theatrical style to sustain audience engagement from beginning to end
• create dramatic action which was purposeful and manipulated with flair and precision
• demonstrate insightful control of the elements of drama; particularly rhythm, mood and tension
• demonstrate a sophisticated understanding of how to manipulate live performance and production elements to engage the audience.
• use evocative and precise stage directions to create visual and verbal images which frame the dramatic action
• make effective use of motif, metaphor and symbolism
• manipulate language in a sophisticated manner to create dramatic meaning and leave room for the director and actors to work
• create appropriate and authentic character voices and relationships that allow the characters to impact on each other
• manipulate effects such as sound, lighting and projection meaningfully to serve the concept and the chosen dramatic form.

Areas for students to improve include:

• structuring a thematically complex script with consideration of audience response, rather than a script more suited to a screenplay
• presenting dramatic action that is relevant for the stage
• avoiding reliance on multiple flashforwards/backwards and/or voiceovers to inform the audience what is happening.

Students should:

• create a clear, dramatic narrative for the screen, controlling and manipulating the elements of drama to engage the audience
• make conscious production choices, including control of coverage, framing, focus and production elements and visual language
• direct the action on screen
• use editing and post-production sound and effects to shape dramatic pace and tension to engage the audience.

In better projects, students were able to:

• present a sustained story or narrative use the elements of drama to skilfully tell the story
• use visual language in their screenwriting to create a narrative
• create a film with a complete narrative, engaging the audience so that there is connection to the characters and a sense of completion at the end
• adhere to the 5–7 minute time limit
• use production design and mise-en-scene to create a world on screen for their characters to inhabit use the camera as a creative tool and make effective choices about aspects such as framing and coverage, to bring the audience into the story.

Areas for students to improve include:

• including a title on the film and the Rationale
• providing a Rationale in the form of your director’s concept/vision
• avoiding an overreliance on stock footage
• using a clear narrative structure making sure films have a clear beginning, middle and end, and avoiding Tik Tok style moments unless they clearly serve the narrative
• using visual language and imagery so that the story is shown on screen without the need for titles such as ‘Two hours later’
• making deliberate and appropriate choices in relation to casting, locations and production design to build a world for the characters to inhabit
• making careful and deliberate choices with the framing of the action on screen
• using a variety of shot types, sizes, angles and lengths to position the audience
• making deliberate editing choices to build pace and tension and develop the audience’s relationship with the characters.

Students should:

• analyse the questions during reading time, reflecting on what is being asked
• use key words in the question throughout the response, avoiding using language from past questions or pre-prepared answers
• use staging workshops as evidence for both sections of the paper, demonstrating experiences with the topics and a practical understanding of theatre as a live medium
• provide a clear and cohesive response to the question rather than relying on pre-prepared responses based on the key themes and ideas in the plays studied.

Question 1

In better responses, students were able to:

• address all components of the question
• identify and explain specific ideas and/or personal concerns affecting groups and individuals from the plays that challenge audiences and their understanding of Australian society
• provide features of Australian society and why the audience may find the ideas in these plays challenging
• consider the construction of the selected moments through well-chosen and/or specific theatrical techniques such as proxemics, blocking, lighting, gestures, manipulation of space, and/or costume
• incorporate knowledge of the performance styles of appropriate practitioners (including actors, directors, designers and playwrights)
• use their experience of the plays as an actor, director and/or audience member to show how an audience was challenged. For example, by identifying a particular response from the audience or explaining how specific moments were presented on stage to create dramatic meaning for the audience.

Question 2 – The voice of women in theatre

In better responses, students were able to:

• compare with insight how the TWO playwrights demonstrate their vision of the female experience through their character(s), with examples from the text(s), experiential learning evidence and viewed productions, quotes, and/or a range of evidence
• clearly articulate the vision(s) of the playwrights in each play
• compare the impact of the playwright(s)’ contexts (social, historical, cultural) on the creation of their visions and how they are manifested through their characters
• select experiential material that clearly highlighted the vision of female experience crafted by the playwright(s) through their characters
• link the vision of the playwrights and experience of the characters, through voice and context, to experiential material
• consistently link evidence to the response to strengthen and sustain the argument
• cover both texts in a balanced, articulate and cohesive manner.

Question 3 – Approaches to acting

In better responses, students were able to:

• clearly identify the way that the philosophies and practical training exercises of practitioners influenced the actor presence and their use of space
• explain the specific nature of the actor presence. This was seen in responses such as ‘collective presence’ (Boal), ‘physically dominant presence,’ (Lecoq) and ‘precise presence’ (Meyerhold)
• describe and explain the specific way space was used by different practitioners
• make connections between presence/space and the nature of the audience engagement
• include evocative staged examples from either class workshops, the practitioner’s own work and/or contemporary theatre practice to show explicitly the link between audience engagement and the actor’s presence and space
• provide specific details about workshops and practical exercises to evoke a sense of the moment on stage
• consistently link evidence to the response to support and sustain the argument
• use precise and accurate terminology associated with each practitioner to reveal a comprehensive knowledge of the topic.

Question 4 – Verbatim theatre

In better responses, students were able to:

• consider both texts and own experiential learning of Verbatim Theatre, providing specific details to support the response
• clearly identify authentic communities and events in the context of Verbatim Theatre
• define understanding of both ‘authentic communities and events’ and ‘thought-provoking performance’ and link these key phrases to the question
• refer to specific moments and experiences in the plays, communicating and explaining how these create thought-provoking performance
• provide relevant descriptions of staged experiences/workshops from both plays by referencing theatrical elements
• consider all aspects of the statement equally, showing how the set text’s use of authentic communities and events create thought-provoking performance via experiential learning
• use quotations or described moments from the plays, relevant to the question, about the use of experiential learning
• provide relevant, insightful analysis supported by appropriate examples and illustrations.

Question 5 – Black comedy

In better responses, students were able to:  

• demonstrate an understanding of how Black Comedy conventions can provide audiences with cathartic relief from uncomfortable situations
• demonstrate an understanding of how tension is built and released on stage to create comic or cathartic relief
• support their argument with clear examples that show an understanding of theatre as a live artform
• explicitly identify Black Comedy conventions used by playwrights and manipulated by actors, directors, and designers
• provide a balanced discussion of both plays using more than one example from each text
• present a range of evidence to support their discussion, beyond a retelling of the plot and context of the plays
• use relevant workshop examples to support ideas, rather than discussing warm-up activities or improvisations based on the themes or context of the plays.

Question 6 – Multi-discipline theatre

In better responses, students were able to:

• demonstrate knowledge of Multi-Discipline Theatre’s engagement with traditional and new theatre technologies, and the interactions between them
• demonstrate their practical experience by describing highly visual, live, relevant and evocative staged examples from the work of Ex Machina or Complicite, as well as their own performance piece
• identify ‘global issues’ in the works being studied and provide links to these in moments on stage
• demonstrate a clear understanding of, and experience in using, the chosen practitioner’s process through discussion of their own performance piece
• present a response that integrates specific elements of the question with the philosophies, processes and practices of the form.

Question 7 – Significant plays of the 20^th century

In better responses, students were able to:

• demonstrate an understanding of how each play broke new ground from prior theatrical forms/styles through the powerful theatrical experiences of the new form/style
• clearly identify the theatrical forms
• link key theatrical moments to a clear audience response, either in the original time period of each play or from experience as a contemporary audience member and/or practitioner
• extend beyond a literary analysis by using relevant examples of each play on stage either from class workshops or staged productions
• consistently link the evidence back to the question, to sustain and enhance the argument
• address all parts of the question equally, in a logical and cohesive response.

Question 8 – Japanese traditional and contemporary theatre

In better responses, students were able to:

• demonstrate knowledge of the styles of both Tadashi Suzuki and the chosen traditional style
• clearly discuss staged examples and workshop activities
• use relevant examples of performance experiences as evidence, such as performance choices used in staging class workshops and performances
• clearly define ‘contemporary ideas’
• link both styles to all aspects of the question, using knowledge of both styles and recognising the impact of the traditional on the contemporary
• demonstrate knowledge of the set texts, specific links and/or differences between styles
• discuss music and movement for both styles.