Drama 2024 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 through use of the dramatic elements
• layer dramatic meaning and manipulate the mood of the audience
• ensure the piece has been performed in front of an audience
• keep to the time limit of 8–12 minutes.

In better performances, students were able to:

• present a highly theatrical and coherent dramatic journey with confidence, flair, and innovation
• firmly ground their performance in a theatrical style and manipulate the associated conventions of that style to enhance dramatic meaning
• evoke a powerful audience response through dynamic interactions with other subtly defined roles/characters.

Areas for students to improve include:

• avoiding an over-reliance on set and props to communicate dramatic meaning
• incorporating purposeful transitions that enhance the dramatic journey
• using theatrical devices appropriate to chosen style and form to assist in creating and sustaining effective audience engagement
• ensuring it fits within the 8–12 minute time limit.

Students should:

• demonstrate insightful and appropriate interpretation of the chosen material
• use an authentic character voice appropriate to their skills and demands of the selected material
• be aware of the audience response to a solo performance and ensure the audience engages 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 6–8 minutes and ensure scripting and stylistic choices produce powerful, succinct performances within the time limits.

In better performances, students:

• presented sophisticated/creative and theatrical interpretations of chosen material
• manipulated and controlled a diverse range of performance skills appropriate to chosen style/form
• presented truthful, sustained and sophisticated character journey with dimension and complexity.

Areas for students to improve include:

• avoiding an over-reliance of sets, props, costumes, and blackout transitions to communicate dramatic meaning
• making appropriate theatrical choices that effectively manipulate the dramatic elements and performance conventions
• stronger awareness of appropriate actor/audience relationship
• developing and sustaining clear characters that have an emotional and physical life
• developing the structure and dramatic coherence of the scripted material.

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(s) 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; note that preliminary sketches should not be drafts of the renders
• 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
• sequentially present the project with order and clarity
• incorporate visual images to support their dramatic vision.

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, its characters and the demands of the text
• communicate the concept clearly through both the visual and textual elements of the promotional material
• ensure that the visual elements are unified across the Poster, Flyer and Program, and that these align with the design conventions and profile of the selected theatre company
• Adopt an appropriate tone of voice and writing style for the Director’s Notes, Flyer and Media Feature Story that show understanding of the company and the function of text to promote the play.

In better projects, students were able to:

• express an original concept that is communicated through each component, demonstrating a  sophisticated understanding of the play
• develop a visually arresting poster design that communicates a clear visual concept, showing understanding of composition, colour, symbol, font selection and typography
• adopt the authentic voice of a director in the director’s notes, use both visual elements and other textual elements that reflect authentic marketing conventions of the selected company
• uses language conventions of promotion and the profile of the selected company
• develop a portable, functional flyer that visually expresses the director’s concept.

Areas for students to improve include:

• avoiding the use of plagiarised material for all visual elements, director’s Notes, media feature story and flyer content
• developing an original directorial concept that interprets the play, rather than simply staging the play as written
• avoiding concepts that are imposed, inappropriate or that do not maintain the integrity of the original play
• exploring different ways to extend the concept visually, rather than repeating the same image across Poster, Flyer and Program cover
• considering the size and function of the Flyer and Program, and closely align this with the marketing materials of the of the selected theatre company
• using the Media Feature Story as an opportunity to unpack the directorial vision on stage and promote the unique aspects of the production.

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:

• communicate a sophisticated, imaginative and coherent directorial concept/vision that arises from a deep understanding of the play
• present textual analysis and vivid descriptions of scenes onstage in a way that shows a highly perceptive theatrical and dramatic understanding of the play
• justify directorial choices through insightful research that is clearly relevant to the concept
• describe the application of techniques in rehearsal that support and enrich the directorial vision and lead to a clear realisation of the concept in performance
• sustain an intentional approach to creating a rich and powerful audience experience.

Areas for students to improve include:

• maintaining a confident and appropriate tone
• ensuring all components of the project are included to support a thorough communication of the concept
• including rehearsal techniques that are appropriate and justified for the concept.

Applied research project

Students should:

• undertake broad research into an area of interest and pose a specific hypothesis to investigate further
• write/develop a hypothesis that is concise and clear. Hypothesis should clearly come from the initial research (Survey of the Area of Study)
• consider that the hypothesis may take the form of a question or statement.

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 that was appropriately researched.

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 and area of study
• using headings to structure of their report and guide the reader.

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 or moments in each play/production and how the production brings these to life in a unique way
• create clear visual images of specific moments in the production 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, including perceptive identification of which creative roles to include.

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 or film
• carefully considering the voices and dramatic action they choose to present. Avoid relying too heavily on a ‘teenage voice’ and perspective which may impact audience engagement
• using dramatic action that is relevant for the stage
• avoiding reliance on multiple flashforwards/backwards and/or voiceovers to inform the audience what is happening
• keeping within the requirements of the project, for example, 15–25 pages or 15 minutes on stage without altering margins or spacing
• ensuring that the Rationale meets the project requirements of 300 words and is situated at the beginning of the project after the Cover Sheet.

Students should:

• create a clear, dramatic narrative for the screen, controlling and manipulating the elements of drama to engage the audience through their screenwriting
• make conscious production choices, including control of coverage, framing, focus, live capture of sound and elements of production
• 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 dramatic narrative using the elements of drama to skilfully tell the story
• use and manipulate visual language in their screenwriting
• create a film with a complete narrative, engaging the audience so that we know whose story it is, what the stakes are why we should care
• 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:

• providing a title on the film and the Rationale
• providing a Rationale in the form of your director’s concept/vision
• using a clear narrative structure making sure there is 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 for engagement
• 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:

• answer all components of the question
• provide and explain specific ways that spaces are used to stage the meaning within Australian plays
• identify features of Australian society and how audiences might respond to the ideas staged in the plays 
• use practical examples from workshops, imagined and/or directed scenes, productions, or other staging based on the text to present theatrical moments that use space to shape meaning 
• consider the construction of the selected dramatic moments through well-chosen and/or specific theatrical techniques connected to space, for example proxemics, blocking, lighting, set, manipulation of space and/or stage types
• incorporate knowledge of the performance styles and forms 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 meaning was influenced. For example, by identifying a particular response from the audience or explaining how specific moments were placed within a space on stage to create dramatic meaning for the audience
• use relevant practical evidence, drawing on examples with a strong connection to the audience
• select dramatic moments connected to a practitioner’s use of space and how those moments influenced a specific meaning.

Question 2 – The voice of women in theatre

In better responses, students were able to:

• discuss both texts and their own experiential learning, providing specific details to support the response
• understand that ‘directors’ refers to choices made about staging the plays, and use insightful and relevant examples to demonstrate this
• refer to specific moments in the plays that can be used by directors to give voice to issues
• insightfully link the directorial examples with issues to explain how these give voice to issues affecting women’s equality
• provide insightful comparison between the plays
• address all parts of the question equally, in a logical and cohesive response
• demonstrate a clear understanding of theatre as a live performance art form for an audience
• consistently link the supporting evidence back to the question, to sustain and enhance the argument/thesis.

Question 3 – Approaches to acting

In better responses, students were able to:

• demonstrate an understanding of all key terms in the question, including ‘theatre works’, ‘actor training’ and ‘approaches’
• identify that ‘approach’ links with the ideas, methods, ways, context, influences or philosophies behind the practitioner’s training
• differentiate and explore connections between the ‘actor training’ they have experienced and specific example(s) of theatre work(s) or performance(s) of their own or another
• consider both actor and audience perspective, throughout their response, understanding that theatre works are designed to be experienced by an audience
• treat both practitioners equally
• provide examples of training and subsequent theatre works that flowed logically
• communicate a diverse understanding of each practitioners’ approach to training, including more than one idea influencing their practice
• discuss their own experiential learning of training and theatre works comprehensively, providing specific detailed evidence to support the response
• consistently link the supporting evidence back to the question, to sustain and enhance the argument/thesis
• respond personally and thoughtfully to the specific details of the question, in a logical, sustained and cohesive response.

Question 4 – Verbatim theatre

In better responses, students were able to:

• treat both texts and own experiential learning of Verbatim Theatre equally, providing specific details to support the response
• clearly identify ‘truth’ and ‘audience engagement’ in the context of Verbatim Theatre
• clearly link ‘truth’ and ‘audience engagement’ with a sophisticated understanding that these are entwined, not separate
• refer to specific moments and experiences in the plays, explaining how these create audience engagement
• provide relevant descriptions of staged experiences/workshops from both plays by referencing theatrical elements
• provide equal treatment of all aspects of the statement, showing how the set texts’ use of authentic communities and events create thought-provoking performance via experiential learning
• use quotations or described moments from the plays, and experiential learning relevant to the question
• demonstrate a clear understanding of theatre as a live performance art form for an audience
• consistently link the evidence back to the question, to sustain and enhance the argument/thesis.

Question 5 – Black comedy

In better responses, students were able to:

• create and sustain a clear thesis that explicitly addresses the question
• demonstrate an understanding of the role of a director and how directorial choices heighten both the comedy and controversy in the set plays
• explicitly name the elements of production, elements of drama and elements of performance manipulated by directors to impact an audience
• provide equal treatment of comedy and controversy
• support their argument with evocative examples that show an understanding of theatre as a live art form where the audience is integral
• identify what is controversial in each text studied
• provide a balanced explanation of both plays using more than one example from each text
• present a range of evidence to support their explanation, beyond a retelling of the plot and context of the plays
• use relevant workshop or imagined staging 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 a clear understanding of ‘collaborative processes’ used by multi-disciplinary practitioners, for example collaboration between people, with props, between theatrical elements and people, and between old and new technologies
• provide relevant on-stage examples from the work of Ex Machina or Complicité and the student’s own performance
• include detailed, relevant examples of highly visual forms
• address all aspects of the question
• use specific references from the practitioners’ performed work beyond their process
• include collaborative processes in both rehearsal and performance phases
• explain the impact on the audience of highly visual forms created through collaboration weave the practitioner’s philosophies, processes and practices into a cohesive response, selecting points most relevant to the question.

Question 7 – Significant plays of the 20^th century

In better responses, students were able to:

• name the conventions and techniques of each revolutionary form and identify the forms,  for example, Epic Theatre/Brechtian Theatre, Theatre of the Absurd, Verbatim Theatre, Magical Realism, Eclectic Theatre
• support their argument with clear supporting examples that show an understanding of theatre as a live art form where the audience is integral
• explain the dynamic audience experiences created by practitioners exploring each play studied
• provide a balanced and sustained explanation of both plays using at least one detailed example from each text
• present a range of evidence to support their explanation, beyond a retelling of the plot and context of the plays
• use relevant workshop or imagined staging examples to support ideas, rather than discussing warm-up activities or improvisations based on the themes or context of the plays.

Question 8 – Japanese traditional and contemporary theatre

In better responses, students were able to:

• demonstrate a high level of knowledge of the styles associated with both Tadashi Suzuki and the chosen traditional form
• demonstrate a clear understanding of the historical and cultural contexts of the chosen traditional form
• use relevant staged examples, and performance experiences as evidence, for example performance choices in staging class workshops and performances
• clearly define ‘theatrical aesthetic’
• clearly define and explain what is ‘uniquely Japanese’ in both the traditional form and the collective work of Tadashi Suzuki
• link both Suzuki’s work and the chosen traditional form to all aspects of the question, recognising the impact of the traditional on the contemporary
• demonstrate knowledge of the set texts, specific links and/or differences between styles
• refer to theatrical aesthetics, for example costumes, for both Suzuki’s work and the chosen traditional form
• address all parts of the question equally, in a logical and cohesive response.