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Assessment Task
Subject:
Year 10 Drama
Teacher:
Sylvia Mavros
Task Title:
Monologue Performance Piece
Draft Due Date: Tuesday, 10 June 2014
Final Due Date:
Tuesday, 17 June 2014
Please note that failure to submit the task by this date will result in academic
detention until completed.
Learning Requirements:
ACARA
By the end of Year 10:

students create and present improvised, devised and scripted drama. They
manipulate the elements of drama and expressive skills to interpret and realise
convincing, motivated characters and character relationships.

They use effective collaborative processes to make drama and undertake
production roles when planning, rehearsing, refining and presenting drama
performances.

Students reflect critically, providing constructive feedback and acknowledging
others' perspectives as they shape and refine their drama.

Students explain how meaning is created in drama and describe and discuss the
distinguishing features of drama forms and styles from a variety of cultural,
contemporary and historical contexts.
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Outcomes Assessed:
NTCF
Dr 5+.1 Creating Arts Ideas
research and develop the skills and techniques to create meaningful performance
works for an audience
Dr 5+.2 Arts Skills and Processes
refi ne appropriate terminology and apply production making skills and techniques
to performance works of dramatic texts and original ideas
Dr 5+.3 Arts Responses and Analysis
apply research, drama terminology and analysis to justify opinions about dramatic
texts and performance works
Dr. 5+.4 Arts in Context
conduct independent research, critically analyse and compare characteristics of
drama from different cultural and historical settings and across art forms;
communicate contextual understandings in written and/or practical form.
ACARA
Marking
10.1 Develop internally consistent,
motivated roles and characters
conveying a subtext of social and
psychological situations, relationships
and status
10.2 Create and perform complex
devised and scripted drama, exploring
symbol and a diversity of performance
styles and conventions to communicate
dramatic meaning
10.3 Shape and control dramatic
tensions and action by manipulating
the elements of drama in devised and
scripted drama
10.4 Interpret, rehearse and perform
scripted drama to communicate
characters, situations, relationships,
intentions and subtext to create
dramatic action and dramatic meaning
Responding
10.8 Connect and evaluate
experiences of making,
performing and
responding
10.10 Connect conventions
of forms and styles with
their contemporary drama
practices and social,
historical and cultural
contexts
Task Outline:
Present a monologue performance and 500-700 word write up explaining
the intention, style genres, influences and development process citing
scenes in your performance piece. Present your journal as evidence of
working.
Create a dramatic Monologue for a character from any genre you choose.
Write, explore, rehearse and perform the part in order to create a compelling
scene. You have a minimum of 2 minutes and a maximum of 5 minutes.
You may use any conventions you wish including props and costumes as well
as lighting if pertinent. It may be a highly dramatic piece or light hearted
comedy. The genre and its specific conventions must be stated as well as any
other influences in your journal.
Use plot, theme, character, levels, language and movement moods and
symbols to enhance the dramatic meaning. Write your explorations and
developments in your visual diary. Be ready to present your monologue to the
class. You may recruit others in the class to help with illustration however you
must stick to the rule of the monologue. Research and find a genre for your
performance you may blend or fuse some together however you must write this
in your journal and explain your choices in relation to your goal for your
monologue.
Genres that could be used as an influence or style base:
 Kabuki
 melodrama
 physical theatre
 Black light theatre
 Vaudeville in the Philippines
 Boulevard theatre (aesthetic)
 Post dramatic theatre
 Postmodern theatre
 Brecht Forum
 Monopolylogue
 Expressionism
 Grecian mask theatre
 Theatre of the absurd
You may choose to illustrate a character, a scene with other characters or alone
on the stage. You could explore a character in turmoil, making a decision or just
explaining their feelings. You may be as dramatic as you like with a comedy or
tragedy. You may choose a climax or anti-climax, resolved or unresolved story.
Use the videos shown in class as a starting point.
Performance Standards / Marking Criteria
Result
A
Indicators Understands
comprehensively the
appropriate uses of the
components and can
cite relevant examples
from other
productions.
Regularly uses or
demonstrates in
depth comparisons
and deeply
understands how the
action is understood
by the audience to
create dramatic
meaning.
Discusses and
demonstrates the
importance of the
techniques they have
in relation to the scene
citing the text and
other observations to
develop character
roles in their own and
many other’s
performances well.
Uses the correct
terminology regularly
and can give concise
and relevant
examples of dramatic
intentions of ideas
citing the text.
Gives excellent and
pertinent examples of
problem solving and
collaborating with
others to create
innovative ideas for
audience’s
consideration.
Annotates script and
effectively conveys
understanding of the
concepts implemented
when creating drama.
B
C
D
E
Understands well the
appropriate uses of
the components and
can cite some relevant
examples from other
productions.
Understands the
basic and some
appropriate uses of
the components and
can cite at least one
relevant example from
other productions with
some prompting.
Understands in a
superficial way the
appropriate uses of
the components but
cannot cite relevant
examples from other
productions with
assistance.
Does not understand
the appropriate uses
of the components and
cannot cite relevant
examples from other
productions with
assistance.
Regularly uses or
demonstrates
comparisons and
understands mostly
how the action is
understood by the
audience to create
dramatic meaning.
Uses some or
demonstrates
comparisons and
understands
somewhat how the
action is understood
by the audience to
create dramatic
meaning.
Regularly uses or
demonstrates
comparisons and
understands well how
the action is
understood by the
audience to create
dramatic meaning.
Discusses and or
demonstrates the
importance of the
techniques they have
in relation to the scene
and have developed
character roles in their
own as well as
other’s performances.
Uses the correct
terminology
regularly and can
give relevant
examples of dramatic
intentions of ideas
citing the text.
Gives relevant
examples of problem
solving and
collaborating with
others to create
innovative ideas for
audience’s
consideration.
Annotates script
correctly and
conveys
understanding of the
concepts implemented
when creating drama.
Discusses or
demonstrates the
importance of the
techniques they have
in relation to the scene
and have developed
character roles in their
own and occasionally
other’s performances.
Uses the correct
terminology and
gives some relevant
examples of dramatic
intentions of ideas
citing the text.
Gives some
examples of problem
solving and
collaborating with
others to create
innovative ideas for
audience’s
consideration.
Annotates script and
conveys some
understanding of the
concepts implemented
when creating drama.
Sometimes discusses
or demonstrates some
of the importance of
the techniques they
have in relation to the
scene and have
developed character
role in their own
performances.
Uses limited correct
terminology and can
give a few relevant
examples of dramatic
intentions of ideas
citing or disregarding
the text.
Gives few examples
of problem solving and
collaborating with
others to create
innovative ideas for
audience’s
consideration.
Annotates script and
conveys few
understandings of the
concepts implemented
when creating drama.
Rarely uses or
demonstrates
comparisons and
understands how the
action is understood
by the audience to
create dramatic
meaning.
Rarely discusses or
demonstrates the
importance of the
techniques they have
in relation to the scene
and have limited
development of
character role in their
own performances.
Uses the limited
terminology gives
limited descriptions
of dramatic intentions
of ideas regarding or
disregarding the text.
Gives limited
examples of problem
solving and
collaborating with
others to create
innovative ideas for
audience’s
consideration.
Does not annotate
script to effectively
convey understanding
of the concepts
implemented when
creating drama.
EAL/D
A
B
C
D
Gives regular physical
demonstration as well as some
written work to correctly describe
their ideas in relation to the text,
devices and action in the play.
Regularly attempts to
show physical
demonstration as well as
some written work to
describe their ideas in
relation to the text,
devices and action in the
play
Attempts all physical
activity with some
comprehension and is
able to physically
demonstrate their ideas
using some assisted
language skills to
reference the text
Does not comprehend but
participates actively
Has some superficial
language use for
description that is not
written down
Can read and remember
lines and cues regularly
Even when it is not
written.
Can read and remember
most lines and cues even
when it is not written
however still requires
some support and
prompting.
Can read and remember lines and
cues consistently even though only
some is written.
Shows good understanding of how
to use the ideas well and can
associate terminology correctly with
the appropriate ideas in a practical
demonstration.
Responds correctly to explicitly
taught questions independently.
Shows an understanding
of how to use the ideas
well and can associate
some terminology
correctly
Responds correctly to
explicitly taught questions
both independently and
with support.
Shows an understanding
of sorts and can associate
some terminology
correctly with some
guidance and prompting.
Can remember simple
lines and cues with some
support.
Shows some superficial
understanding and can
repeat the correct
terminology with support
and guidance
Responds to some
explicitly taught questions
correctly with support.
Responds correctly to
explicitly taught questions
some independently and
many with support.
THE MONOLOGUE
Some general information from Wikipedia to get you started. You are expected
to find your own qualitative information on particular genres and styles and
reference it at the end of your journal notes as a bibliography.
In theatre, a monologue is presented by a single character, most often to
express their mental thoughts aloud, though sometimes also to directly address
another character or the audience. Monologues are common across the range
of dramatic media (plays, films,etc.), as well as in non-dramatic media such as
poetry. Monologues share much in common with several other literary devices
including soliloquies, apostrophes, and aside. There are, however, distinctions
between each of these devices.
Similar literary devices
Monologues are similar to poems, epiphanies [realisations], and others. But
there are differences between them. For example, a soliloquy involves a
character relating his or her thoughts and feelings to him/herself and to the
audience without addressing any of the other characters. A monologue is or the
thoughts of a person spoken out loud. Monologues are also distinct from
apostrophes, in which the speaker or writer addresses an imaginary person,
inanimate object, or idea. Asides differ from each of these not only in length
(asides are shorter) but also in that asides are not heard by other characters
even in situations where they logically should be (e.g. two characters engaging
in a dialogue interrupted by one of them delivering an aside).
History
In ancient Greek theatre, the origin of Western drama, the conventional three
actor rule was preceded by a two actor rule, which was itself preceded by a
convention in which only a single actor would appear on stage, along with the
chorus. The origin of the monologue as a dramatic device, therefore, is not
rooted in dialogue. It is, instead, the other way around; dialogue evolved from
monologue.
Ancient Roman theatre featured monologues extensively, more commonly than
either Ancient Greek theatre or modern theatre. One of the key purposes of
these monologues was to indicate the passage of significant amounts of time
(that would be tedious to actually play out in real time) within scenes. This type
of monologue is referred to as a linking monologue. Other monologue types
included "entrance monologues" and exit monologues. In each of these cases a
primary function is indicating the passage of time.
From Renaissance theatre onward, monologues generally focused on
characters using the extended speech to pursue their dramatic need.
Postmodern theatre, on the other hand, often embraces the performative
aspects of the monologue, even to the point of challenging the boundary
between character portrayal (e.g. acting) and autobiographical speeches.
Types of monologues
Interior monologues involve a character externalizing their thoughts so that the
audience can witness experiences that would otherwise be mostly internal. In
contrast, a dramatic monologue involves one character speaking to another
character. Monologues can also be divided along the lines of active and
narrative monologues. In an active monologue a character is using their speech
to achieve a clear goal. Narrative monologues simply involve a character telling
a story and can often be identified by the fact that they are in the past tense.
Monologues are often used in Shakespeare’s works both as dramatic
monologues to other characters and as ‘asides’ where the other characters in
the play are unable to hear the character think out loud or process information
to benefit the audiences understanding of an internal or external struggle.