Download Drama - Board of Studies

2001 HSC
Specimen Paper
Drama
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2001 Higher School Certificate Specimen Examination Paper
Drama
Introduction
This booklet contains the specimen examination paper for the 2001 Higher School
Certificate examination in Drama. A mapping grid is also included, showing how each
question in the examination relates to the syllabus outcomes and content, and to the
performance bands.
The specimen paper shows the format of the New HSC examination. It has been printed
on A4 paper and side-stapled to make it convenient for use in schools. Actual
examination papers will be produced as A4 booklets. All New HSC papers will be
printed on white paper.
The 2001 HSC specimen papers have been produced in accordance with the Board’s
Principles for Setting HSC Examinations in a Standards-Referenced Framework,
published in Board Bulletin Volume 8 Number 9 (Nov/Dec 99). Questions are closely
related to the outcomes of the course, and the paper as a whole is structured to allow for
appropriate differentiation of student performance at all levels on the performance scale.
The papers have been designed so that students have a clear understanding of what they
are required to do in each question and in working through the paper. Instructions have
been standardised, and the demands of the questions have been made explicit. Key
words in questions, such as ‘discuss’, ‘analyse’, and ‘explain’, have been used
consistently in accordance with the glossary published in the Board’s Assessment
Support Document.
This specimen paper is an example of the type of examination that could be prepared
within the examination specifications in the Drama syllabus. Examinations will be
based on the syllabus, and will test a representative sample of syllabus outcomes.
Therefore, the range and balance of outcomes tested in HSC examinations in 2001 and
subsequent years may differ from those addressed in the specimen paper.
The mapping grid is an important feature of the development of the examination. It aids
in ensuring that the examination as a whole samples a range of content and outcomes,
and allows all students the opportunity to demonstrate their level of achievement.
Where courses have components in the examination other than written papers, the grid
indicates the wider range of outcomes that are assessed by including these other
components.
There are a number of points to note in considering the Drama specimen paper:
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A rubric indicating general criteria for judging performance has been placed at the
beginning of each section of the paper to clearly indicate the factors that will be
used to assess responses to the question(s). These criteria are in addition to criteria
specific to each question.
Where there is a compulsory text set for study in a topic, questions may specifically
require students to respond to particular aspects of the compulsory text, as well as to
aspects of the additional text(s) set for study.
In Question 3 students may be required to refer to specific plays in their response.
Drama
HSC Specimen Examination Mapping Grid
For each item in the examination, the grid shows the marks allocated, the syllabus content and syllabus
outcomes it relates to, and the bands on the performance scale it is targeting. The range of bands shown
indicates the performance candidates may be able to demonstrate in their responses. That is, if an item is
shown as targeting Bands 3 – 5, it indicates that candidates who demonstrate performance equivalent to
the Band 3 descriptions should be able to score some marks on the item, while those who perform at Band
5 or above could reasonably be expected to gain high marks. In the case of one-mark items, candidates
who demonstrate performance at or above the bands shown generally could be expected to answer the
item correctly.
Question
Marks
Content
Syllabus outcomes
Targeted
performance
bands
Australian Drama and Theatre
(Core Study) –
Bush and City in Australian Drama or
Contemporary Australian Theatre
Studies in Drama and Theatre –
Theatre of the Absurd
Studies in Drama and Theatre –
Medieval English Cycle Plays
Studies in Drama and Theatre –
Dario Fo
Studies in Drama and Theatre –
Environmental, Street and Event
Theatre
Studies in Drama and Theatre –
Meyerhold
Studies in Drama and Theatre –
American Drama
Studies in Drama and Theatre –
Seventeenth Century Comedy
H1.3, H3.1, H3.2, H3.3
2–6
H1.3, H3.1, H3.2, H3.3
2–6
H1.3, H3.1, H3.2, H3.3
2–6
H1.3, H3.1, H3.2, H3.3
2–6
H1.3, H3.1, H3.2, H3.3
2–6
H1.3, H3.1, H3.2, H3.3
2–6
H1.3, H3.1, H3.2, H3.3
2–6
H1.3, H3.1, H3.2, H3.3
2–6
H1.1, H1.2, H1.4, H1.7,
H1.8, H1.9, H2.1, H2.2,
H2.3, H3.2, H3.3, H3.5
2–6
H1.3, H1.5, H1.7,
H2.2, H3.1, H3.2, H3.3
2–6
H1.3, H1.7, H3.1,
H3.2, H3.3
2–6
H1.3, H1.7, H3.1,
H3.2, H3.3
2–6
H1.3, H1.5, H1.7,
H2.2, H3.1, H3.2, H3.3
2–6
H1.3, H1.5, H1.7, H2.2,
H3.2, H3.3
2–6
Written Examination:
1
20
2
20
3
20
4
20
5
20
6
20
7
20
8
20
Practical Examination Core Component:
30
Group Performance
Individual Project (Optional):
30
Critical Analysis (Director’s Folio)
Individual Project (Optional):
30
Critical Analysis (Portfolio of Theatre
Criticism)
Individual Project (Optional):
30
Critical Analysis (Applied Research
Project)
Individual Project (Optional):
30
Design (Costume)
Individual Project (Optional):
30
Design (Lighting)
Question
Marks
Content
Individual Project (Optional):
30
Design (Promotion and Program)
Syllabus outcomes
Targeted
performance
bands
H1.3, H1.5, H1.7,
H2.2, H3.1, H3.2, H3.3
2–6
H1.3, H1.5, H1.7,
H3.2, H3.3
2–6
H1.1, H1.2, H1.3,
H1.5, H1.7, H2.1,
H2.2, H2.3, H3.1,
H3.2, H3.3, H3.5
2–6
H1.3, H1.5, H1.7,
H2.2, H2.3, H3.2, H3.3
2–6
H1.3, H1.5, H1.7,
H2.2, H2.3, H3.2, H3.3
2–6
Individual Project (Optional):
30
Design (Set)
Individual Project (Optional):
30
Individual Performance
Individual Project (Optional):
30
Scriptwriting
Individual Project (Optional):
30
Video Drama
Sample marking guidelines for Drama
The following marking guidelines have been developed for selected questions from the
2001 HSC Specimen Examination in Drama. These guidelines indicate the approach
that would be taken to marking questions.
For each question, the following are typically included:
1. The syllabus outcomes that are targeted by the question.
2. The assessment rubric from the specimen paper, where there is one, listing the set of
general criteria that are used to assess responses.
3. The marking guidelines, which show the criteria to be applied to responses along
with the marks to be awarded in line with the quality of the responses. For extendedresponse questions, performance is described at a number of levels of performance,
each covering a range of marks.
4. A sample answer or some points that answers might include. Sample answers
indicate the scope and depth of treatment expected, and are not intended to be
prescriptive. Similarly, the points that could be included in answers are not intended
to be an exhaustive list, but rather an indication of the considerations that students
could include in their responses.
Marking guidelines will generally require some refinement at the Marking Centre to
take account of unanticipated responses that students present. For essay-type questions,
the standard described at each mark range will be made clear during pilot-marking by
the selection of sample scripts.
In a standards-referenced framework, examination questions are closely linked to
syllabus content and outcomes. Expectations of the question are to be clear in the
wording of the question. Marking guidelines will be developed at the same time as the
examination questions, by examination committees. The development of marking
guidelines will be guided by the BoardÕs Principles for Developing Marking Guidelines
Examinations in a Standards-Referenced Framework, published in Board Bulletin
VolumeÊ9 Number 3 (May 2000).
Sample Marking Guidelines Ð Drama
In your answer you will be assessed on how well you:
§ demonstrate knowledge and understanding of drama and theatre relevant to the
question
§ express your point of view and use appropriate supporting evidence
§ present a sustained, logical and well-structured answer to the question
Section I Ð Australian Drama and Theatre (Core Study)
Question 1 (20 marks)
ÔDrama and theatre in their content and style reflect the society from
which they spring.Õ
To what extent is this true of the Australian topic you have studied?
In your answer you should refer to AT LEAST TWO texts set for the topic you have
studied.
Topic 1: Bush and City in Australian Drama
Texts set for study:
Ray Lawler, Summer of the Seventeenth Doll Ð Compulsory text
and ONE of the following:
Louis Esson, Mother and Son
Katharine Susannah Prichard, Brumby Innes
Betty Roland, The Touch of Silk
OR
Topic 2: Contemporary Australian Theatre
Texts set for study:
Wesley Enoch and Deborah Mailman, The Seven Stages of Grieving
Jack Davis, No Sugar
Debra Oswald, GaryÕs House
Suzanne Spunner, Running up a Dress
Sample marking guidelines Ð Drama
Outcomes assessed: H1.3, H3.1, H3.2, H3.3
MARKING GUIDELINES
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Criteria
Interprets, and explains comprehensively, how the content and style of
Australian drama and theatre reflect particular aspects of Australian
society in the chosen texts
Demonstrates a comprehensive understanding and appreciation of the
significance of specific dramatic and theatrical techniques and concepts,
and the contexts that have influenced specific styles and movements
Provides an informed and analytical evaluation in a complex and logical
manner
Provides a well-substantiated response with convincing examples,
quotations, evidence from the chosen texts and practical experiences
related to the chosen texts
Interprets and explains, how the content and style of Australian drama
and theatre reflect particular aspects of Australian society in the chosen
texts
Demonstrates understanding of specific dramatic and theatrical
techniques and concepts, and the contexts that have influenced styles
and movements
Provides an evaluation presented in a coherent manner
Provides a substantial response with examples, quotations, evidence
from the chosen texts and practical experiences related to the chosen
texts
Explains broadly how aspects of the content and style of Australian
drama and theatre reflect aspects of Australian society in the chosen
texts
Demonstrates a broad understanding of dramatic and theatrical
techniques and concepts, and the contexts that have influenced some
styles and movements
Provides a discussion that deals with aspects of the question, presented
in a logical manner
Provides a sound response with some examples, quotations, evidence
from the chosen texts and practical experiences related to the chosen
texts
Outlines superficially how some aspects of the content and/or style of
Australian drama and theatre are linked to aspects of Australian society,
which may not be related to the chosen texts
Demonstrates a limited understanding of dramatic and theatrical
techniques and concepts, and some of the contexts that have influenced
some styles and movements
Provides an inconsistent commentary on some of the issues in the
question
Provides a basic response with few examples, quotations, evidence from
the chosen texts and practical experiences related to the chosen texts
Marks
17 Ð 20
13 Ð 16
9 Ð 12
5Ð8
Sample marking guidelines Ð Drama
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Criteria
Comments on some ideas, that may relate to some aspects of the content
of the question
Demonstrates a superficial understanding of some dramatic and
theatrical techniques and concepts
Provides personal opinions rather than arguments which are not
substantiated
Provides very few examples that may only partly relate to the chosen
texts or to practical experiences
Marks
1Ð4
Sample marking guidelines for
practical tasks and submitted works in Drama
The following sample marking guidelines have been developed for the practical and
submitted works components of the HSC Examination in Drama. In conjunction with
the previously published sample marking guidelines for selected questions from the
2001 HSC Specimen Examination paper, they indicate the approach that would be taken
to marking student responses for the entire examination.
For these components of the examination, the following are included:
1. A description of the task, derived from the syllabus
2. The syllabus outcomes that are assessed by the task
3. The criteria, derived from the outcomes, that are used to assess the task
4. The marking guidelines for each component of the task
The marking guidelines describe the full range of performance typically demonstrated
by students. Descriptions are given for ranges of marks, representing performances at
different levels of achievement. In marking a response, the marker initially assigns it to
one of these levels, and the judgement is then refined to decide on the mark to be
awarded. Markers use a variety of strategies, including sample responses, to assist them
in this process.
For the HSC examinations in 2001 and beyond, marking guidelines for all parts of the
examination will be developed by the examination committee. The development of
marking guidelines will be guided by the Board’s Principles for Developing Marking
Guidelines in a Standards-Referenced Framework, published in Board Bulletin
Volume 9 Number 3 (May 2000).
The assessment criteria described on pages 30–44 of the syllabus have been amended.
These amendments, which provide a more detailed description of how the Group
Performance and Individual Projects will be marked, have been documented in the
Official Notice for Drama in the November 2000 Board Bulletin.
These sample marking guidelines are based on these amendments to the Drama
syllabus.
1
Sample marking guidelines – Drama
HSC examination overview
For each student, the HSC examination for Drama consists of a written examination
worth a total of 40 marks, a compulsory group performance worth 30 marks, and an
individual project worth 30 marks, drawn from one of the following the areas:
• Critical analysis
• Design
• Performance
• Scriptwriting
• Video drama.
The Group Performance (30 marks)
The task will consist of each student collaborating with a group in devising a piece of
original theatre based on a theme or concept, issue, idea or image taken from the Group
Performance list.
Content
Each student learns to collaborate with a group to devise and perform in a piece of
original theatre. They learn how to work cooperatively in creating dramatic works,
presenting their own opinions confidently and listening to the ideas of others. They
develop their Group Performance using a variety of play-building techniques and
approaches. They learn to structure their work using dramatic elements and theatrical
conventions. They learn how to edit and refine their work through rehearsal, evaluation
and editing. In their performance they use expressive skills that are appropriate to the
chosen style or form. They learn how to realise and sustain a role and how to establish a
relationship with the audience.
As a starting point for the Group Performance, students must choose one topic from a
list of topics or ideas which is published separately in Drama Stage 6 Course
Prescriptions, Higher School Certificate 2001 and 2002 (reproduced on page 5 of this
document). The list may be changed in total or in part every two years, and is available
on the Board of Studies Website.
In order to assist the development of the idea or topic chosen for the Group
Performance, students may choose to use materials that may include art works such as
paintings, sculptures and photographs; stories such as legends, myths and science
fiction; music such as classical, contemporary and indigenous; documents such as
reports, autobiographies, oral history, interviews and documentaries.
Students chart the process of the development of their performance in a logbook. They
learn how to reflect upon, record, interpret, synthesise, research, and describe the
process undertaken, as well as problems encountered and strategies used to find
solutions.
This performance depends on and extends knowledge, skills and experiences gained by
students in the Preliminary course, and will be further informed by knowledge and
experiences from their studies of Australian Drama and Theatre, and Studies in Drama
and Theatre in the HSC course.
2
Sample marking guidelines – Drama
The Performance will be a piece of original theatre that:
- is a complete theatrical statement demonstrating a sense of dramatic shape and
structure
- provides opportunity for each student to demonstrate his or her performance skills
- is performed by no fewer than three and no more than six students
- is 8–12 minutes in duration.
It is in the students’ best interest to work within the specified time frame. Performances
under time will be penalised and those significantly over time will be stopped by the
examiners. This may lead to serious disadvantage.
The development of the Group Performance will be assessed by the teacher as part of
the school assessment. The teacher will be required to act as a supervisor and facilitator,
using a variety of strategies, including advice, assistance and negotiation. However, at
no time should the teacher, or any other adviser, including outside tutors, assume the
role of director. Work on the Group Performances should commence after the Easter
break of the HSC year.
Logbook for Group Performance
As part of the Group Performance, each student is required to present a logbook of
his/her involvement in, and reflections on, the development of the performance.
Examiners have the right to consult the logbook to assist them in their deliberations.
However it will not be used as part of the external examination mark.
As a personal record of the student’s involvement in the production process, the
logbook may be assessed as part of the school assessment mark for the Group
Performance. Teachers should date and sign logbooks, but assessment marks and
comments should be recorded separately.
The logbook should provide:
- a record of initial ideas shared
- a record of research and reading undertaken and how this contributed to the process
- an ongoing description and analysis of problems encountered and strategies used in
finding solutions
- a record of constructive advice and comments received from audiences such as
fellow students, parents and friends, teacher and assessors of works-in-progress
- comments on aspects of staging, lighting and design, where applicable
- a record of the final product.
Conditions applying to the Group Performance
• Group Performance will be examined by visiting examiners from the Board of
Studies towards the end of Term 3 of the HSC year. The teacher may be present as
part of the audience, but will not be a member of the Examination Panel nor perform
any technical operations during the Group Performances.
• For reasons of confidentiality, students are not allowed to see other students’
examinations.
• All students involved in a Group Performance will be studying for the Higher
School Certificate Drama examination. Where a school has fewer than three
students attempting the examination or a member of the group is incapacitated by
illness or misadventure, other students of the school (not attempting the Higher
School Certificate examination) may be used to achieve the required numbers.
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Sample marking guidelines – Drama
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These students should not be involved in the development of the Group
Performance.
A supervised audience of no more than 30 students from the school should be
present. The audience should be aware of appropriate audience conventions and
should be chosen by negotiation between the teacher and the examined students
prior to the examination. Students who are HSC candidates in any subject are not
permitted to form part of the audience. Members of the public should not comprise
the audience.
The examination area should be an indoor school venue such as a small to medium
size room. The area should be conducive to performance, ie free of noise or
interruption. Sectioning-off the performance area will assist to reduce interruptions.
A brief interaction will take place between the examiners and the students at the
conclusion of each Group Performance. This will be a standardised interaction for
the purpose of confirming the examiners’ impressions of the Group Performance.
Interactions may take place in the performance space or in a room nearby. It is
imperative that there be no interruptions to this process. Following student
interactions, examiners require time to confer. Confidentiality during this time must
be respected.
Examiner requirements when marking include the need for desks and sufficient light
for writing during performances:
- Desks should be placed together in an area where examiners can see and hear
effectively
- Audience members should not be placed directly near examiners
- There will be two examiners present who will at times be joined by a senior
examiner.
Logbooks for each student must be given to examiners in program order for Group
Performances.
Recording devices must not be used during examinations.
Student identification occurs prior to each Group Performance. Students are asked to
line up in the order of photographs on the group photo sheets. Examiners record
descriptions of students prior to the performance commencing. Students wearing the
same costumes should attach something, eg a colour band etc, to assist identification
by examiners during the performance.
Inappropriate items in performances such as weapons, naked flames, implements
which may endanger performers, audience members or examiners may not be used.
Nudity is also inappropriate. Examiners will stop performances should any
inappropriate items appear.
Production effects such as costumes, sets, lighting, video, film, sound and technical
support should be minimal and limited to those essential to the work’s meaning. As
available facilities and technical equipment vary in schools, external examiners will
not award extra marks to any presentation dependant on technical and/or special
effects.
Operation of technical equipment such as lighting can only be carried out by other
students in the school who are not HSC students. Teachers, or members of the
public, should not operate technical equipment. A stage crew of students who are
not HSC students may be used to set and remove props.
Time limits must be adhered to. Students should be given several opportunities to
perform their work prior to the examination to ensure the work runs within the time
stipulation (Group Performance 8–12 minutes). Examiners will stop performances
that go overtime. Under-time performances will not meet the criteria and will be
disadvantaged.
4
Sample marking guidelines – Drama
Topic List — Group Performance
ONE topic to be selected by each group from the following:
1. Against the Tide
2. Banquet
3. Chaos theory
4. Popular Delusions and the Madness of Crowds
5. Blue
6. Drifting
7. Reinventing the question
8. Advanced systems
Please note that this topic list for Group Performance is current for the 2001–2002 HSC
examinations only. Any amendments to requirements will be notified in the Board
Bulletin Official Notices.
Marking of the Group Performance
For the Group Performance, a mark out of 10 is awarded for each of the three criteria
listed, giving a total mark out of 30.
Criteria for examining the Group Performance
• Performance skills appropriate to the style or form
• Sustaining and developing role/character
• Structure and dramatic coherence
Assessment Criterion 1: Performance skills appropriate to the style or form
(10 marks)
- Vocal: projection, clarity, tone, pitch, pace, dynamics
- Movement: control, energy, spatial awareness, dynamics
- Timing: control of delivery, responses to cues, awareness of rhythms.
5
Sample marking guidelines – Drama
Outcomes assessed: H1.1, H1.2, H1.3, H2.1, H2.2
MARKING GUIDELINES
Criteria
Marks
•
Demonstrates exemplary performance skills including vocal, movement
and timing appropriate to the style or form
9 – 10
•
Demonstrates highly developed performance skills including vocal,
movement and timing appropriate to the style or form, although some
skills may be more refined than others
7–8
Demonstrates adequate performance skills including vocal, movement
and timing which may vary in their level of delivery in relation to
control of vocal projection, clarity, tone, pitch, pace, dynamics; control,
energy, spatial awareness and dynamics in movement; control of
delivery, responses to cues and awareness of rhythms in timing
5–6
•
Demonstrates limited performance skills including vocal, movement and
timing which may be inappropriate to the style or form
3–4
•
Displays minimal performance skills with little understanding of style or
form
1–2
•
Assessment Criterion 2: Sustaining and developing role/character (10 marks)
- Belief/Conviction/Energy
- Complexity/Dimension
- Interaction with other characters or roles
- Focus.
Outcomes assessed: H1.1, H1.2, H1.3, H1.4, H3.3
MARKING GUIDELINES
Criteria
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Marks
Demonstrates exemplary ability to realise and sustain subtly defined
role(s) or character(s). Effectively interacts with other role(s) or
character(s) in the performance
9 – 10
Demonstrates highly developed ability to realise and sustain role(s) or
character(s). Some aspects of sustaining and developing role(s) or
character(s) may be more refined than others. Effectively interacts with
other role(s) or character(s) in the performance
7–8
Demonstrates adequate ability to realise and sustain role(s) or
character(s). Variations may occur in levels of belief/conviction/energy,
complexity/dimension and focus. There are often inconsistencies in
interactions with other role(s) or character(s) in the performance
5–6
•
Demonstrates limited ability to realise and sustain role(s) or character(s).
Limited interactions with other role(s) or character(s) in the performance
3–4
•
Displays little ability to realise role(s) or character(s). May play
themselves. Minimal participation or interaction with other role(s) or
character(s) in the performance
1–2
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6
Sample marking guidelines – Drama
Assessment Criterion 3: Structure and dramatic coherence (10 marks)
- Performance as part of an ensemble
- Effective use of dramatic elements and theatrical conventions
- Establishing and maintaining a clear intention and an appropriate relationship with
the audience in the context of the performance space
- Demonstration of innovation, flair and integrity in the dramatic work
- Effective use of the space in the context of the performance style.
Outcomes assessed: H1.2, H1.3, H1.4, H1.5, H1.7 H2.2, H3.3
MARKING GUIDELINES
Criteria
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Demonstrates outstanding manipulation of the elements of drama and
theatrical conventions
•
Demonstrates exemplary ability to work at a sophisticated level as part
of an ensemble to present an engaging group performance, which
displays a very clear intention. Evokes a powerful audience response in
the context of the performance space
•
Demonstrates flair, integrity and innovation in presenting an exemplary
group performance
•
Demonstrates intelligent use of space in the context of the performance
style
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Demonstrates highly developed ability to control the elements of drama
and theatrical conventions
•
Demonstrates accomplished ability to work as part of an ensemble to
present an effective group performance, which demonstrates a clear
intention and effectively engages the audience in the context of the
performance space
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Presents a coherent, high-quality group performance
•
Demonstrates effective use of space in the context of the performance
style
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Demonstrates ability to work with the elements of drama and theatrical
conventions, with some inconsistencies in the level of control
•
Demonstrates some ability to work as part of an ensemble to present a
group performance, which demonstrates some intention and reasonably
engages the audience in the context of the performance space
•
Presents a reasonably coherent but superficial group performance
•
Demonstrates some awareness of the use of space in the context of the
performance style
7
Marks
9 – 10
7–8
5–6
Sample marking guidelines – Drama
Criteria
Marks
•
Demonstrates frequent inconsistencies in control of the elements of
drama and theatrical conventions
•
Demonstrates an inconsistent ability to work as part of an ensemble,
displays an unclear intention and a limited ability to engage the audience
in the context of the performance space
•
Presents a performance with little coherence or may present a literal
interpretation of the topic
•
Demonstrates predictable or simple use of space and a basic
understanding of the stylistic demands of the material
•
Demonstrates minimal control of the elements of drama and theatrical
conventions
•
Demonstrates little evidence of working as part of an ensemble, may not
display an intention and does not engage the audience in the context of
the performance space
•
Presents an incoherent performance which explores the topic in a very
limited manner
•
Demonstrates very limited understanding of the use of space and of the
stylistic demands of the material
3–4
1–2
The Individual Project (30 marks)
Students must undertake a project drawn from one of the following areas:
• Critical Analysis
• Design
• Performance
• Scriptwriting
• Video Drama
Content
In the Individual Project students learn how to initiate and present a project in an area of
interest developed during study in the Preliminary course. They use the knowledge,
skills and experiences acquired in the Preliminary course to select an area in which to
specialise. Students then learn how to develop concepts and use innovation. They learn
how to describe their intentions and the approach they intend to take in realising the
project. They learn how to use skills appropriate to the area in which they are working,
whether it is based on critical reviews of performances, dramaturgy, direction, design,
performance, scriptwriting or drama on video. They learn how to manipulate theatrical
elements and conventions to achieve their aims.
In preparing their Individual Project, students learn how to plan, evaluate and structure
their work into a refined presentation that meets the criteria of each project.
Students chart the process of their project in a logbook. They learn how to reflect upon,
record, interpret and synthesise research, edit preliminary sketches or drafts, adapt work
to specifications of time or length, and to submit work in a prescribed form.
8
Sample marking guidelines – Drama
The content for the Individual Projects in Critical Analysis (Director’s Folio) and
Design (Set, Costume, Lighting, Publicity) will be based on one of the texts in a list
published in the Drama Stage 6 Course Prescriptions document, which may change in
total or in part every two years.
Individual Project
The Individual Project will be negotiated between the student and the teacher at the
beginning of the HSC course. It may be formalised by the writing of a contract that
could be retained until the formal certification is completed prior to the examination.
Schools will be notified each year of the exact date, usually in late July, beyond which
Individual Project options cannot be changed. Changes to students’ Individual Project
options must be notified in writing, countersigned by the school principal, prior to this
date. Changes after this date will not be accepted.
Individual projects that involve submitted works must be submitted to the Board
towards the end of Term 3. Schools will be advised of specific dates. Performances are
examined by visiting examiners at the same time as the Group Performances, towards
the end of Term 3. Schools will be advised of specific dates.
The process of development of the Individual Project will be assessed by teachers as
part of the school assessment. While much of the work will be completed outside class
time, the teacher must assume both a supervisory and an advisory role.
When choosing their Individual Project, students must ensure that they do not choose a
topic or text that they are studying in Drama or in any other of their HSC courses. For
example, they may not use extracts from a text being studied in English for the
Individual Project: Performance, or a playwright being studied in Ancient History for
the Individual Project: Critical Analysis (Applied Research Report).
Teachers should ensure that students do not submit the same project for any other HSC
subject.
It is in the student’s best interest to work within the parameters of the Individual Project
chosen. Specifications are detailed on the pages relevant to each Individual Project.
Rationale
For each Individual Project, students are required to present a 300-word rationale
clearly explaining the intention of the project and the approach that has been taken. The
rationale is considered a part of the project. While not marked externally, it will be
referred to by examiners in the marking process to confirm the intent of the student
work.
For the Individual Projects: Critical Analysis (Director’s Folio), Design, and Video
Drama, the rationale will be an explanation of the directorial concept, which provides a
coherent vision of the play or video drama.
In the other project areas, Critical Analysis (Portfolio of Theatre Criticism) and Critical
Analysis (Applied Research Report), Performance and Scriptwriting, the rationale will
be an explanation of the overall intention of the work. This includes the approach taken
and the reasons leading to eventual decisions.
9
Sample marking guidelines – Drama
In the submitted Individual Projects, the rationale should be a separate item (ie not in
the logbook). For Individual Project: Performance, the rationale must be on the final
page of the logbook.
Logbook for Individual Project
The logbook is a documentation of the process of the Individual Project and should
provide:
- a clear statement of intention, agreed to by the student and the teacher, in the form
of a contract
- the motivations for selecting the project
- the ideas and approaches used
- evidence of research and selection of resources
- support material used, including sketches, clippings, photographs and other sources
- decisions made and solutions to problems
- the extent to which original intentions were achieved
- drafts and redrafts with explanations for any changes in direction, evaluations and
constructive advice from advisers or audiences
- personal reflections and evaluations.
The logbook must be submitted with the Individual Project. Examiners may use it for
verification, but the logbook will not be used as part of the external examination mark.
However, it may be used as part of the school assessment. Teachers should date and
sign logbooks, but assessment marks and comments should be recorded separately.
Marking of Individual Projects
For all individual projects, a mark out of 10 is awarded for each of the three criteria
listed, giving a total mark out of 30.
Individual Project: Critical Analysis
This project must be completed in one of the following areas:
(i)
Director’s Folio
(ii)
Portfolio of Theatre Criticism
(iii) Applied Research Project.
(i) Individual Project: Critical Analysis (Director’s Folio)
This project comprises a folio of work based on one of the texts listed on the current
Design/Critical Analysis (Director’s Folio) Text List, published on page 11 of Drama
Stage 6 Course Prescriptions, Higher School Certificate 2001 and 2002. The list may
be changed in total or in part every two years, and is available on the Board of Studies
Website.
The project must include:
• a 300-word rationale in the form of a director’s concept/vision (see page 32 of the
syllabus)
• a comprehensive discussion of the director’s concept/vision integrating the dramatic
and theatrical elements
• descriptions and explanations of key theatrical elements, features, effects or images
which contribute to dramatic meaning
• an analysis of the text and discussion of the research that has influenced the ideas
for the production
10
Sample marking guidelines – Drama
• an outline of the design concepts for set, costumes and lighting
• a discussion of the approach to working with actors in rehearsal
• a statement about the intended experience for the audience.
Annotated scripts are not a requirement of this project.
The submitted folio should be 3500 words in length. Students should work within the
parameters of this project. Materials significantly under length will be penalised and
material that exceeds the stipulated length will be disregarded.
Criteria for examining Individual Project: Critical Analysis (Director’s Folio)
• Production concept/vision
• Analysis and synthesis of research
• Production experience
Assessment Criterion 1: Production concept/vision (10 marks)
- Originality, clarity and practicality of the director's concept/vision
- Effective communication of the director's concept/vision
- Effective use of key theatrical elements, features, effects or images which contribute
to dramatic meaning
- Integration and unity of dramatic and theatrical elements.
Outcomes assessed: H1.3, H1.5, H1.7, H3.2
MARKING GUIDELINES
Criteria
•
Presents an exemplary and appropriate director’s concept/vision
demonstrating originality, flair, clarity and practicality
•
Demonstrates exemplary ability to communicate the director’s
concept/vision using key theatrical elements, features, effects or images
which contribute to dramatic meaning
•
Demonstrates outstanding integration and unity of dramatic and
theatrical elements
•
Presents highly developed and appropriate director’s concept/vision
demonstrating some creativity and practicality, presented in a clear and
informed way
•
Demonstrates accomplished ability to communicate the director’s
concept/vision, with variation in the use of key theatrical elements,
features, effects or images, which contribute to dramatic meaning
•
Demonstrates effective integration with variation in the degree of unity
of dramatic and theatrical elements
•
Presents an adequate director’s concept/vision demonstrating some
clarity and practicality which may vary in appropriateness
•
Demonstrates ability to communicate the director’s concept/vision using
some key theatrical elements, features, effects or images which
contribute to dramatic meaning
•
Demonstrates some integration and unity of dramatic and theatrical
elements
11
Marks
9 – 10
7–8
5–6
Sample marking guidelines – Drama
Criteria
Marks
•
Presents a director’s concept/vision with little coherence and
inconsistencies in practicality and appropriateness
•
Demonstrates a limited ability to communicate the director’s
concept/vision
•
Demonstrates limited unity of dramatic and theatrical elements
•
Presents an incoherent director’s concept/vision with little evidence of
ability to communicate ideas or use dramatic and theatrical elements
3–4
1–2
Assessment Criterion 2: Analysis and synthesis of research (10 marks)
- Effective understanding and interpretation of the text
- Selection of the material and analysis of research contributing to the idea of the
production
- Clarity in presenting the material.
Outcomes assessed: H1.3, H1.5, H1.7, H3.1, H3.2
MARKING GUIDELINES
Criteria
•
Demonstrates exemplary understanding and innovative interpretation of
text
•
Shows intelligent selection of the material and sophisticated analysis of
research contributing to the idea of the production
•
Presents work in a logical and coherent manner
•
Demonstrates substantial understanding of the text through an effective
interpretation which may vary in quality
•
Demonstrates ability to select appropriate material and applies some
research and analysis contributing to the idea of the production
•
Presents work in a clear and informed manner
•
Demonstrates reasonable understanding of the text with some
inconsistencies in interpretation and selection of material
•
Presents work in an organised manner including some analysis of
background information
•
Demonstrates basic understanding of the text with little interpretation or
use of support material
•
Presents limited work in a disorganised manner
•
Demonstrates little understanding of interpretation of the text and
presents minimal work at variance with conditions set for this project
area
12
Marks
9 – 10
7–8
5–6
3–4
1–2
Sample marking guidelines – Drama
Assessment Criterion 3: Production experience (10 marks)
- Skill in conceiving a dramatic and theatrical experience for the audience
- Appropriateness and effectiveness of rehearsal techniques
- Use of design elements to create dramatic meaning.
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H2.3, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
Demonstrates exemplary ability to conceive a dramatic and theatrical
experience including sophisticated use of design elements
•
Presents an excellent understanding of appropriate rehearsal techniques
•
Demonstrates an ability to conceive a dramatic and theatrical experience
for an audience with variation in quality including the use of design
elements
•
Presents an appropriate understanding of dramatic and theatrical
techniques and comments on their use in the rehearsal process
•
Demonstrates basic ability to conceive dramatic and theatrical
experience for an audience with inconsistencies apparent and a limited
consideration of design elements
Marks
9 – 10
7–8
5–6
•
Presents dramatic and theatrical techniques which may vary in their
appropriateness to the rehearsal process
•
Demonstrates a limited conception of a dramatic and theatrical
experience for an audience with little reference to the rehearsal process
or design elements
3–4
Presents a minimal conception of the play which demonstrates a very
limited, or irrelevant dramatic or theatrical experience for an audience
1–2
•
(ii) Individual Project: Critical Analysis (Portfolio of Theatre Criticism)
This project comprises four reviews of live theatre performances attended during the
HSC course. Each should be 800 words in length and use a style appropriate for theatre
criticism. The project must include:
• a 300-word rationale (see page 32 of the syllabus)
• four reviews that comprise:
- a statement describing the impact and importance of the production
- a discussion of significant aspects of the production
- information about the style, design and ideas in the production
- contributions made by the different members of the creative team that produced
it
- a well-supported and analytical judgement of the quality of the production
- a style appropriate to theatre criticism.
Submissions significantly under or over length will be penalised.
13
Sample marking guidelines – Drama
Criteria for examining Individual Project: Critical Analysis (Portfolio of Theatre
Criticism)
• Selection and evaluation
• Analysing and synthesising
• Language and style
Assessment Criterion 1: Selection and evaluation (10 marks)
- Identifying the style, design and ideas in the production
- Evaluating the significant aspects of the production
- Distinguishing and commenting on the different ways the script, the director,
designers and performers contribute to the production.
Outcomes assessed: H1.3, H1.7, H2.3, H3.1, H3.2
MARKING GUIDELINES
Criteria
•
Demonstrates outstanding ability to distinguish and comment on the
different ways the script, director, designer and performers contribute to
the production
•
Presents a sophisticated evaluation of the style, design, ideas and
significant elements of the production
•
Demonstrates a substantial ability to distinguish and comment on the
different ways the script, director, designer and performers contribute to
the production
Marks
9 – 10
7–8
•
Presents a clear and detailed evaluation of the style, design, ideas and
significant elements of the production
•
Demonstrates an adequate ability to describe the ways the script,
director, designer and performers contribute to the production
•
Presents an appropriate but superficial evaluation of elements of the
production
•
Demonstrates a limited ability to describe some of the aspects of the
production and make generalisations about their contribution
3–4
•
Presents minimal information about the production, focusing heavily on
the story of the play
1–2
5–6
Assessment Criterion 2: Analysing and synthesising (10 marks)
- Skill in analysing specific aspects of the production
- Evidence of knowledge/research into understanding of the script/style of theatre
- Coherent critical statements about the production.
14
Sample marking guidelines – Drama
Outcomes assessed: H1.3, H1.7, H2.3, H3.1, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
Demonstrates outstanding skill in analysing aspects of the production
based on high level research/knowledge of the script/style of theatre
•
Provides a coherent and articulate judgement derived from considered
statements about the production
•
Demonstrates substantial skill in analysing specific aspects of the
production based on appropriate research/knowledge of the script/style
of theatre
•
Provides a clear and effective judgement derived from relevant
statements about the production
•
Demonstrates some analysis and describes aspects of the production
based on a general knowledge/research of the script/style of theatre
•
Provides an opinion which is usually substantiated by evidence from the
production
•
Demonstrates inconsistent analysis based on limited knowledge of the
script
•
Provides broad generalisations based on minimal evidence
•
Provides general observations about the nature of the story and the
production
Marks
9 – 10
7–8
5–6
3–4
1–2
Assessment Criterion 3: Language and style (10 marks)
- Understanding theatrical elements and terminology
- Clarity, appropriateness and flair of reviewing style(s)
- Coherence of structure.
Outcomes assessed: H1.3, H1.7, H3.1, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
Demonstrates exemplary understanding of theatrical elements and
terminology expressed in a sophisticated and evocative style appropriate
to theatre criticism
•
Presents a clear and coherent structure sustained across the portfolio
•
Demonstrates substantial understanding of theatrical elements and
terminology expressed in a clear and effective style appropriate to
theatre criticism
•
Presents clear, well-structured reviews reasonably sustained across the
portfolio
•
Demonstrates an understanding of theatrical elements and terminology
presented with varying clarity, structure and style
15
Marks
9 – 10
7–8
5–6
Sample marking guidelines – Drama
Criteria
•
•
Marks
Demonstrates a limited understanding of theatrical elements and
terminology presented with an inconsistent structure and often in a style
inappropriate to theatre criticism
3–4
Demonstrates minimal understanding of theatrical elements, presented
with an unstructured and incoherent manner
1–2
(iii) Individual Project: Critical Analysis (Applied Research Project)
The Applied Research Project will take the form of a structured report on the results of
investigative research into the work of one of the following:
- an individual artist, performance group or theoretician in drama
- a specific dramatic text or production
- a theatre arts body
- a critical or technical issue in drama or theatre.
The project must be based on a specific research hypothesis, clearly articulated in the
rationale, and must present the results of the research in a way that clearly addresses the
hypothesis. It should include, in separately titled sections:
• a 300-word rationale outlining the approach that has been taken (see page 32 of the
syllabus)
• an outline of the hypothesis
• a survey of the area of study, based on background research (including reading,
diagrams, interviews and/or practical work as appropriate) showing how the
hypothesis arises from questions raised by that research
• a description of the research tasks undertaken and a summary of the information
collected
• an analytical discussion of the results
• a conclusion referring to the original hypothesis.
The submitted project should be approximately 3500 words in length. Students should
work within the parameters of this project. A project significantly under length will be
penalised and material that exceeds the stipulated length will be disregarded.
Criteria for examining Individual Project: Critical Analysis (Applied Research
Project)
• Hypothesis and conclusion
• Analysis and synthesis
• Execution
Assessment Criterion 1: Hypothesis and conclusion (10 marks)
- Structuring a clear and coherent original hypothesis
- Evidence of appropriate research for the development of the hypothesis
- Drawing conclusions from the research.
16
Sample marking guidelines – Drama
Outcomes assessed: H1.3, H1.7, H2.3, H3.1, H3.2
MARKING GUIDELINES
Criteria
•
Marks
Presents a sophisticated, clear and original hypothesis that is based on
comprehensive research, and results in articulate and insightful
conclusions
9 – 10
•
Presents a sound and informed hypothesis that is based on substantial
research, and makes conclusions in a coherent and effective way
7–8
•
Presents an appropriate but predictable hypothesis that is based on
relevant research, and makes conclusions in a satisfactory manner
5–6
•
Presents a limited hypothesis that is based on unsubstantiated
observations, and makes conclusions in a simple way
3–4
•
Presents an inappropriate hypothesis with little or no support or structure
1–2
Assessment Criterion 2: Analysis and synthesis (10 marks)
- Effectiveness of research undertaken
- Selection of the material and analysis of the research supporting the hypothesis.
Outcomes assessed: H1.3, H3.1, H3.2
MARKING GUIDELINES
Criteria
•
Marks
Critically and analytically synthesises the research material in an
informed and selective manner responding effectively to the stated
hypothesis
9 – 10
•
Clearly and effectively analyses and synthesises the research material in
a manner appropriate to the hypothesis
7–8
•
Adequately analyses and synthesises the research material with some
relevance to the hypothesis
5–6
•
Demonstrates some analysis of the research material with varying
relevance to the hypothesis
3–4
•
Provides broad outlines and descriptions of information related to the
hypothesis
1–2
Assessment Criterion 3: Execution (10 marks)
- Effectiveness in presenting and organising the project
- Clarity and accuracy in the use of language.
17
Sample marking guidelines – Drama
Outcomes assessed: H1.3, H3.1, H3.2
MARKING GUIDELINES
Criteria
Marks
•
Presents an exemplary research project that is effectively structured and
expressed articulately and with flair
9 – 10
•
Presents a substantial research project that is appropriately structured
and expressed in a clear and relevant manner
7–8
•
Presents a research project that is adequately organised and expressed in
a satisfactory manner
5–6
•
Presents a limited research project that is inconsistently organised and
expressed in a basic and often inaccurate manner
3–4
•
Presents a minimal or partial research project that is often incoherent,
inarticulate and /or unstructured
1–2
Individual Project: Design
A Design project involves students in selecting one of the set plays listed on the current
Individual Project Text List to be found in Drama Stage 6 Course Prescriptions, Higher
School Certificate 2001 and 2002. The list may be changed in total or in part every two
years, and is available on the Board of Studies Website.
The project must be completed in one of the following areas:
(i)
Costume
(ii)
Lighting
(iii) Promotion and Program
(iv)
Set.
Students should work within the parameters of the project selected. Projects submitted
with items missing from the stipulated checklists will be penalised. Material that
exceeds the stipulated requirements will be disregarded.
Size and weight specifications
Models and design portfolios should follow the specifications listed in the requirements
for each of the areas of the Individual Project: Design.
Teachers should be aware that there are inherent difficulties involved in packaging
Individual Projects: Design. Careful attention should be given to the packaging of these
projects to ensure they are not damaged in transit.
Dangerous materials
Poster and costume designs should not be framed or mounted on any material which
may cause injury.
18
Sample marking guidelines – Drama
(i) Individual Project: Design (Costume)
This project consists of:
• a 300-word rationale in the form of a director’s concept/vision (see page 32 of the
syllabus)
• renderings of costumes for at least two different characters. A minimum of four to a
maximum of six costume renderings in total. These renderings can be in media such
as watercolour, coloured pencils or markers, collage or a computer-aided design
submitted as hard copy. The renderings must be separately mounted on cardboard at
least A3 size (297 x 420 mm), but no larger than A1 (594 x 841 mm). The figures
depicted should be at least 300 mm in height. All characters rendered and the scenes
in which they appear must be identified
• support material attached to the renderings, which includes fabric swatches and/or
colour samples and any special construction information
• preliminary sketches and/or written descriptions of at least four other costumes
required for the production.
Note: Students should not make costumes or include any dolls dressed in costumes in
this Individual Project.
It is in the student’s best interests to work within the parameters of this project. Projects
submitted with required items missing will not meet the criteria. Material that exceeds
the stipulated requirements will be disregarded.
Criteria for examining Individual Project: Design (Costume)
• Design concept/vision
• Appropriateness
• Execution
Assessment Criterion 1: Design concept/vision (10 marks)
- Effective interpretation of the play realised in a directorial concept/vision
- Integrity, originality and clarity in the design concept/vision
- Selection of appropriate characters and scenes to communicate the concept/vision.
Outcomes assessed: H1.3, H1.5, H3.1, H3.2
MARKING GUIDELINES
Criteria
•
Demonstrates a sophisticated and appropriate directorial interpretation of
the play realised in an original, imaginative and unified costume design
concept/vision
•
Presents an insightful selection of appropriate characters and scenes to
effectively communicate the concept/vision
•
Demonstrates an effective and appropriate directorial interpretation of
the play realised through the costume design concept/vision containing
some imagination, unity and flair
•
Presents a selection of characters and scenes to communicate the
concept/vision
19
Marks
9 – 10
7–8
Sample marking guidelines – Drama
•
Criteria
Marks
Demonstrates an adequate, but perhaps superficial interpretation of the
play realised through a costume design concept/vision which varies in
consistency, unity and appropriateness
5–6
•
Presents a selection of characters and scenes which vary in
appropriateness in communicating the concept/vision
•
Demonstrates a limited understanding of the play through a partially
realised costume design concept/vision
•
Presents an inappropriate selection of characters and scenes which
convey a partial concept/vision
•
Demonstrates a partial or irrelevant design concept/vision and/or does
not meet minimal requirements for selection of characters or scenes
3–4
1–2
Assessment Criterion 2: Appropriateness (10 marks)
- Understanding of the characters/roles – social standing, period, place
- Suitability to the dramatic and technical needs of the characters/roles
- Effectiveness of colours, textures and fabric types to each costume.
Outcomes assessed: H1.3, H1.7, H3.1, H3.2
MARKING GUIDELINES
Criteria
•
Demonstrates sophisticated understanding of each of the characters/roles
and their dramatic and technical needs
•
Presents innovative and evocative use of colours, textures and fabrics to
deliberately enhance dramatic meaning for each costume
•
Demonstrates a substantial understanding of each of the characters/roles.
Some aspects of the dramatic and technical needs of characters/roles
may be more enhanced than others
•
Presents an effective use of colour, textures and fabric types to support
dramatic meaning for each costume
•
Demonstrates some understanding of each of the characters/roles but has
dealt with those superficially. Inconsistencies in consideration of the
dramatic and technical needs of characters/roles
•
Presents adequate use of some, but not all of, the elements of colour,
texture and fabric types to support dramatic meaning
•
Demonstrates an incomplete or simplistic understanding of each of the
characters/roles. Little consideration of the dramatic and technical needs
of the characters/roles
•
Presents a limited awareness or use of the elements of colour, texture
and fabric types, but is unable to manipulate these appropriately to
support dramatic meaning
20
Marks
9 – 10
7–8
5–6
3–4
Sample marking guidelines – Drama
Criteria
Marks
•
Demonstrates little understanding of each of characters/roles
•
Presents little use of colour, texture or fabric type appropriate to each
costume
1–2
Assessment Criterion 3: Execution (10 marks)
- Realisation of the design concept/vision in the presentation
- Clarity and flair in renderings
- Clear and effective support material.
Outcomes assessed: H1.3, H1.7, H3.1, H3.2
MARKING GUIDELINES
Criteria
•
Demonstrates exemplary ability to realise and present the design
concept/vision with clarity and flair in all renderings
•
Presents evocative support material for the project
•
Demonstrates accomplishment in realising and presenting the design
concept/vision with clarity in all renderings
•
Presents appropriate support material for the project
•
Demonstrates adequate ability to realise and present the design
concept/vision with inconsistencies in quality of renderings which may
be stereotypical or without aspects of characterisation and theatricality
•
Presents some support material for the project
•
Demonstrates little ability to present the design concept/ vision.
Renderings are basic, inconsistent or non-theatrical and are often
undersize or incomplete
•
Presents limited support material
•
Demonstrates minimal ability to present a design concept/ vision.
Renderings are only superficially completed or are executed with little
care or detail, or are not shown in the context of a figure
•
Marks
9 – 10
7–8
5–6
3–4
1–2
Presents little or no support material
(ii) Individual Project: Design (Lighting)
This project will include:
• a 300-word rationale in the form of a director’s concept/vision (see page 32 of the
syllabus)
• a lighting plan for two scenes in the play where the lighting contributes to the
dramatic impact of significant moments. The lighting plan must be drawn to a scale
of 1:25 and may be presented as a computer-aided design submitted as hard copy. It
should include:
- a floor plan of the stage indicating significant set features
- a plan showing the location of the lantern positions
21
Sample marking guidelines – Drama
-
•
an indication of gel colours and lanterns used for the production and the area that
each light covers
- a list and description of the lanterns and gels used for the lighting of the two
chosen scenes and a description of their impact on the dramatic action, mood
and style
a cue sheet and running script indicating the lighting state changes and cue points in
the two scenes chosen.
Students should work within the parameters of this project. Projects submitted with
items missing will be penalised. Material that exceeds the stipulated requirements will
be disregarded.
Criteria for examining Individual Project: Design (Lighting)
• Design concept/vision
• Appropriateness
• Execution
Assessment Criterion 1: Design concept/vision (10 marks)
- Effective interpretation of the play realised in a directorial concept/vision
- Integrity, originality and clarity in the design concept/vision
- Effective visualisation of the lighting design to contribute to the dramatic impact of
significant moments.
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H3.1, H3.2
MARKING GUIDELINES
Criteria
•
Demonstrates an outstanding directorial interpretation of the play
realised with originality, clarity and integrity in the design
concept/vision
•
Presents a sophisticated visualisation of the lighting design to contribute
to the dramatic impact of significant moments
•
Demonstrates an effective directorial interpretation of the play realised
with some imagination and unity in the design concept/vision
•
Presents an accomplished visualisation of the lighting design to
contribute to the dramatic impact of significant moments
•
Demonstrates an appropriate but predictable directorial interpretation of
the play realised through a design concept/vision which varies in
consistency, unity and appropriateness
•
Presents an adequate visualisation of the lighting design which has some
dramatic impact but is not sustained in significant moments
22
Marks
9 – 10
7–8
5–6
Sample marking guidelines – Drama
Criteria
Marks
•
Demonstrates a very limited directorial interpretation of the play
conveyed through an unsustained, simplistic or flawed design
concept/vision
•
Presents an inconsistent, incomplete or inappropriate visualisation of the
lighting design for significant moments. The design concept/vision is
only a partial consideration of the dramatic action
•
Demonstrates little or no directorial interpretation of the play. The
lighting design concept/vision presents a poor or only partial
visualisation that has little relevance to the significant moments
3–4
1–2
Assessment Criterion 2: Appropriateness (10 marks)
- Effectiveness of the lighting states and changes that enhance the dramatic action,
mood and style
- Choice of lantern, position, gel colour and intensity to realise the purpose of the
illuminations
- Effectiveness of the lighting in enhancing visual elements of the set (where
appropriate).
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H3.2
MARKING GUIDELINES
Criteria
Marks
•
Demonstrates a profound understanding of the choices of lantern,
position, gel colour and intensity to realise the purpose of the
illuminations
•
Demonstrates exemplary effectiveness of the lighting states and changes,
which enhance the dramatic action, setting, mood and style of the two
key scenes
•
Demonstrates a substantial understanding of the choices of lantern,
position, gel colour and intensity to realise the purpose of the
illuminations
•
Demonstrates consistent effectiveness of the lighting states and changes,
which construct some dramatic impact on the action, setting and mood in
the two key scenes
•
Demonstrates an adequate understanding of the basic choices available
of lantern, position, gel colour and intensity to realise the purpose of the
illuminations
•
Demonstrates an ability to support the dramatic action with lighting
states and changes, which are consistent with the dramatic action of the
two key scenes
•
Demonstrates a partial or flawed understanding of the basic lighting
equipment and a limited ability to attempt lighting states and changes
that are consistent with the dramatic action in the two key scenes
3–4
Demonstrates little awareness of basic lighting equipment or knowledge
of the play
1–2
•
23
9 – 10
7–8
5–6
Sample marking guidelines – Drama
Assessment Criterion 3: Execution (10 marks)
- Realisation of the design concept/vision in the presentation
- Clarity and accuracy of the lighting plan, cue sheet and running script.
Outcomes assessed: H1.3, H1.5, H1.7, H3.2
MARKING GUIDELINES
Criteria
•
Demonstrates an outstanding ability to realise the design concept/vision
in the lighting plan
•
Presents an exemplary lighting plan, cue sheet and running script with
clarity and accuracy
•
Demonstrates a substantial ability to realise the design concept/vision in
the lighting plan
•
Presents an appropriate lighting plan, cue sheet and running script that is
reasonably consistent and detailed
•
Demonstrates an ability to realise the design concept/vision in the
lighting plan
•
Presents an adequate but superficial lighting plan, cue sheet and running
script that varies in detail and consistency
•
Demonstrates a limited and inconsistent ability to realise the design
concept/vision in the lighting plan
•
Presents a partial or substantially flawed lighting plan. The running
script or cue sheet may be incomplete or missing
•
Demonstrates little or elementary relevance to the play in the lighting
plan, which contains minimal documentation
Marks
9 – 10
7–8
5–6
3–4
1–2
(iii) Individual Project: Design (Promotion and Program)
This project may be for a real or hypothetical theatre company and will include:
• a 300-word rationale in the form of a director’s concept/vision (see page 32 of the
syllabus)
• a poster which is a colour rendering of at least A3 (297 x 420 mm) size but no larger
than A1(594 x 841 mm). The design may be rendered by hand or produced as a
computer design submitted as hard copy
• a flyer which includes 150 words of promotional copy
• a program which contains a profile of the theatre company, its target audience,
information about the playwright of the set play, the history of the set play, the
directorial approach and any other information relevant to the production
• a 500-word media feature story about the production of the set play, such as a
researched article or interview which previews the production or an aspect of the
production.
Note: Designs and promotional copies for a school production must not be used.
24
Sample marking guidelines – Drama
Students should work within the parameters of this project. Projects submitted with
items missing will be penalised. Material that exceeds the stipulated requirements will
be disregarded.
Criteria for examining Individual Project: Design (Promotion and Program)
• Design concept/vision
• Appropriateness
• Execution
Assessment Criterion 1: Design concept/vision (10 marks)
- Effective interpretation of the play realised in a directorial concept/vision
- Integrity, originality and clarity in the design concept/vision
- Use of visual elements and promotional copy to communicate the concept/vision.
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H3.1, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
Demonstrates an outstanding directorial interpretation of the play
realised with originality, clarity and integrity in the design
concept/vision
•
Presents a sophisticated use of visual elements and promotional copy to
communicate the design concept/vision
•
Demonstrates an effective directorial interpretation of the play realised
with some imagination and unity in the design concept/vision
•
Presents an accomplished use of visual elements and promotional copy
to communicate the design concept/vision
•
Demonstrates an appropriate but predictable directioral interpretation of
the play realised through a design concept/vision
•
Presents an accomplished use of visual elements and promotional copy
to communicate the design concept/vision
•
Demonstrates a very limited directorial interpretation of the play
conveyed through an unsustained, simplistic or flawed design
concept/vision
•
Presents an inconsistent, incomplete or inappropriate use of visual
elements and promotional copy to convey the design concept/vision
•
Demonstrates little or no directorial interpretation of the play. The only
partially realised design concept/vision, presents poor use of visual
elements and promotional elements that are superficial and often
irrelevant
25
Marks
9 – 10
7–8
5–6
3–4
1–2
Sample marking guidelines – Drama
Assessment Criterion 2: Appropriateness (10 marks)
- Effectiveness of each item of promotional material in conveying a dramatic
interpretation of the production
- Understanding purpose of each item of promotional material
- Effectiveness of each item of promotional material in communicating the profile of
the theatre company and its target audience.
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H3.1, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
Demonstrates a profound understanding of the purpose of each item of
promotional material
•
Demonstrates exemplary effectiveness in conveying a dramatic
interpretation of the production and communicating the profile of the
theatre company and its target audience through each item of
promotional material
•
Demonstrates a substantial understanding of the purpose of each item of
promotional material
•
Demonstrates effectiveness in conveying a dramatic interpretation of the
production and communicating the profile of the theatre company and its
target audience through each item of promotional material
•
Demonstrates a working knowledge of the purpose of the promotional
material which varies in understanding for each item
•
Demonstrates reasonable appropriateness in conveying a superficial
dramatic interpretation of the production which conveys some
information about the theatre company and target audience in some but
not all items of promotional material
•
Demonstrates a limited awareness of some but not all of the items of the
promotional material and their purpose
•
Demonstrates a basic knowledge of the play in some but not all items of
promotional material
•
Demonstrates only a partial knowledge of the play and promotional
material, which is substantially incomplete and often irrelevant
•
Demonstrates little or no understanding of the purpose of promotional
material
Assessment Criterion 3: Execution (10 marks)
- Realisation of the design concept/vision in the visual presentation
- Clarity and flair in the written material
- Effective presentation of all artwork.
26
Marks
9 – 10
7–8
5–6
3–4
1–2
Sample marking guidelines – Drama
Outcomes assessed: H1.3, H1.5, H2.2, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
Demonstrates exemplary ability to realise the design concept/vision in
the artwork and visual presentation
•
Demonstrates sophistication and flair in the written material
•
Demonstrates substantial ability to realise the design concept/vision in
the artwork and visual presentation
•
Demonstrates an organised and informed style with some sophistication
in the written material
•
Demonstrates an ability to realise the design concept/vision in the
artwork and visual presentation
•
Demonstrates an adequate but often superficial approach in the written
material
•
Demonstrates a limited and inconsistent ability to realise the design
concept/vision in the artwork and visual presentation
•
Demonstrates a simplistic and often irrelevant use of language in the
written material, which may be incomplete
•
Demonstrates elementary or little ability to realise the design
concept/vision in the artwork and visual presentation. The written
material may be incomplete, contain serious flaws and be minimal or
inappropriate
Marks
9 – 10
7–8
5–6
3–4
1–2
(iv) Individual Project: Design (Set)
The set design must be for the production of one of the set plays in an identified
performance space and will consist of:
• a 300-word rationale in the form of a director’s concept/vision (see page 32 of the
syllabus)
• a three-dimensional model built to a scale of 1:25, or computer-aided design,
submitted as hard copy, that depicts the set design. The model or computer-aided
design must be a precise miniature or representation of the stage and setting and
should include a human figure to convey proportion. The model must be of sturdy
construction and a fixed assembly. The packaged weight of the project must not
exceed 15 kilograms
• a floor plan of the set design in the scale of 1:25 with an indication of the
performance space’s dimensions, audience configuration and sightlines
• a description and diagrams of any set or scenic changes in the production.
Students should work within the parameters of this project. Projects submitted with
items missing will be penalised. Material that exceeds the stipulated requirements will
be disregarded.
27
Sample marking guidelines – Drama
Criteria for examining Individual Project: Design (Set)
• Design concept/vision
• Appropriateness
• Execution
Assessment Criterion 1: Design concept/vision (10 marks)
- Effective interpretation of the play realised in a directorial concept/vision
- Integrity, originality and clarity in the design concept/vision
- Effective visualisation of the whole play in the design concept/vision.
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H3.1, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
•
•
•
•
Marks
Demonstrates an outstanding directorial interpretation and a
sophisticated visualisation of the whole play realised in an original,
imaginative and unified scenic design, justified within the context of the
theatre
9 – 10
Demonstrates an effective directorial interpretation of the whole play
realised with some imagination and creativity in the scenic design
concept/vision, and reasonably justified within the context of the theatre
7–8
Demonstrates a superficial but adequate directorial interpretation of the
whole play realised with variation in consistency of the scenic design
concept/vision. The scenic design concept/vision may not make
reference to a theatre context
5–6
Demonstrates an inappropriate or incomplete response to developing an
overall scenic design concept/vision for the whole play, with little
understanding of a theatrical context
3–4
Demonstrates little understanding of a scenic concept/vision and/or does
not meet the minimal requirements. Eg. the scenic design may only
account for a portion of the whole play
1–2
Assessment Criterion 2: Appropriateness (10 marks)
- Practicality of the design of the performer and audience sightlines, entrances, levels
- Effectiveness of the design to realise the needs of the play
- Dramatic effectiveness in the use of the stage space, texture, colour and
composition.
28
Sample marking guidelines – Drama
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H3.3
MARKING GUIDELINES
Criteria
•
Presents a sophisticated realisation of the scenic requirements of the play
for both performers and audience
•
Demonstrates innovation and dramatic effectiveness in the use of stage
space, texture, colour and composition to enhance dramatic meaning
•
Presents a substantial realisation of the scenic requirements of the play
for the performers and audience. Some aspects may be more enhanced
than others
•
Demonstrates dramatic effectiveness in the use of stage space, texture,
colour and composition to create dramatic meaning
•
Presents an adequate realisation of the scenic requirements of the play
for the performers and audience but deals with those superficially.
Inconsistencies in consideration of the needs for individual scenes and
aspects
Marks
9 – 10
7–8
5–6
•
Demonstrates a reasonable use of some, but not all elements of stage
space, texture, colour and composition to support dramatic meaning
•
Presents an incomplete or substantially flawed realisation of the scenic
requirements for the performers and audience. The scenic design may
focus on only a portion of them
3–4
Demonstrates minimal application of design elements and/or scenic
requirements for the performers and audience
1–2
•
Assessment Criterion 3: Execution (10 marks)
- Realisation of the design concept/vision in the construction and presentation
- Clarity and accuracy of the floor plans, diagrams and explanations
- Precision in the construction of the model or computer-aided design.
Outcomes assessed: H1.3, H1.5, H1.7, H3.1, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
•
Marks
Demonstrates outstanding ability to realise the design concept/vision in
the construction and presentation, including precision in modelling skills
or computer-aided design, clarity and accuracy in floor plans, scale
drawings, diagrams and explanations, use of evocative materials and
scenic designs
9 – 10
Demonstrates a substantial ability to realise the design concept/vision in
the construction and presentation, including good modelling skills or
computer-aided designs, and well drawn floor plans, scale drawings,
diagrams and explanations, use of appropriate materials and scenic
designs
7–8
29
Sample marking guidelines – Drama
Criteria
Marks
•
Demonstrates an adequate ability to realise the design concept/vision in
the construction and presentation, including modelling skills or
computer-aided designs
•
Presentations are sound but often weakened by a lack of attention to
detail in the floor plans, scale drawings, diagrams and explanations,
materials and scenic designs
•
Demonstrates inconsistent ability to realise the design/concept vision in
the construction and presentation, including modelling skills or
computer-aided designs
•
Presentations are often undermined particularly by flaws in scale, poor
choice of construction, and scenic design materials, and a lack of
essential support documentation
•
Demonstrates minimal ability to realise the design concept/vision
including modelling skills or computer-aided design
5–6
3–4
1–2
Individual Project: Performance
The Individual Project: Performance will consist of:
• a 300-word rationale (see page 32 of the syllabus)
• a solo performance of 6–8 minutes’ duration based on:
- excerpts or a combination of excerpts from one or a number of scripts or
dramatised texts OR the student’s own self-devised material
- a realisation of a coherent theatrical statement demonstrating a clear sense of
dramatic purpose, shape and structure.
Individual Project: Performance should be a complete theatrical statement.
Performances that mimic characters from film, stage or video or students who present
an undeveloped audition piece are not likely to meet the criteria for this project.
Performances must be an individual performance. There should be no other students on
stage, or off stage, accompanying the performance with live music, vocal sound effects
or acting as a prompt. The Individual Project: Performance will be presented to the
visiting examiners on the same occasion as the examination of the Group Performance.
It is in the student’s best interests to work within the specified time frame. Performances
under time will be penalised and those significantly over time will be stopped by the
examiners.
Conditions applying to the Individual Performance
• Individual Performance will be examined by visiting examiners from the Board of
Studies towards the end of Term 3 of the HSC year. The teacher may be present as
part of the audience, but will not be a member of the Examination Panel nor perform
any technical operations during the Individual Performances.
• For reasons of confidentiality, students are not allowed to see other students’
examinations.
• All students involved in an Individual Performance will be studying for the Higher
School Certificate Drama examination.
30
Sample marking guidelines – Drama
•
A supervised audience of no more than 30 students from the school should be
present. The audience should be aware of appropriate audience conventions and
should be chosen by negotiation between the teacher and the examined students
prior to the examination. Students who are HSC candidates in any subject are not
permitted to form part of the audience. Members of the public should not comprise
the audience.
• The examination area should be an indoor school venue such as a small to medium
size room. The area should be conducive to performance, ie free of noise or
interruption. Sectioning-off the performance area will assist to reduce interruptions.
• A brief interaction will take place between the examiners and the student at the
conclusion of each Individual Performance. This will be a standardised interaction
for the purpose of confirming the examiners’ impressions of the Individual
Performance. Interactions may take place in the performance space or in a room
nearby. It is imperative that there be no interruptions to this process. Following
student interactions, examiners require time to confer. Confidentiality during this
time must be respected.
• Examiner requirements when marking include the need for desks and sufficient light
for writing during performances:
- Desks should be placed together in an area where examiners can see and hear
effectively.
- Audience members should not be placed directly near examiners.
- There will be two examiners present who will at times be joined by a senior
examiner.
• Logbooks for each student must be given to examiners in program order for
Individual Performances.
• Recording devices must not be used during examinations.
• Student identification occurs prior to each Individual Performance.
• Inappropriate items in performances such as weapons, naked flames, implements
which may endanger performers, audience members or examiners may not be used.
Nudity is also inappropriate. Examiners will stop performances should any
inappropriate items appear.
• Production effects such as costumes, sets, lighting, video, film, sound and technical
support should be minimal and limited to those essential to the work’s meaning. As
available facilities and technical equipment vary in schools, external examiners will
not award extra marks to any presentation dependant on technical and/or special
effects.
• Operation of technical equipment such as lighting can only be carried out by other
students in the school who are not HSC students. Teachers, or members of the
public, should not operate technical equipment. A stage crew of students who are
not HSC students may be used to set and remove props.
• Time limits must be adhered to. Students should be given several opportunities to
perform their work prior to the examination to ensure the work runs within the time
stipulation (Individual Performance 6-8 minutes). Examiners will stop performances
that go overtime.
Under-time performances will not meet the criteria and will be disadvantaged.
Criteria for examining Individual Project: Performance
• Performance skills appropriate to the style or form
• Sustaining and developing role/character
• Structure and dramatic coherence.
31
Sample marking guidelines – Drama
Assessment Criterion 1: Performance skills appropriate to the style or form
(10 marks)
- Vocal: projection, clarity, tone, pitch, pace, dynamics
- Movement: control, energy, spatial awareness, dynamics
- Timing: control of delivery, responses to cues, awareness of rhythms.
Outcomes assessed: H1.1, H1.2, H1.3, H2.1, H2.2, H3.3
MARKING GUIDELINES
Criteria
Marks
•
Demonstrates exemplary performance skills including vocal, movement,
and timing appropriate to the style or form
9 – 10
•
Demonstrates highly developed performance skills including vocal,
movement, and timing appropriate to the style or form, although some
skills may be more refined than others
7–8
Demonstrates adequate performance skills including vocal, movement,
and timing which may vary in their level of delivery in relation to
control of vocal projection, clarity, tone, pitch, pace, dynamics; control
of energy, spatial awareness and dynamics in movement; control of
delivery, responses to cues and awareness of rhythms in timing
5–6
•
Demonstrates limited performance skills including vocal, movement,
and timing which may be inappropriate to the style or form
3–4
•
Demonstrates minimal performance skills with little understanding of
style or form
1–2
•
Assessment Criterion 2: Sustaining and developing role/character
(10 marks)
- Belief/conviction/energy
- Complexity/dimension
- Clarity in presentation of character(s) or role(s)
- Focus
Outcomes assessed: H1.1, H1.2, H1.3, H3.3
MARKING GUIDELINES
Criteria
Marks
•
Demonstrates exemplary ability to realise and sustain subtly defined
role(s) or character(s)
9 – 10
•
Demonstrates highly developed ability to realise and sustain role(s) or
character(s). Some aspects of sustaining and developing role(s) or
character(s) may be more refined than others
7–8
Demonstrates adequate ability to realise and sustain role(s) or
character(s), which are unsustained or inconsistent. Variations may
occur in level of belief/conviction/energy, complexity/dimension, focus
and clarity in presentation
5–6
•
32
Sample marking guidelines – Drama
Criteria
Marks
•
Demonstrates limited ability to realise and sustain role(s) or character(s)
with limited clarity in presentation
3–4
•
Displays limited ability to realise role(s) or character(s). May play
themselves. Minimal involvement or lack of clarity in presentation of
role(s) or character(s)
1–2
Assessment Criterion 3: Structure and dramatic coherence (10 marks)
- Effective use of performance elements
- Establishing and maintaining a clear intention and an appropriate relationship with
the audience in the context of the performance space
- Integrity, originality and clarity in analysis, interpretation and presentation of the
chosen material
- Realisation of a coherent theatrical performance
- Effective use of space in the context of the performance style.
Outcomes assessed: H1.3, H2.1, H2.2, H2.3, H3.1, H3.3
MARKING GUIDELINES
Criteria
•
Demonstrates outstanding manipulation of the performance elements
•
Demonstrates exemplary ability to work at a sophisticated level to
realise a coherent theatrical performance which evokes a powerful
audience response in the context of the performance space
•
Demonstrates flair, originality, integrity and clarity in analysis,
interpretation and presentation of the chosen material
•
Demonstrates intelligent use of space in the context of the performance
style and the stylistic demands of the material
•
Demonstrates highly developed ability to control the performance
elements
•
Demonstrates accomplished ability to effectively engage an audience in
the context of the performance space
•
Presents a coherent, high quality theatrical performance which
demonstrates an effective interpretation of the chosen material
•
Demonstrates effective use of space in the context of the performance
style and the stylistic demands of the material
•
Demonstrates ability to work with the performance elements, with some
inconsistencies in the level of control
•
Demonstrates some ability to engage an audience in the context of the
performance space
•
Presents a theatrical performance which demonstrates a superficial but
adequate interpretation of the chosen material
•
Demonstrates some awareness of the use of space in the context of the
performance style or stylistic demands of the material
33
Marks
9 – 10
7–8
5–6
Sample marking guidelines – Drama
Criteria
Marks
•
Demonstrates frequent inconsistencies in control of the performance
elements
•
Demonstrates a limited ability to engage the audience in the context of
the performance space
•
Presents a performance with little coherence
•
Demonstrates predictable or simple use of space and a basic
understanding of the performance style or stylistic demands of the
material
•
Demonstrates minimal control of the performance elements
•
Demonstrates little or no ability to engage the audience in the context of
the performance space
•
Presents an incoherent performance
•
Demonstrates very limited or no understanding of the use of space and
of the stylistic demands of the material
3–4
1–2
Individual Project: Scriptwriting
This project involves writing a script for a complete play for live performance. The
project will include:
• a 300-word rationale (see page 32 of the syllabus)
• a script for a complete play which is of approximately 15 minutes running time or
15–25 pages. The script must be presented as a typed hard copy
• stage directions in sufficient detail to show the practicability for a live production
• scriptwriting conventions such as character/role list and dialogue formatting.
Students should work within the parameters of this project. Scripts significantly under
length will be penalised and material that exceeds the stipulated length will be
disregarded.
Criteria for examining Individual Project: Scriptwriting
• Concept
• Realisation
• Conventions and practicalities
Assessment Criterion 1: Concept (10 marks)
- Originality, clarity and integrity of the script in its concept
- Stylistic and thematic coherence of the script
- Effectiveness in the treatment of characterisation appropriate to the style.
34
Sample marking guidelines – Drama
Outcomes assessed: H1.3, H1.5, H1.7, H3.1, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
Presents an exemplary script concept demonstrating originality, clarity
and integrity
•
Demonstrates profound understanding of the stylistic and thematic
demands of scriptwriting, and effectiveness of characterisation
appropriate to style
•
Presents an effective script concept with some inconsistency in
realisation
•
Demonstrates a substantial understanding of the stylistic and thematic
demands of scriptwriting, and an informed understanding of
characterisation appropriate to style
•
Presents an adequate script concept that is often predictable
•
Demonstrates a basic understanding of the stylistic and thematic
demands of scriptwriting, but often lacks clarity and presents superficial
characterisation not always consistent with the style
•
Presents a limited or confused script concept that lacks coherence
•
Demonstrates insufficient awareness of the stylistic and thematic
demands of scriptwriting, with inconsistently drawn characters and little
regard to the style
•
Presents a minimal narrative with no awareness of the stylistic and
thematic demands of scriptwriting
Marks
9 – 10
7–8
5–6
3–4
1–2
Assessment Criterion 2: Realisation (10 marks)
- Effective handling of dramatic elements such as dramatic images, dramatic focus
and tension
- Development of clear dramatic action
- Effectiveness of the script for an audience and for actors.
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
•
•
Marks
Develops evocative and sophisticated dramatic action effectively
manipulating theatrical elements such as dramatic tension, images and
focus to effectively engage the audience
9 – 10
Develops effective dramatic action by appropriately manipulating
theatrical elements with varying use of dramatic tension, images and
focus to engage the audience
7–8
Develops adequate but superficial dramatic action with a limited use of
theatrical elements to present a predictable narrative, which engages the
audience in a limited manner
5–6
35
Sample marking guidelines – Drama
Criteria
Marks
•
Develops limited dramatic action in a poorly structured narrative with
little theatricality or moments of engagement for an audience
3–4
•
Develops minimal dramatic action that is substantially flawed,
unresolved and without any regard for theatrical elements or the
audience
1–2
Assessment Criterion 3: Conventions and practicalities (10 marks)
- Use of scriptwriting conventions such as layout, character list, dialogue formatting,
stage setting, directions and effects
- Practicality for production such as scene and costume changes, venue style and size
of production, cast size, scenic and technical effects.
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H3.2, H3.3
MARKING GUIDELINES
Criteria
Marks
•
Demonstrates an exemplary understanding of scriptwriting conventions
appropriate to the style or form such as layout, character lists, dialogue
formatting, stage setting, direction and effects
•
Displays a complex awareness of the practical requirements of a script
for a theatrical production such as scene and costume changes, venue
style and size of production, cast size, scenic and technical effects
•
Demonstrates a substantial understanding of scriptwriting conventions
appropriate to the style or form. Variation occurs in the use of layout,
character lists, dialogue formatting, stage setting, direction and effects
•
Displays an adequate awareness of the practical requirements of a script
for a theatrical production but considers some elements more closely
than others
•
Demonstrates an adequate understanding of scriptwriting conventions
but omits, or imprecisely deals with some practical requirements for live
performance
5–6
Demonstrates a very limited awareness of some of the scriptwriting
conventions, and does not resolve many of the practicalities for a live
performance
3–4
Demonstrates minimal awareness of scriptwriting conventions or the
practicalities for a live performance
1–2
•
•
36
9 – 10
7–8
Sample marking guidelines – Drama
Individual Project: Video Drama
This project involves the preparation of a short but complete Video Drama which will
be a narrative developed by the student. The project will include:
• a 300-word rationale in the form of a director’s concept/vision for the Video Drama
(see page 34 of the syllabus)
• a Video Drama which must be 5–7 minutes in length and submitted in VHS format.
It will require the student to undertake the roles of writer, director, camera operator
and editor.
Students should work within the parameters of this project. Video Dramas significantly
under time will be penalised and material that exceeds the stipulated time limit will be
disregarded.
Criteria for examining Individual Project: Video Drama
• Directorial concept/vision
• Production
• Post-production
Assessment Criterion 1: Directorial concept/vision (10 marks)
- Originality, clarity and integrity of the directioral vision
- Effectiveness of narrative construction and screen writing
- Ability to convey the narrative using appropriate video language.
Outcomes assessed: H1.3, H1.5, H1.7, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
Presents an outstanding director’s concept/vision demonstrating
originality, clarity and integrity in the video drama
•
Demonstrates exemplary ability to construct and convey a narrative
using innovative screen writing skills and sophisticated video language
•
Presents an effective director’s concept/vision with some inconsistency
in realisation
•
Demonstrates proficiency in the construction and delivery of a narrative
using effective screen writing skills and appropriate video language
•
Presents an adequate director’s concept/vision that may be predictable,
unresolved or beyond the student's technical ability
Marks
9 – 10
7–8
5–6
•
Demonstrates some skills in the construction and delivery of a narrative
•
Presents an inconsistent narrative that is unresolved and often limited by
poor organisational skills
3–4
•
Presents a minimal narrative and uses little or none of the conventions of
video drama
1–2
37
Sample marking guidelines – Drama
Assessment Criterion 2: Production (10 marks)
- Skill in framing of the action using camera angles, focus, shot length, shot size,
movement, light, perspective and/or special effects to create dramatic meaning
- Skill in directing the dramatic action for the screen
- Selection of appropriate production elements such as location, lighting, costume,
casting.
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H2.3
MARKING GUIDELINES
Criteria
•
•
•
•
•
Marks
Demonstrates outstanding ability to create complex dramatic meaning
through skilful direction of the camera and action and selection of
evocative production elements including location, lighting, costume and
casting
9 – 10
Demonstrates substantial ability to create dramatic meaning through an
informed direction of the camera and action and selection of some
effective production elements including location, lighting, costume and
casting
7–8
Demonstrates adequate ability to create some dramatic meaning through
direction of the camera and the action. Inconsistent selection of
production elements including location, lighting, costume and casting
result in a video drama of varying quality
5–6
Demonstrates limited ability to create dramatic meaning through
insufficient direction of the camera and action. Poor use of production
elements including location, lighting, costume and casting, results in an
often confused video drama
3–4
Demonstrates little or no ability to create dramatic meaning through the
camera, action or production elements
1–2
Assessment Criterion 3: Post-production (10 marks)
- Skill in editing for dramatic meaning with particular reference to tension, pace and
mood
- Use of appropriate sound and music to enhance dramatic meaning
- Skill in placing titles and other relevant post-production effects.
Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H3.2, H3.3
MARKING GUIDELINES
Criteria
•
•
Marks
Demonstrates exemplary skill in post-production including sophisticated
editing for dramatic meaning, evocative use of music and sound and
skilful use of other post-production techniques
9 – 10
Demonstrates substantial skill in post-production including effective
editing for dramatic meaning, appropriate use of music and sound and
other post-production effects
7–8
38
Sample marking guidelines – Drama
Criteria
•
•
•
Marks
Demonstrates adequate, but inconsistent, skill in post-production. Some
dramatic meaning is created, through the use of editing with variation in
the quality of sound and other post-production effects
5–6
Demonstrates incomplete post-production skills, with limited dramatic
meaning achieved. Poor use of editing, music, sound or post-production
effects results in an unrealised video drama.
3–4
Demonstrates minimal post-production skills, resulting in a confused,
incoherent or incomplete project.
1–2
39
2001
H I G H E R S C H O O L C E R T I F I C AT E
S P E C I M E N E X A M I N AT I O N
Drama
Section I
Page 2
Total marks (20)
• Attempt Question 1
• Allow about 45 minutes for this section
General Instructions
• Reading time – 5 minutes
1
• Working time – 1 2 hours
• Write using blue or black pen
Section II
Pages 3 – 5
Total marks (20)
• Attempt ONE question from
Questions 2 – 8
• Allow about 45 minutes for this section
Section I – Australian Drama and Theatre (Core Study)
Total marks (20)
Attempt Question 1
Allow about 45 minutes for this section
Answer the question in a writing booklet. Extra writing booklets are available.
In your answer you will be assessed on how well you:
■ demonstrate knowledge and understanding of drama and theatre relevant to the question
■
express your point of view and use appropriate supporting evidence
■
present a sustained, logical and well structured answer to the question
Question 1 (20 marks)
‘Drama and theatre in their content and style reflect the society from
which they spring.’
To what extent is this true of the Australian topic you have studied?
In your answer you should refer to AT LEAST TWO texts set for the topic you have studied.
Topic 1: Bush and City in Australian Drama
Texts set for study:
Ray Lawler, Summer of the Seventeenth Doll – Compulsory text
and ONE of the following:
Louis Esson, Mother and Son
Katharine Susannah Prichard, Brumby Innes
Betty Roland, The Touch of Silk
OR
Topic 2: Contemporary Australian Theatre
Texts set for study:
Wesley Enoch and Deborah Mailman, The Seven Stages of Grieving
Jack Davis, No Sugar
Debra Oswald, Gary’s House
Suzanne Spunner, Running Up a Dress
–2–
Section II – Studies in Drama and Theatre
Total marks (20)
Attempt ONE question from Questions 2 – 8
Allow about 45 minutes for this section
Answer the question in a SEPARATE writing booklet. Extra writing booklets are available.
In your answer you will be assessed on how well you:
■ demonstrate knowledge and understanding of drama and theatre relevant to the question
■
express your point of view and use appropriate supporting evidence
■
present a sustained, logical and well-structured answer to the question
Question 2 — Theatre of the Absurd (20 marks)
‘Theatre of the Absurd introduced theatrical innovations that
continue to provide a challenge to the values of its audiences.’
To what extent do you agree with this statement in relation to Waiting for Godot and TWO
other texts set for study?
Texts set for study:
Samuel Beckett, Waiting for Godot – Compulsory text
and TWO of the following:
Arthur Adamov, Professor Taranne
Edward Albee, Zoo Story
Eugene Ionesco, The Bald Prima Donna
Harold Pinter, The Dumb Waiter
OR
–3–
Question 3 — Medieval English Cycle Plays (20 marks)
How did the performance and presentation of religious material in English Cycle Plays serve
the Church, and the community as audience?
In your answer you should refer to AT LEAST THREE texts set for study.
Texts set for study:
York, The Creation, and the Fall of Lucifer
Chester, Noah’s Flood
Towneley/Wakefield, The Second Shepherd’s Play
Towneley/Wakefield, Herod the Great
York, The Crucifixion
York, The Judgement
OR
Question 4 — Dario Fo (20 marks)
How effective is Dario Fo’s use of conventional and unconventional theatrical innovations in
exposing his audiences to political issues?
In your answer refer to AT LEAST TWO of the texts set for study.
Texts set for study:
Accidental Death of an Anarchist
Can’t Pay? Won’t Pay!
Mistero Buffo
Trumpets and Raspberries
OR
Question 5 — Environmental, Street and Event Theatre (20 marks)
‘Environmental, street and event theatre challenges the conventions
previously considered necessary for effective theatrical production.’
Evaluate this statement in relation to different forms of environmental, street and event theatre.
OR
–4–
Question 6 — Meyerhold (20 marks)
How did Meyerhold use a wide range of different theatrical techniques to radically challenge
the restrictions of naturalistic theatre?
In your answer refer to specific productions you have studied.
OR
Question 7 — American Drama (20 marks)
‘American Drama extends realism through the use of expressionist
and symbolist techniques.’
Evaluate this statement in relation to the ways in which TWO of the texts set for study might
be produced on the contemporary stage.
Texts set for study:
David Mamet, Speed-the-Plow
Eugene O’Neill, Desire Under the Elms
Thornton Wilder, Our Town
Tennessee Williams, A Streetcar Named Desire
OR
Question 8 — Seventeenth Century Comedy (20 marks)
‘The use of traditional character types from popular theatre
traditions in seventeenth century comedy still offers relevant social
satire to contemporary audiences.’
Evaluate this statement in relation to performance of The Misanthrope and ONE other text set
for study.
Texts set for study:
Molière, The Misanthrope – Compulsory text
and ONE of the following:
Aphra Behn, The Rover
George Etherege, The Man of Mode
William Wycherley, The Country Wife
End of paper
–5–
BLANK PAGE
–6–