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Assessment Task Subject: Year 10 Drama Teacher: Sylvia Mavros Task Title: Monologue Performance Piece Draft Due Date: Tuesday, 10 June 2014 Final Due Date: Tuesday, 17 June 2014 Please note that failure to submit the task by this date will result in academic detention until completed. Learning Requirements: ACARA By the end of Year 10: students create and present improvised, devised and scripted drama. They manipulate the elements of drama and expressive skills to interpret and realise convincing, motivated characters and character relationships. They use effective collaborative processes to make drama and undertake production roles when planning, rehearsing, refining and presenting drama performances. Students reflect critically, providing constructive feedback and acknowledging others' perspectives as they shape and refine their drama. Students explain how meaning is created in drama and describe and discuss the distinguishing features of drama forms and styles from a variety of cultural, contemporary and historical contexts. Nhulunbuy Campus Ph (o8) 8987 2187 Fax (08)8987 2357 Street Address Eugenia Avenue, Nhulunbuy Palmerston Campus Ph (08) 8932 3377 Fax (08) 8932 3440 Street Address Waler Road, Marlow Lagoon Marrara Campus Ph (08) 8920 2000 Fax (08) 8920 2001 Street Address Cnr McMillans Road & Amy Johnson Avenue, Marrara Postal address PO Box 84 Karama NT 0813 Email [email protected] Web www.ntcc.nt.edu.au ABN 65 060 686 305 Learning Together – Bringing Hope to the World Outcomes Assessed: NTCF Dr 5+.1 Creating Arts Ideas research and develop the skills and techniques to create meaningful performance works for an audience Dr 5+.2 Arts Skills and Processes refi ne appropriate terminology and apply production making skills and techniques to performance works of dramatic texts and original ideas Dr 5+.3 Arts Responses and Analysis apply research, drama terminology and analysis to justify opinions about dramatic texts and performance works Dr. 5+.4 Arts in Context conduct independent research, critically analyse and compare characteristics of drama from different cultural and historical settings and across art forms; communicate contextual understandings in written and/or practical form. ACARA Marking 10.1 Develop internally consistent, motivated roles and characters conveying a subtext of social and psychological situations, relationships and status 10.2 Create and perform complex devised and scripted drama, exploring symbol and a diversity of performance styles and conventions to communicate dramatic meaning 10.3 Shape and control dramatic tensions and action by manipulating the elements of drama in devised and scripted drama 10.4 Interpret, rehearse and perform scripted drama to communicate characters, situations, relationships, intentions and subtext to create dramatic action and dramatic meaning Responding 10.8 Connect and evaluate experiences of making, performing and responding 10.10 Connect conventions of forms and styles with their contemporary drama practices and social, historical and cultural contexts Task Outline: Present a monologue performance and 500-700 word write up explaining the intention, style genres, influences and development process citing scenes in your performance piece. Present your journal as evidence of working. Create a dramatic Monologue for a character from any genre you choose. Write, explore, rehearse and perform the part in order to create a compelling scene. You have a minimum of 2 minutes and a maximum of 5 minutes. You may use any conventions you wish including props and costumes as well as lighting if pertinent. It may be a highly dramatic piece or light hearted comedy. The genre and its specific conventions must be stated as well as any other influences in your journal. Use plot, theme, character, levels, language and movement moods and symbols to enhance the dramatic meaning. Write your explorations and developments in your visual diary. Be ready to present your monologue to the class. You may recruit others in the class to help with illustration however you must stick to the rule of the monologue. Research and find a genre for your performance you may blend or fuse some together however you must write this in your journal and explain your choices in relation to your goal for your monologue. Genres that could be used as an influence or style base: Kabuki melodrama physical theatre Black light theatre Vaudeville in the Philippines Boulevard theatre (aesthetic) Post dramatic theatre Postmodern theatre Brecht Forum Monopolylogue Expressionism Grecian mask theatre Theatre of the absurd You may choose to illustrate a character, a scene with other characters or alone on the stage. You could explore a character in turmoil, making a decision or just explaining their feelings. You may be as dramatic as you like with a comedy or tragedy. You may choose a climax or anti-climax, resolved or unresolved story. Use the videos shown in class as a starting point. Performance Standards / Marking Criteria Result A Indicators Understands comprehensively the appropriate uses of the components and can cite relevant examples from other productions. Regularly uses or demonstrates in depth comparisons and deeply understands how the action is understood by the audience to create dramatic meaning. Discusses and demonstrates the importance of the techniques they have in relation to the scene citing the text and other observations to develop character roles in their own and many other’s performances well. Uses the correct terminology regularly and can give concise and relevant examples of dramatic intentions of ideas citing the text. Gives excellent and pertinent examples of problem solving and collaborating with others to create innovative ideas for audience’s consideration. Annotates script and effectively conveys understanding of the concepts implemented when creating drama. B C D E Understands well the appropriate uses of the components and can cite some relevant examples from other productions. Understands the basic and some appropriate uses of the components and can cite at least one relevant example from other productions with some prompting. Understands in a superficial way the appropriate uses of the components but cannot cite relevant examples from other productions with assistance. Does not understand the appropriate uses of the components and cannot cite relevant examples from other productions with assistance. Regularly uses or demonstrates comparisons and understands mostly how the action is understood by the audience to create dramatic meaning. Uses some or demonstrates comparisons and understands somewhat how the action is understood by the audience to create dramatic meaning. Regularly uses or demonstrates comparisons and understands well how the action is understood by the audience to create dramatic meaning. Discusses and or demonstrates the importance of the techniques they have in relation to the scene and have developed character roles in their own as well as other’s performances. Uses the correct terminology regularly and can give relevant examples of dramatic intentions of ideas citing the text. Gives relevant examples of problem solving and collaborating with others to create innovative ideas for audience’s consideration. Annotates script correctly and conveys understanding of the concepts implemented when creating drama. Discusses or demonstrates the importance of the techniques they have in relation to the scene and have developed character roles in their own and occasionally other’s performances. Uses the correct terminology and gives some relevant examples of dramatic intentions of ideas citing the text. Gives some examples of problem solving and collaborating with others to create innovative ideas for audience’s consideration. Annotates script and conveys some understanding of the concepts implemented when creating drama. Sometimes discusses or demonstrates some of the importance of the techniques they have in relation to the scene and have developed character role in their own performances. Uses limited correct terminology and can give a few relevant examples of dramatic intentions of ideas citing or disregarding the text. Gives few examples of problem solving and collaborating with others to create innovative ideas for audience’s consideration. Annotates script and conveys few understandings of the concepts implemented when creating drama. Rarely uses or demonstrates comparisons and understands how the action is understood by the audience to create dramatic meaning. Rarely discusses or demonstrates the importance of the techniques they have in relation to the scene and have limited development of character role in their own performances. Uses the limited terminology gives limited descriptions of dramatic intentions of ideas regarding or disregarding the text. Gives limited examples of problem solving and collaborating with others to create innovative ideas for audience’s consideration. Does not annotate script to effectively convey understanding of the concepts implemented when creating drama. EAL/D A B C D Gives regular physical demonstration as well as some written work to correctly describe their ideas in relation to the text, devices and action in the play. Regularly attempts to show physical demonstration as well as some written work to describe their ideas in relation to the text, devices and action in the play Attempts all physical activity with some comprehension and is able to physically demonstrate their ideas using some assisted language skills to reference the text Does not comprehend but participates actively Has some superficial language use for description that is not written down Can read and remember lines and cues regularly Even when it is not written. Can read and remember most lines and cues even when it is not written however still requires some support and prompting. Can read and remember lines and cues consistently even though only some is written. Shows good understanding of how to use the ideas well and can associate terminology correctly with the appropriate ideas in a practical demonstration. Responds correctly to explicitly taught questions independently. Shows an understanding of how to use the ideas well and can associate some terminology correctly Responds correctly to explicitly taught questions both independently and with support. Shows an understanding of sorts and can associate some terminology correctly with some guidance and prompting. Can remember simple lines and cues with some support. Shows some superficial understanding and can repeat the correct terminology with support and guidance Responds to some explicitly taught questions correctly with support. Responds correctly to explicitly taught questions some independently and many with support. THE MONOLOGUE Some general information from Wikipedia to get you started. You are expected to find your own qualitative information on particular genres and styles and reference it at the end of your journal notes as a bibliography. In theatre, a monologue is presented by a single character, most often to express their mental thoughts aloud, though sometimes also to directly address another character or the audience. Monologues are common across the range of dramatic media (plays, films,etc.), as well as in non-dramatic media such as poetry. Monologues share much in common with several other literary devices including soliloquies, apostrophes, and aside. There are, however, distinctions between each of these devices. Similar literary devices Monologues are similar to poems, epiphanies [realisations], and others. But there are differences between them. For example, a soliloquy involves a character relating his or her thoughts and feelings to him/herself and to the audience without addressing any of the other characters. A monologue is or the thoughts of a person spoken out loud. Monologues are also distinct from apostrophes, in which the speaker or writer addresses an imaginary person, inanimate object, or idea. Asides differ from each of these not only in length (asides are shorter) but also in that asides are not heard by other characters even in situations where they logically should be (e.g. two characters engaging in a dialogue interrupted by one of them delivering an aside). History In ancient Greek theatre, the origin of Western drama, the conventional three actor rule was preceded by a two actor rule, which was itself preceded by a convention in which only a single actor would appear on stage, along with the chorus. The origin of the monologue as a dramatic device, therefore, is not rooted in dialogue. It is, instead, the other way around; dialogue evolved from monologue. Ancient Roman theatre featured monologues extensively, more commonly than either Ancient Greek theatre or modern theatre. One of the key purposes of these monologues was to indicate the passage of significant amounts of time (that would be tedious to actually play out in real time) within scenes. This type of monologue is referred to as a linking monologue. Other monologue types included "entrance monologues" and exit monologues. In each of these cases a primary function is indicating the passage of time. From Renaissance theatre onward, monologues generally focused on characters using the extended speech to pursue their dramatic need. Postmodern theatre, on the other hand, often embraces the performative aspects of the monologue, even to the point of challenging the boundary between character portrayal (e.g. acting) and autobiographical speeches. Types of monologues Interior monologues involve a character externalizing their thoughts so that the audience can witness experiences that would otherwise be mostly internal. In contrast, a dramatic monologue involves one character speaking to another character. Monologues can also be divided along the lines of active and narrative monologues. In an active monologue a character is using their speech to achieve a clear goal. Narrative monologues simply involve a character telling a story and can often be identified by the fact that they are in the past tense. Monologues are often used in Shakespeare’s works both as dramatic monologues to other characters and as ‘asides’ where the other characters in the play are unable to hear the character think out loud or process information to benefit the audiences understanding of an internal or external struggle.