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VCE Theatre Studies 2014 - 2018
Frequently Asked Questions (updated March 2016)
Will the VCAA be publishing a glossary for VCE Theatre Studies?
Theatre language and terminology evolves and changes constantly; therefore a glossary is not
appropriate as part of a ‘fixed’ document such as a study design.
The terms defined in the ‘Terms used in this study’ section of the study design (page 10) are those
that should be understood by users of the study design as having particular meanings and
parameters in the context of the study. The range of terminology that teachers and students will
use across the course far exceeds the terminology used in the study design.
Most terminology in the study design is generic in nature and open to interpretations that have
common underpinnings but can also be informed by particular theatrical context(s). Teachers and
students might develop glossaries of terminology they use, for example, terminology relevant to a
particular area of stagecraft or theatrical style. These glossaries might be used within a class group
or shared across a wider network.
Is there a set list of theatrical styles and associated terminology that should be studied
across Units 1-4?
VCE Theatre Studies requires students to learn about a range of theatrical styles from different
times, places and cultures but does not set specific styles to be studied. The definition of
‘Theatrical styles’ provided in the study design outlines the rationale for this approach. The
definition begins by describing the nature and scope of a theatrical style: ‘Theatrical styles are the
practices and traditions which have come to be accepted as conventional and are particular to
specific times, places, peoples and cultures’. The next section of the definition describes why a set
list of styles is not appropriate: ‘by their very nature, theatrical styles are not static, constant or
definitive but are indicative, for example a theatrical style might indicate a historical period or
political movement’. The definition ends with a statement about the nature of theatrical styles in
modern theatre: it is understood that theatrical styles are fluid and experimental and evolve in
response to a range of contexts and purposes.
As mentioned above, the theatrical language and terminology students will learn and use in VCE
Theatre Studies is diverse and largely contextual. For example, the language and terminology
used in describing the conventions and effects of an evolving theatrical style such as ‘hyperrealism’ is likely to change as the style moves from experimental to conventional. Definitions or
descriptions of a new or evolving theatrical style may begin by drawing on language used in other
arts disciplines such as new media or visual arts and gradually be modified to absorb language
more typically associated with theatrical practice. Teachers need to be aware of shifts in language
used within the theatre industry. In the case of ‘hyper-realism’ this might involve connecting terms
used within the industry with terms used in relation to more conventional theatrical styles such as
the Theatre of Cruelty which can be seen as contributing to the scope and nature of the new
theatrical style.
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What is the status of the Advice for teachers document?
The Advice for teachers is a companion document to the study design and provides advice about
designing teaching and learning activities for Units 1-4. As the scope of the 2014-2018 study
design is very similar to the scope of the 2007 study. Many of the examples in the Advice for
teachers for that study has been retained.
Teachers may use the published Advice for teachers as a model for revising existing activities in
their learning program or to devise new activities. For example, they might use the outline provided
in a detailed example as a model but use different theatrical styles, periods or playscripts to
construct an actual learning activity or sequence of activities.
Why is Theatre Technologies not listed as a ‘design’ area of stagecraft?
Theatre Technologies is an evolving area of stagecraft that can involve aspects of design,
production and stage management and/or other stagecraft areas. For this reason, Theatre
Technologies is listed separately from the Acting and Direction, Management and Design areas of
stagecraft identified for VCE Theatre Studies.
Theatre Technologies are rarely used independently of other areas of stagecraft. For example,
specific theatre technologies equipment or practices may be used to realise concepts through
other areas of stagecraft such as set, lighting, costume or stage management.
Will the list of stagecraft that students may apply within the Design option for the
Stagecraft Examination be extended at any time?
The VCAA conducts ongoing monitoring of VCE curriculum and assessments. As required, minor
amendments can be made to curriculum and/or assessment specifications during the term of a
study’s accreditation. More substantial changes are made in response to a formal study review.
Before any extensions to the list of ‘Design stagecraft’ for the Stagecraft Examination could be
considered, the VCAA would need to be confident that the options are accessible across the full
cohort of students and study providers and that they can be assessed in an equitable manner. For
example, for lighting to be included, access to appropriate resources would be required across
study providers and in all examination rooms.
Why are the stagecraft areas divided into List A and List B for Unit 3 Outcome 1?
The Areas of stagecraft in List A for Unit 3 Outcome 1 are those that students can use for Unit 4
Outcome 1. To support a learning continuum and development of expertise, all students must
select at least one stagecraft area from List A for Unit 3 Outcome 1. The areas of stagecraft in List
B are those that for reasons of equity and access are not available for Unit 4 Outcome 1 and the
Stagecraft examination.
Do students have to use the areas of stagecraft they applied for Unit 3 Outcome 1 to
respond to questions on the written examination?
Students may choose any of the listed stagecraft areas to respond to specific examination
questions. The structure of Unit 3 Outcome 1 and Unit 4 Outcomes 1 and 2 mean that while
students may ‘specialise’ in particular stagecraft areas they should also have knowledge of other
stagecraft. For example, in Unit 3 Outcome 1, irrespective of the stagecraft they select, students
are required to participate in collaborative production planning, development and presentation. This
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allows students who select stagecraft such as stage management to contribute to development of
the concept for the production and develop imaginative ways of applying this stagecraft to realise
the selected theatrical vision. For example, the stage manager might develop approaches to
moving set or properties that draw on conventions relevant to selected theatrical styles. This could
involve working collaboratively with students taking responsibility for other stagecraft such as
lighting, sound, theatre technologies or the actors.
If a student chooses the Acting and Direction option for the Stagecraft examination,
to what extent do they need to layer their performance with stagecraft (given that
they can discuss this through the Focus Statement)?
Students who choose the Acting and Direction option are required to ‘create an informed context’
and ‘present an interpretation that includes the realisation of a unified directorial vision to convey
the context(s) and intended meaning(s) of the monologue to an audience’. Application of other
stagecraft will allow students to meet these requirements in ways that enhance their application of
acting and direction skills. For example, costume choices can be used to create a specific context
for the interpretation or use of properties can be manipulated to demonstrate understanding of
changes in status or motivation within the monologue.
Can the framing statement be delivered in character to assist the actor in preparing
and focussing on the role he/she will interpret?
Students are advised not to deliver the framing statement in character. The Framing Statement is
an opportunity for students to outline their directorial vision before presenting their interpretation of
the monologue.
When students are preparing the ‘direction’ aspect of their interpretation of the
monologue for the Stagecraft Examination, should they focus on ‘directing the actor
who will perform the monologue’ or ‘on being the director of the complete
production’?
As students who select the Acting and Direction option are required to present an interpretation
that includes the realisation of a unified directorial vision, they must consider all aspects of the
performance in their interpretation. This would generally include delivery of the lines of the
monologue, use of expressive and performance skills to enhance intended meaning, interaction
between the actor and other stagecraft such as set or properties, for example blocking of
movement.
Can Design be for a given audience/staging?
The VCE Theatre Studies Stagecraft Examination Specifications indicate that ‘the audience for the
interpretation is the assessors, who, in this context are fulfilling the role of ‘those the monologue
interpretation is intended for’ (page 2).
The specifications also indicate that the design concept presented in the examination should ‘be
one that could be utilised by an actor when performing the monologue to an audience’ (page 3)
and the Specifications: Design state that the design concept students develop to interpret the
monologue is suitable for:


A single clearly lit, relatively small space where no changes to the lighting grid are permitted
An actor performing the monologue to an audience according to the specifications of the task
(page 4).
These specifications will influence the design and should be taken into account when arriving at
the design concept for the interpretation.
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Together, these parameters establish a starting point for students to conceptualise a design to
interpret the monologue they select from the available choices. The task for students is to study the
monologue, prescribed scene and complete playscript and make decisions about the contexts,
theatrical styles and theatrical possibilities for interpreting the monologue. They then apply their
selected stagecraft to interpret the monologue and consider the relationships between acting,
direction and design.
What materials and equipment may students who select the Design option bring
into the examination room?
Students who select the Design option must select equipment and materials to support their
Interpretation that they can safely, and, without assistance, bring into and remove from the
examination room within the allocated time for set-up and bump-out.
Depending on their stagecraft selections, students may bring in items such as a model(s), a
mannequin to display costume(s), an easel to display images showing aspects of their design
concept, set items such as furniture, properties, CD players or mobile devices they will use as
playback equipment for pre-recorded sounds, musical instruments or other objects to create
sounds They may use a trolley to move items.
A power point will be available in the room but students must supply their own leads, connectors,
adapters etc. Amplification devices may be used but students should remember that the
examination rooms will be small and rehearse appropriate volume levels so that occupational
health and safety is maintained for themselves and assessors.
Information about materials that may be brought into the examination room and related matters is
provided on pages 8-9 of the Stagecraft Examination Specifications.
Are there specific types of questions that might be asked in the Stagecraft
examination?
The 3rd (final) stage of the examination allows the assessors to ask the student questions to clarify
and/or seek further information about points made in the Framing Statement or the Interpretation.
Assessors will question the student for no more than 2 minutes. Examples of the types of
questions that could be used in the examination are provided on page 8 of the Stagecraft
Examination Specifications.
Will assessors receive specific training relating to the question section of the
Stagecraft examination?
VCAA assessors are appointed annually and as part of the appointment must demonstrate
knowledge of the relevant curriculum, for example the current VCE Theatre Studies study design.
For all assessments conducted by the VCAA, assessors must attend training before each
assessment period. This approach ensures that assessors maintain up-to-date knowledge of the
study design and assessment task they will be assessing. Training involves a range of activities
relevant for the specific assessment task. Training materials and activities for the Stagecraft
Examination will draw on material used in other studies over many years.
Is the School-assessed coursework audit part of VCAA’s monitoring of study
implementation?
The VCE School-based Assessment Audit program incorporates a review of both School-assessed
Coursework and School-assessed Tasks (SATs) and is undertaken as part of the monitoring of
VCE curriculum and assessment implementation. A cross-section of schools in each study is
audited annually. Over about a five year period all schools offering a study can expect to be
audited.
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As the assessment tasks are integral both to the determination of satisfactory completion of the
VCE units and to the determination of scores that are used to calculate the study score, it is
essential that students are given appropriate assessment activities. Information about the Schoolassessed Coursework audit purpose and process is available at
http://www.vcaa.vic.edu.au/Documents/vce/SBA_general.pdf
The audit process begins with a survey which asks providers to supply information about their
planned assessment program. Online submissions are considered by the VCE State Reviewer in
conjunction with the relevant VCAA Curriculum Manager. Providers are then notified of one of the
following three outcomes:
Submission meets requirements
This means that no immediate action is required. Some evidence may be requested in Stage 2.
Further evidence required
This means that the submission is incomplete or otherwise not satisfactory, indicating that there is
an issue requiring follow-up by the VCAA. Providers will be contacted and further evidence will be
requested in Stage 2. Further evidence may be required in the form of, for example, assessment
tasks, details of assessment criteria or marking schemes, evidence of internal moderation practice
or samples of student work.
Immediate follow up with the Curriculum Manager required.
This means that the teacher/s must make contact with the relevant VCAA Curriculum Manager at
their earliest convenience.
The Theatre Studies Monologue Examination material identifies editions of the
playscript for each of the monologues. Do students have to use that edition for
Outcome 1, Outcome 2 and the Stagecraft examination?
As advised in the 2014 VCE Theatre Studies Stagecraft examination materials copies of the
monologues taken from the cited editions are available from the VCAA. To obtain a copy of these
texts teachers should send an email request to [email protected]
If students are not able to obtain a copy of the cited edition of the complete play they may use
another reputable edition for study of the scene and the play. Only the cited version of the
monologue may be used in the examination.
In Monologue 3 The Curious Incident of the Dog in the Night-Time adapted by Simon
Stephens from the novel by Mark Haddon, Character: SIOBHAN (and JUDY), may
students reference the character of Christopher?
In the monologue, the persona of Judy is portrayed by Siobhan and within the monologue Siobhan
(Judy) reads a letter written by Christopher. When interpreting this monologue the actor/director
may choose to also take on Christopher’s persona while she is reading his words. They may also
choose to mirror Christopher’s actions. In doing so, the student will need to consider, as
appropriate to their stagecraft and other interpretative choices, movement within the performance
space, use of properties or set-pieces. The student may also take on Judy’s persona if they wish.
Why are students not permitted to use folios in the Stagecraft examination?
The examination specifications and the examination paper specifically state that students may not
use multimedia devices such as data projectors or folios to present their interpretation of the
monologue to the assessors.
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Students may use, as appropriate to their stagecraft choices a dressmaker’s dummy, for example,
to display costumes or costume items, an easel/s to display illustrations of make-up or costume
designs. They may wear costumes, be made-up, use a property/ies to illustrate how an actor would
do so in performance. Students are advised to bring in some well-chosen set pieces that illustrate
their interpretation of the monologue.
The study design refers to ‘Set pieces’ rather than ‘Set’ as the stagecraft option for this task. As
students develop a design concept for specific set pieces relevant to their interpretation of the
monologue they will consider the set pieces within a larger or complete set design. They may, in
their Framing Statement and/or design presentation, make reference to the relationship between
the set pieces and other components of the complete set design.
All material used in the interpretation should be of a size that allows assessors to view relevant
detail. Assessors are likely to be seated at least one metre from the material. Students may not
place items on the assessors’ table and should stand at least one metre from the assessors.
Consequently items being used to illustrate the design concept need to be of a reasonable
size. Students should not bring in an item such as a shoe-box model that is so small the assessors
cannot see relevant detail.
Teachers should be mindful of workload considerations when advising or providing feedback to
students as they develop their monologue interpretations. Development of a model for a complete
set design is beyond the scope of the task and is likely to involve an inequitable workload for the
student. As an alternative to making a model of appropriate size, the student might choose to talk
about positioning of the set pieces within a complete design or use a printed diagram displayed on
an easel to show the set pieces within the complete design. It may be relevant for students to
mention whether the design concept they are presenting is specific to the scene in which the
monologue occurs or could be used throughout the play. The design concept presented in the
examination to interpret the monologue must be informed by the scene and the wider play.
What is meant by the instruction in the examination specification that students must
ensure that the design concept they develop to interpret the monologue is suitable
for a single clearly lit, relatively small space where no changes to the lighting grid
are permitted and an actor performing the monologue to an audience according to
the specifications of the task.
This information about details of the Interpretation stage of the examinations unpacks statements
contained in the overall description of the examination task, Stage 2: Interpretation: the
interpretation will draw on the knowledge and skills developed across Unit 4 Outcomes 1 and 2,
and will present an interpretation of the monologues that is informed by and contextualised in
relation to the scene within the play. (page 2).
As students develop their design concept they need to consider that:



their design concept must present an interpretation of the monologue
they will present their concept in an examination venue that is relatively small and clearly lit;
that the lighting grid cannot change during their interpretation and that they must be able to get
all materials into and out of the examination room relatively quickly and efficiently (i.e. the
same conditions as for the acting/directing students)
their interpretation is the way that they convey their knowledge and understanding of the
theatrical styles, the world of the play, the structure and content of the scene and the
monologue possibilities to the assessors
In developing their design concept students must ensure that they will be able to present their
ideas in the examination venue. They might visualise their design for another performance space
(if so, this could be addressed when delivering the Framing Statement) but on the day of the
examination they are required to get their materials into and out of the examination room and to
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communicate to the assessors how aspects of their design convey meaning and understanding of
the monologue.
Some potential hazards might be: if a set piece is too large, it might not fit through the door. If
there are too many ‘items’ or ‘aspects’ to the design, the student may struggle to explain how and
why each is part of the design concept. Some opportunities are: students might, in Unit 4 Outcome
2, develop a design concept for a theatrical space and then make judicious choices about which
aspects of the design are most relevant to the monologue as it would be performed by an actor in
the space specified in the specifications of the task. Careful choices regarding ideas students will
include in each of the framing statement and the interpretation of content they will communicate
across the Framing Statement will allow the students to communicate sophisticated thinking and
design that reflects their understanding and imagining of theatrical possibilities in relation to the
world of the play, the scene and the monologue.
This complex task builds on work from Outcome 2 and does require students to evaluate their
design choices in relation to the text of the monologue. For example, including make-up or
costume design for a character other than the monologue character is probably an inappropriate
choice.
Students who select the acting/direction option need to be mindful of the examination space when
they prepare their performance. This aspect of their work is consistent with requirements for the
previous monologue performance examination. In the same way, the assessors will be the
audience for these performances just as they were the audience for examination performances in
previous years.
All students may choose to refer to other aspects of stagecraft in their Framing Statement, for
example, they might briefly describe specific details that would be part of a ‘full’ realisation of their
design concept or directorial vision. These might include references to how lighting, stage
management or theatre technologies could be used to build or enhance the audience’s
understanding of the world of the play, making it clear that these aspects are not part of their
examination presentation. This type of statement might be useful for students to communicate their
understanding of the world of the play or a theatrical style.
Why are students not allowed to discuss process in the Stagecraft examination?
The Framing Statement section of the examination allows students to communicate decisions and
influences that inform their interpretation of the monologue. Their interpretation of the monologue
through performance or presentation of a design concept also communicates these decisions.
Students may, in their Framing Statement and or as part of their Design presentation refer to
decisions they made after using processes such as research or experimentation. Students will use
these references to communicate their understanding of the monologue, the scene and the world
of the play and to describe the key influences on their interpretation.
The examination specifications preclude discussion of process per se. For example, in their
Framing Statement, actor/directors should not refer to processes they used to memorise lines or
develop skill in specific physical theatre techniques. The outcomes of this work will be evident in
their performance. In the same way, students who select make-up are required to create a design
concept, not to explain how the make-up will be applied and students who select costume are not
required to explain how they constructed a costume.
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Additional Frequently Asked Questions – updated March 2016
For Unit 3 Outcome 1, are students able to select publicity and marketing as two
areas of stagecraft?
No. Publicity and marketing are two options within the Stagecraft area of Production Management.
The Assessment Task for Unit 3 Outcome 1 developed by each school should describe
expectations for this area of stagecraft. For example, a school may limit the area to either publicity
or marketing or allow students to combine the two roles to meet the requirements of Outcome 1.
Schools must ensure that the Assessment Task they develop provides appropriate scope and
guidance for all students to demonstrate the Outcome 1 knowledge and skills including contribution
to the interpretation of the playscript through each stage of the production process. Students who
undertake Production Management must also undertake one of the List A areas of stagecraft.
In VCE Theatre Studies Unit 3, what are the parameters for the Stagecraft area of
publicity?
Publicity involves ‘pitching’ or communicating ideas and information about the production to a
potential audience. In the planning stage this might involve working with students taking
responsibility for the design of the production; that is those working on the stagecraft areas of
costume, make-up, properties, set, sound and/or lighting to identify and tweak concepts for the
production so they can be used effectively to ‘pitch’ the show. Decisions taken in this stage will
inform work for the production development and presentation stages.
In VCE Theatre Studies Unit 3, what are the parameters for the Stagecraft area of
marketing?
Marketing involves placing material about the show so that it comes to the attention of the potential
audience. In the planning stage this might involve identifying how concepts that are underpinning
the interpretation of the playscript could be communicated in text, audio and/or visual formats and
included in ‘placements’ to market the show. Decisions taken in this stage will inform work for the
production development and presentation stages.
Can Production Management: publicity and/or marketing involve front-of-house
activity during the presentation stage?
Yes. For example, front-house activity that focuses attention on the concepts that will underpin the
interpretation of the playscript such as what the audience see when they enter the foyer or how
they are greeted as they enter the performance space. This work should be based on work
undertaken during the planning and development stages of the production process.
In the VCE Theatre Studies written examination, if a student nominates Production
management as the area of stagecraft upon which they intend to base their
response to a question on, will they be required to refer to both publicity and
marketing?
No. In their response, students should identify whether they will be referring to publicity and/or
marketing. For example,
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Name of stagecraft area: Production management – publicity
Or
Name of stagecraft area: Production management – publicity and marketing
Will these changes have any impact on VCE Theatre Studies Unit 4 Outcomes 1 and
2 and/or the Stagecraft Examination
No. For Unit 4 Outcomes 1 and 2 and the Stagecraft examination students must choose

Acting and Direction
Or

Design – any two of make-up, costume, set pieces, properties, sound
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