Year 11 Drama Unit of Work - Chris Scapens

Chris Scapens: Scap0004 Drama Senior Years Curriculum
UNIT OF WORK YEAR 11 DRAMA CHARACTER DEVELOPMENT
Unit: CHARACTER DEVLOPMENT

Strand: Arts (Drama) Year level: 11 6 Weeks
The Big Idea How can actors build and develop a role into a believable
entertaining character in a performance?
What is the importance of working cohesively as an

ensemble?
How can an actor utilize theories from dramatic practitioners

to enhance a role in performance?
What makes an effective review in the realm of theatre?
General Capabilities Cross-Curriculum Topics

Literacy English
Numeracy
Information and communication Information Technology
technology capability
Critical and creative thinking
Personal and social capability Aboriginal and Torrens Strait
Physical Education Islander histories and cultures
Dramatic Arts
Knowledge and KU1 Knowledge and understanding of practical skills and

Understanding techniques relevant to specific practitioners on-stage or
off-stage roles.
KU2 Knowledge and understanding of different dramatic roles,
their interdependence, and their impact on an audience.
KU3 Understanding of the theories, skills, techniques, and
technologies of drama.
Ap1 Selection and application of methods, forms, and
techniques related to on-stage roles and/or off-stage roles.
Ap2 Experimentation with, and exploration of, appropriate
creative methods and techniques to conceive, develop,
create, interpret, and express dramatic works.
Ap3 Collaborative and/or independent work through a range of
dramatic forms and processes as an on-stage or off-stage
practitioner.
Ap4 Communication of dramatic ideas to an audience through
a variety of forms and methods.
An1 Investigation and analysis of the students own dramatic
works and the dramatic work of others.
An2 Integration of skills, techniques, knowledge, and
understanding related to on-stage or off-stage roles.
An3 Analysis of, and reflective response to, dramatic concepts
and works.
An4 Analysis of the ideas, concepts, and intentions of a
dramatic practitioner or source.
1
Skills and Students will be able to:

Knowledge Develop and grow a role in a performance
piece into a believable character (If off-stage;
develop that role into an effective member of
an ensemble).
Develop and grow knowledge and practice of
practitioner theories of acting to enhance a
role.
Critique, analyse and reflect on dramatic works
both professional performance and student
reflection of a class performance (self-
assessment and peer feedback).
Students will know how to:

Structure a written or oral review of a
performance.
Reflect on dramatic works.
Grow and utilize an understanding of a theatre
practitioners theory of acting.
Unit of Lessons
1. Introduction 2. Foundations of Review Writing
3. Class Performance Excursion 4. Review Writing Intensive Workshop
5. Script Analysis/Stanislavski 6. Review Drafting/Improvisation
Workshop workshop
7. Intensive Characterization 8. Showcase Performance at Hopgood
Theatre
9. Showcase Performance 10. Drama Night Performance
Reflection/Improvisation
11. Final Review Lesson 12. Final Production Report
Prerequisites Some knowledge and understanding of
Stanislavski theory of realism.
Understanding of elements of drama including
class etiquette and behaviour expectations.
Learning Activities See individual lessons and appendix

Resources
Farmer, D. (2007). 101 Drama Games & Activities. 2nd
Edn. CA, United States: Createspace.
SACE Board of South Australia. (2010). Drama 2017

Subject Outline: Stage 1, SACE Board of South
Australia: Adelaide, South Australia.
2
Assessment
Assessment Types Observations Self-Assessment
Anecdotal Notes Peer Assessment
Work Samples Rubric
Multimodal Electronic Record
Assessment
Outline Summative:
Group final performance
(Consult Appendix) Written Review
Production Reflection
Diagnostic and Formative:

Script analysis task
Retention of Stanislavski theories
Status & relationship activity
Showcase reflection
Improvisation activities
Overall rehearsal and participation levels
3
Lesson 1 Introduction 100 Minutes

Desired Results Students will know: Outline of the unit and recap of
Stanislavski method.
Students will be able to: Take part in class
discussion.
Purpose: Set a goal for students over the course of
the unit and develop student relationships.
Learning Activities Duration

Intro Introduction to the class, ask them what their expectations may be. 10 min
Explain what is expected from them (participation and level of
commitment) and how they are to work towards the final goal of the
unit.
1. Ice breaker 10 min
The class stands in a circle and begins throwing an object (ball,

beanbag etc) around the circle from one person to another. Make
sure people are ready to throw and ready to catch. Using eye
contact, introduce yourself as you throw Hi Im Chris. Once
everyone has had a go, try saying the name of the person you are
throwing to Chris to John. Everybody in the group needs to have
a turn.
As a variation, the catcher can call out the name of the

thrower.
Add more objects simultaneously.
Adapted from: Farmer, 2007, P 6.
2. Unit goals 10 min
Using a whiteboard, the unit objectives/assessments will be

outlined and students will have the opportunity to ask questions at
the end of the discussion. Students will learn the path towards
transforming their pre-assigned performance roles into believable
characters or professional off-stage roles.
Goals to creating an effective, believable character:
Elements of characterization
Stanislavski method
Improvisation skills
Assessments outlined:
Final performance
Written review of Sista Girl
Production report
4

3. Stanislavski recap 20 min
Students will form groups of 4-5 and in 10 minutes, brainstorm the

Stanislavski method. Students will have completed a Stanislavski
written task previous to this unit, so will have the opportunity to use
their prior knowledge. Once students have finished brainstorming a
class recap will initiate and the teacher will ask each group to put
their findings on the white board under sub headings.
If students have forgotten some of the elements, refresh

their memory and fill in the blanks under each sub heading.
Ask the students why Stanislavski will help them in their
performance roles.
3. Warm up and space Walk 10 min
Form a circle with the class and perform several verbal

tongue twisters and warm-ups such as red leather/yellow
leather or unique New York and vowel humming/sound
exercise (aaa, eee, Iiii, oooo, uuuu)
Stretches in the circle, either spinal roll with partner or quick
game of stuck in the mud to warm up the body
Students will find a space in the room to stand in. When the
teacher claps their hands, the students will walk quietly in a neutral
mode around the room filling any gaps. Students do not make
contact with other students and freeze when teacher says to do so.
Students will be asked to continue to move around the room

but will face different elements and react accordingly.
Snow, slimy surface, rocky slopes etc.
Change of pace
Become a designated animal and react with other students
4. Rehearsal 35 min
Students work on scenes from their play Thicker than Water by

Chris Thompson. Rehearsal will focus on scenes requiring the
most attention first, as well as blocking guidelines and feedback.
Conc. Consolidate the unit objectives and answer any questions and 5 min
provide/receive student feedback. Remind students of the
upcoming performance review of Sista Girl which will be seen the
following week.
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Lesson 2 Foundations of review 100 Minutes

writing
Desired Results Students will know: Key elements of review writing.
Students will be able to: Recognize the key
segments of an effective review.
Purpose: To understand the purpose, structure and
relevance of review writing.

Intro Introduction to the class, set lesson objectives and learning 10 min
outcomes.
1. Ice breaker 10 min
The class stands in a circle and students introduce themselves by

adding a word beginning with the same letter as their first name
such as Comic Chris.
As a variation, students can add an action

Use an object to pass around the circle
Students on the second round will recall each persons
name and word.
Adapted from: Farmer, 2007, P 7.
2. Dungeons and dragons 10 min
Students will remain in the circle and the teacher will outline
starting rules for the game and incrementally add additional rules
as the group progresses. Clang passes a sword slash to the
person next to you and block returns a clang to the previous
person. Twang sends an arrow to someone across the room where
they may block or clang a person either side. When a student is too
slow or fails to react, they must run around the inside of the circle
yelling out healing until they reach their spot in the circle. Students
continue to carry the actions around the circle.
An emphasis on projection and physicality is to be

encouraged.
Introduce more rules as the group progresses well (Fireball,
magic missile, cannonball, booty/loot, volcano, reversal, etc)
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3. Review writing foundations 20 min
Introduce students to the performance they will be seeing next

week at the Hopgood Theatre in Noarlunga. Go through the study
guide pdf using a projector or smart board.
http://statetheatrecompany.com.au/content/uploads/2017/05/Sista-
Girl-Study-Guide-State-Theatre-Company-2017.pdf
Discuss with students the difference between description and

analysis and the importance of this with their review writing. Hand
out copies of the review writing task sheet and template outlining
due dates and word count of 1000 words (See figure 1).
Go through the layout of the review as well as the SACE Stage 1

rubric. Advise any students that will miss the performance that they
may negotiate another piece to review (film or play). Students with
negotiated learning plans will receive additional support and
provided with alternate options such as 1 on 1 teacher oral
presentation.
3. Warm up 10 min

4. Rehearsal 35 min

Conc. Consolidate the lesson outcomes, outline the expectations from 5 min
students with regard to their excursion to the Hopgood Theatre
next week.
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Lesson 3 Class performance

excursion
Desired Results Students will know: Witness the first professional
performance of the play Sista Girl.
Students will be able to: Establish respectful
listening and analysing skills whilst watching the
performance.
Purpose: To understand the dramatic elements
used in a performance.
Attend the first performance of Sista Girl by the State Theatre

Company performed at the Hopgood Theatre.
Mental notes of the performance for next lessons

breakdown of the play.
Lesson 4 Review writing 100 Minutes

intensive workshop
Desired Results Students will know: Opinion pieces in drama and
analysis of a performance.
Students will be able to: Formulate a skeleton plan
of their review.
Purpose: To understand the purpose of a review in
Drama.

outcomes.
1. Class discussion of performance 20 min
Students are asked one at a time to reveal one thing to the class
that they liked/disliked about Sista Girl.
Discuss memorable scenes, whether there were themes or

messages as well as what audience the play was targeted at.
On the white board, work as a whole class to create a mind map of

the play and all its elements. Students are to get into groups of 4-5
and are designated either acting, design elements, directors goal
or plot/theme to discuss. Once time is up, students will collectively
include their findings on the class mind map.
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2. Skeleton plan 20 min
Students will begin working on their skeleton plans of the review

and will use the review template as a guide. Any questions or
feedback will be addressed.
3. Warm up 10 min

4. Rehearsal 40 min

Conc. Consolidate the lesson outcomes, outline the expectations from 5 min
students with regard to their review writing and draft due date.
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Lesson 5 Script analysis/ 100 Minutes

Stanislavski workshop
Desired Results Students will know: beats, units and objectives,
and character objectives using Stanislavski method
of acting.
Students will be able to: Analyse their scripts and
utilize the Stanislavski method of acting.
Purpose: To understand the importance of
analysing a script to enhance a role.

outcomes.
1. Whoosh! 10 min
Students stand in a circle and each pass on energy in the form of a

whoosh across the circle. Each person can either pass the whoosh
along to the next person or send it back by saying Woah!. Students
may also send a zap across the other side of the circle.
If energy and focus levels are optimal, the students may add
a second wave across the circle to involve two forms of
energy.
2. Script analysis 20 min
Explain the importance of script analysis in regard to understanding

a character fully. Students will discuss the use of beats, units and
objectives in their own scripts.
Students will select a section of their script and analyse the beats,
units and objective.
Teacher will walk around the room helping students with their
chosen scene.
3. Warm up 10 min

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4. Scene work 20 min
Volunteers will come on stage and perform a scene they have

analysed, expressing thought processes and rhythmic changes in
the scene where beats were added to their scripts.
The audience is tasked with determining what the objective of each

character was in the scene performed.
5. Dress rehearsal 30 min

Emphasis on thought processes and rhythmic changes will be
encouraged throughout the rehearsal. Students are expected to be
in full costume.
Conc. Consolidate the lesson outcomes, outline the importance of script 5 min
analysis and its impact on creating dramatic tension.
Lesson 6 Review 100 Minutes

drafting/Improvisation
workshop
Desired Results Students will know: Complete a draft of their
review, accepting offers in improvisation.
Students will be able to: Attempt to complete and
submit their draft review. Accept offers in an
improvisation setting
Purpose: Understand the importance of drafts and
the basic elements of improvisation.

outcomes.
1. Review drafting 30 min
Students will continue with their draft of Sista Girl and use the
template and study guide provided to aid completion of the task.
Make sure each student is on track and understands each

section of the guide.
Remind students of particular scenes from the play for
further examples in their review.
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Work closely with students that have negotiated learning
plans and those who have selected an alternate
performance to review.
2. Warm up 5 min

3. Elements of improvisation: 55 min
In these activities, students will learn the importance of accepting

offers and how refusing an offer can be detrimental to a
performance. Students will also learn the importance of character
relationship and objectives.
Taxi/car pool
Students will be asked to sit in each of two seats (one the driver
and one the passenger). The general rule of thumb is that the
passenger initiates the scene with an improvised character of
choice and the driver adopts to their behaviour. A short scene is
established and ends with the passenger exiting the car and a new
one approaches.
Expert double figures
Two pairs of students, two in chairs and two acting as the arms
behind them. One student plays a show host asking the other
student what invention they have created. The inventor must
always accept the question the presenter asks and carry the scene
along.
Group scenes
Students will be asked to form a circle and a volunteer will start in

the centre. Students will be asked to produce a scene with a finish
using only a title given by the teacher for example, the castle in the
mist. Starting the scene with the volunteer, each student takes
turns in the circle of tagging each other in and out of the scene
working their way up to the climax.
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Teacher is tasked with prompting students to engage with

confidence and not have gaps in the piece.
Conc. Consolidate the lesson outcomes, outline the importance of 5 min

drafting. Reflect on the usefulness of improvisation and how it can
drastically improve character immersion for their own roles.
Lesson 7 Intensive 100 Minutes

characterisation
Desired Results Students will know: role analysis, power,
relationship and group dynamics.
Students will be able to: Analyse their character,
improvise in scenes and use characterisation.
Purpose: Understand the importance of role
analysis, and how utilising characterisation is
beneficial to creating a realistic role in performance.

outcomes.
1. Role analysis 15 min
Students are given the Uta Hagen worksheet where they must fill
out nine questions for one of their characters (See figure 2).
Discuss the importance of role analysis in developing the students
character from a role. Uta developed nine questions an actor
should ask themselves as they prepare. These questions will give
students a comprehensive list to follow with their character
development.
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2. Warm up 10 min
Students slowly walk around the room, hands by their sides, with
natural relaxed faces.
When told to, students will become a sovereign. A person of

the highest status. Students raise their hands and place a
crown on top of their heads. They feel the weight of their
crown inspiring them and their sense of pure nobility and
their god given right to rule
They now relax to their natural state. Students raise their
hand to their hearts and with their other hand they raise their
sword to their chests
Students are now a warrior proud and celebrating their
sense of duty
Relax to your natural state
Flex your feet, bend your knees, how does this make you
feel? Saunter up to others as you pass them, even bump
and fumble as you knock into each other and laugh
hysterically
You are now a fool
Relax to your natural state
Put your hands up to your heart walking slowly towards
others and open your hands in a welcoming gesture. Feel
the warmness and love of those you come across.
You are now a carer
Assign four corners to each type of character, students are to move

to the corner they feel most comfortable: Sovereign, warrior, fool
and carer. Now slowly walk around the room interacting with each
other and coming to terms with your characters status and their
relationship to others of higher or lower power.
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3. Master and servant 40 min
Put a chair onstage. Ask for a Master volunteer and a Servant.

Send the Servant off stage.
Tell the master: Invite your servant in. Tell them its ok to sit in your
chair, offer them a snack, and at some point, let them know theyve
crossed the line. Try to make this moment spectacular.
Tell the servant: Youre not comfortable accepting favours from the
Master, but eventually give in, even though you know it probably
wont end well.
Explain the importance of status and how it adds a whole

new layer to their character in the final performance.
Group scene
Get into groups of 3-4 and assign each group a scenario and a
character with a status number 1-4 (1 highest and 4 the lowest)
without showing the other students. (See figure 3)
Improvise a scene showing a clear status power structure with

each student sticking to their given status and showing power or
submitting to it.
If there is extra time change the status levels of each character and
perform a new scene.
Walking in character
Begin walking around the space in a neutral stance filling any gaps
in the space. Students will be asked to slowly transition into their
final performance character without interacting with other actors.
Are you a child? Are you old? Are you happy? Are you sad?
Which part of your body commands your walk? Nose, belly,

shoulders, chest?
Notice the other characters in the space and begin interacting with
them. Gesture, smile, wave, greet or ignore.
Consider how your character might behave among other

characters.
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4. Technical and dress rehearsal 25 min
Students will do a quick run through of the performance whilst the

teacher plots lighting cues and student stage manager records
blocking, prop management, and scene changes.

characterisation and role analysis and its impact on their own roles
in the upcoming performance.
Lesson 8 Showcase performance

at Hopgood theatre
Desired Results Students will know: Behaviour and professional
etiquette.
Students will be able to: Complete a final
rehearsal.
Purpose: Understand the importance of time
management during a dramatic professional show.

Performance at Hopgood theatre All day
Students will rehearse for 2 hours during the day, one hour for
technical rehearsal and the final hour for a complete run through
and intensive scene workshops.
Students will return to the Hopgood theatre at night for the

showcase performance.
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Lesson 9 Showcase 100 Minutes

reflection/Improvisation
Desired Results Students will know: Self and peer assessment.
Students will be able to: Analyse their own
performance.
Purpose: To understand the importance of self-
assessment in developing a role.

outcomes.
1. Class reflection 60 min
Students will watch the video recording of their showcase

performance at the Hopgood Theatre. It is important for students to
pay close attention and reinforce the notion that this is for their own
benefit to improve for the next performance. Students will be asked
to point out some areas that need work and some areas that they
excelled in.
Students will then be asked to complete the reflection questions

(See figure 4) and hand up to the teacher.
2. Warm up 5 min

3. Improvisation in character 25 min
Students will conduct group improvisation scenes whilst utilising

their own character from the play. The teacher will give students a
scenario and each character will have to form a beginning, middle
and an end to the scene whilst considering how their specific
character will behave in the scenario.

analysis and self-reflection in their own work.
17
Lesson 10 Final drama night

performance
Desired Results Students will know: Behaviour and professional
etiquette.
Students will be able to: Apply their learning and
development from the unit to enhance their
character/role.
Purpose: Understand the importance of time
management during a dramatic professional show.

Drama night performance
Students will have the whole lesson for a final technical/dress

rehearsal where new lighting cues will be recorded as the
performance is at the school and will not have the same equipment
or calibre as the Hopgood Theatre.
After school, students will stay back to complete a final dress

rehearsal of the performance and various improvisation activities
and final tuning will take place. Characterisation, Stanislavski
method and improvisation skills learnt throughout the unit will be
reinforced to provide students with the best opportunity to succeed
in their final performance.
Students will perform in front of friends and family that night after
final rehearsal.
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Lesson 11 Final review lesson 100 Minutes

Desired Results Students will know: How to self-assess and finish a
review
Students will be able to: Analyse their own final
performance using self-assessment and complete
their review good copy.
assessment in developing a role and time
management with assessments.

outcomes.
1. Class reflection 50 min
Students will watch the video recording of their final drama night
performance at the school. This time, students will be given a copy
of the rubric (See part 2 of figure 1) and asked to place a grade
for each of the sections before viewing the performance video.
After students finish viewing their performance, they make a

second self-assessment and record their chosen grade and why.
Students will hand this up to the teacher.
2. Review 40 min
Students will use the remainder of the lesson to complete their

review good copies. The teacher will work closely with NEP
(negotiated learning plans) students and address extensions where
required. Any questions or queries will be answered regarding the
review of Sista Girl or other negotiated dramatic pieces/films.
Conc. Consolidate the lesson outcomes, outline the importance of self- 5 min
assessment with their performance and the use of time
management to complete assessments.
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Lesson 12 Final production 100 Minutes

reflection task
Desired Results Students will know: How to reflect on their
performance in an analytical way.
Students will be able to: Analyse their own final
performance using dramatic elements in a
production report.
reflection in dramatic work.

outcomes.
1. Performance report 90 min
Students will begin a performance report (See figure 5)

demonstrating analysis and evaluation of practical skills and
techniques that are relevant to their own on-stage or off-stage roles
during the final performance night. Students will be able to do this
in written, oral or multimodal formats.
The teacher will go through the task sheet (See figure 5) and
outline the importance of analysis in this assessment and the
various questions they need to answer. The details of the
performance standards will also be outlined.
Conc. Consolidate the lesson outcomes, outline the importance of self- 5 min
assessment with their performance and the use of time
management to complete assessments.
20
Evaluation
This intensive unit on character development will aim to provide the Year 11 students with all
the essential tools they need to transform a simple role into a believable character in a
professional performance. As the students will be performing a showcase at the Hopgood
Theatre for a paid professional show, they will need educating on several avenues of drama
to have the best opportunity for success in their performance. This unit will provide them with
these essential tools for success. Improvisation techniques, the Stanislavski method and the
elements of characterisation all are essential tools for creating a realistic and engaging
character. Students will explore practitioner theories, realistic acting, methods of both
improvisation and characterisation during lessons. Students will apply their learning in both
performance nights.
Another focus for this unit will be on developing students writing in relation to dramatic arts.
Students will see a live professional performance at their local theatre which contains
themes of racism, land ownership and grieving. A review of the play will be scaffolded and
students will be expected to write 1000 words or the equivalent in oral or multimodal format.
Not only will students be graded on their final performance during Drama Night, but they will
also be given the opportunity to reflect and analyse on their performance. A production
report is the second assessment task that will focus on student writing skills and analysis of
their performance. Critical and creative thinking will be at the forefront of this unit.
This unit will follow the exact 6-week block of my placement and is reflected in the unit
structure and assessments. Ongoing assessment during both during lesson and lunchtime
rehearsals, class activities and audience skills will be taken into consideration. Summative
tasks will allow students to create a review piece, production report, and finally perform two
performance pieces to a live audience using their knowledge of improvisation,
characterisation and Stanislavski methods of acting.
In conclusion, this unit will challenge students and provide them with the means to succeed
in their written assessments and their practical performances. Students will be interpreting,
analysing and creating impressions of a live performance piece. Students will explore and
apply practitioner theories and utilize multiple methods of acting. They will self-assess
themselves and reflect on their work. Most importantly, they will learn the importance of
working as a successful ensemble to create effective performance.
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Appendix
Figure 1:
REVIEW WRITING
Outline:
When writing a review, it is important to remember that you are not just describing
a performance, you are critically analysing the dramatic elements and how well
these were executed in the performance. It is important in Drama as it is essential
in revealing the relationship between both off-stage elements and the acting. This
is relevant in your own upcoming performance of Thicker than Water. The
following template Is only a guide and is not strictly the only way to complete a
review.
In the top left of your review indicate the critical performance
information:
Sista Girl
Introduction State Theatre Company
(100 words) Kyle Morrison
Hopgood Theatre
9th May 2017
Begin your review with essential information and give your

overall impression of the performance.
Cover briefly what happened in the play and focus on the
themes that were explored as well as any hidden messages
that were portrayed.
Plot/Themes
(200 words) What happened in the play, what was it about?
What themes or messages were portrayed in the
performance?
Discuss what the directors goal was in the play. Discuss

whether this goal was achieved and through what means.
Was the ensemble effective in forming a unified production?
Directors
What choices did the director make?
Intent Did the acting, sets, props, music, etc all come
(200 words) together to make a successful production?
Was the blocking clear and natural or obscured?
Did the ensemble work well together?
Was the directors intention and chosen audience
clear?
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Discuss and analyse the acting of the performance. Pay

attention to specific scenes from the play using examples to
back up statements.
Acting Is the diction and speech of the actors clear?
(200 words) Were they convincing?
What style of acting was used (realism, slapstick etc)
Were there clear relationships between the
characters?
Where there any special skills the actors used?
Did the actors have a good working relationship with
each other?
Did the illusion of the fourth wall remain throughout the
performance? Or was it broken and why?
Was anything not convincing?
Discuss and analyse all the design elements utilized in the

performance and how they contributed towards creating a
successful or unsuccessful play (set design, lighting, sound
and costuming).
Design How well did the set design work with production and
Elements what specific set was used?
(200 words) Was it visually pleasing?
Did the lighting play a specific role in the performance
other than setting the mood?
Did the sound prove realistic and effective?
What music or sfx were used and why?
Provide the reader with an overall summary of the

performance and indicate your impression of the play,
referencing each dramatic element. Discuss the audience
and recommendation.
Conclusion
(100 words) What audience would you or would you not
recommend to see the play?
Was this play a success or not?
Did you find there were areas that needed improving?
Give a lasting impression and comment on the
performance, did it leave you in disbelief, horror,
amazement etc?
If you miss the Sista Girl excursion you may choose to review another performance or film,
but this must be negotiated with me prior. The review may be orally presented in 6-10 minutes
if you choose to do so instead.
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When writing your review keep in mind:

Use formal perspective rather than first person. The reader already knows this Is an
opinion piece.
Do not over-state when unnecessary and use emotive vocabulary relative to dramatic
elements and terminology. A glossary will be given out to help guide you.
Avoid using clichs: the audience was at the edge of their seat the whole time.
Avoid over-stating, In my opinion I personally believed that the light was good the
reader knows the review is all your opinion!
Word count: 1000 (10% above/below)
Due dates: Draft Friday 19th May | Final copy Tuesday 6th June
Performance Standards for Stage 1 Drama

Knowledge and
- Application Analysis
Understanding
A Broad and in-depth knowledge and Focused and highly skilled selection Perceptive investigation and analysis
understanding of practical skills and and application of methods, forms, of the students own dramatic works
techniques relevant to specific and techniques related to on-stage and the dramatic work of others.
practitioners on-stage or off-stage roles and/or off-stage roles.
roles. Thoughtful, productive, and
Insightful experimentation with, and sustained integration of skills,
Comprehensive knowledge and exploration of, appropriate creative techniques, knowledge, and
understanding of different dramatic methods and techniques to conceive, understanding related to on-stage or
roles, their interdependence, and their develop, create, interpret, and off-stage roles.
impact on an audience. express dramatic works.
Insightful analysis of, and reflective
In-depth understanding of the theories, Focused, productive, and sustained response to, dramatic works and
skills, techniques, and technologies of collaborative and independent work dramatic concepts.
drama. through a range of dramatic forms
and processes as an on-stage or off- Comprehensive analysis of the ideas,
stage practitioner. concepts, and intentions of a
Highly effective communication of
dramatic ideas to an audience
through a variety of forms and
methods.
B Thorough knowledge and Skilled and well-informed selection Well-informed investigation and
understanding of practical skills and and application of methods, forms, analysis of the students own
techniques relevant to specific and techniques related to on-stage dramatic works and the dramatic
practitioners on-stage or off-stage roles and/or off-stage roles. work of others.
roles.
Thoughtful experimentation with, and Mostly thoughtful and productive
Detailed knowledge and a mostly clear exploration of, appropriate creative integration of skills, techniques,
understanding of different dramatic methods and techniques to conceive, knowledge, and understanding
roles, their interdependence, and their develop, create, interpret, and related to on-stage or off-stage roles.
impact on an audience. express dramatic works.
Well-informed analysis of, and
Some depth of understanding of the Mostly productive, collaborative, and reflective response to, dramatic
theories, skills, techniques, and independent work through a range of works and dramatic concepts.
technologies of drama. dramatic forms and processes as an
on-stage or off-stage practitioner. Thoughtful analysis of the ideas,
concepts, and intentions of a
Effective communication of dramatic dramatic practitioner or source.
ideas to an audience through a
variety of forms and methods.
24
Knowledge and
- Application Analysis
Understanding
C Knowledge and generally clear Informed selection and application of Informed investigation and analysis
understanding of the key practical skills methods, forms, and techniques of the students own dramatic works
and techniques appropriate to specific related to on-stage roles and/or off- and the dramatic work of others.
practitioners on-stage or off-stage stage roles.
roles. Integration of the essential skills,
Experimentation with, and exploration techniques, knowledge, and
Knowledge and generally clear of, the essential creative methods understanding related to on-stage or
understanding of different dramatic and techniques to conceive, develop, off-stage roles.
roles, their interdependence, and their create, interpret, and express
impact on an audience. dramatic works. Informed analysis of, and reflective
response to, dramatic works and
Informed understanding of the most Competent collaborative and dramatic concepts.
essential theories, skills, techniques, independent work through a range of
and technologies of drama. dramatic forms and processes as an Considered analysis of the ideas,
on-stage or off-stage practitioner. concepts, and intentions of a
Communication of dramatic ideas to
an audience through a variety of
forms and methods.
D Knowledge of some basic practical Recall and partial application of Some consideration of the students
skills and techniques relevant to aspects of methods, forms, or own dramatic works and the dramatic
specific practitioners on-stage or off- techniques related to on-stage roles work of others. Consideration tends
stage roles. and/or off-stage roles. towards description.
Some recognition and understanding of Some basic experimentation with, or Partial integration of some basic
aspects of dramatic roles and their exploration of, aspects of methods or skills, techniques, knowledge, and
impact on an audience. techniques to conceive, develop, understanding related to on-stage or
create, interpret, or express dramatic off-stage roles.
Some awareness or knowledge of works.
aspects of theories, skills, techniques, Description of, or descriptive
or technologies of drama. Some basic collaborative and response to, dramatic works and
independent work as an on-stage or dramatic concepts.
off-stage practitioner.
Description and some attempted
Some disjointed description of analysis of the ideas, concepts, and
aspects of dramatic ideas to an intentions of a dramatic practitioner
audience. or source.
E Limited knowledge of any practical Attempted application of aspects of Brief or disjointed description of one
skills or techniques related to methods, forms, or techniques that or more dramatic works.
practitioners on-stage or off-stage may be related to on-stage roles
roles. and/or off-stage roles. Attempted demonstration of one or
more skills or techniques related to
Identification of one or more aspects of Attempted exploration of one or more an on-stage or off-stage role.
dramatic roles and their impact on an aspects of a method or technique
audience. related to dramatic works. Limited description of, or descriptive
response to, one or more dramatic
Identification of aspects of theories, Limited collaborative or independent works or dramatic concepts.
skills, techniques, or technologies of work as an on-stage or off-stage
drama. practitioner. Basic summary of one or more ideas
or intentions of a dramatic
Attempted description of an aspect of practitioner or source.
one or more dramatic ideas to an
audience.
25
Figure 2:
UTA HAGENS NINE QUESTIONS
1. WHO AM I?
(All the details about your character including name, age, address, relatives, likes, dislikes, hobbies,
career, description of physical traits, opinions, beliefs, religion, education, origins, enemies, loved
ones, sociological influences, etc.)
2. WHAT TIME IS IT?

(Century, season, year, day, minute, significance of time)
3. WHERE AM I?
(Country, city, neighbourhood, home, room, area of room)
4. WHAT SURROUNDS ME?

(Animate and inanimate objects-complete details of environment)
5. WHAT ARE THE GIVEN CIRCUMSTANCES?

(Past, present, future and all of the events)
6. WHAT IS MY RELATIONSHIP?
(Relation to total events, other characters, and to things)
7. WHAT DO I WANT?
(Character's need. The immediate and main objective)
8. WHAT IS IN MY WAY?
(The obstacles which prevent character from getting his/her need)
9. WHAT DO I DO TO GET WHAT I WANT?

(The action: physical and verbal, also-action verbs)
26
Figure 3:
THE OFFICE
The boss (1)
Junior executive (2)
The secretary (3)
The cleaner (4)
The Castle
The King (1)
The high priest (2)
The tax collector (3)
The peasant (4)
The School
The principal (1)
The teacher (2)
The parent (3)
The student (4)
27
Figure 4:
Showcase Reflection Questions
1. Comment on your effective use of class time. Were you here every day? Describe a
typical drama class from start to finish during the process of this unit.
2. Comment on the process work of each person in your group. Was he/she reliable,
enthusiastic, supportive, prepared, and creative?
3. Describe how you and your group worked on blocking, memorization, characterization,
and pacing.
4. Did you give consideration to costume, props, set decoration, lighting, and sound?
Explain.
5. If you had these three weeks of process work to live over again, what would you do
differently?
6. Were you nervous at any time during the performance? How did that extra energy affect
you and how did you deal with it?
7. Comment on each of the following aspects of your performance: memorization, energy,

concentration, characterization, blocking, pacing, vocal work (volume, articulation,
expression) and movement.
8. Comment on the performance of each group member.
9. Choose one other group member and comment on the effectiveness of their
performance. Be sure to comment on elements mentioned in #7 above. Also consider
lighting, sound, props, and set design.
28
Figure 5:
Stage 1 Drama
ASSESSMENT TYPE 2: FOLIO
PERFORMANCE REPORT
School Contact Teacher Mr Scapens
Student Name Student SACE Number
Student
Purpose:
The purpose of this report is to enable you to demonstrate analysis and evaluation of practical
skills and techniques, relevant to your on-stage or off-stage roles in the Group Performance.
This can be done in written, oral or multimodal format.
Description of assessment:
You are to write a Performance report that evaluates and analyses your role in the Group
Performance.
Through this report you should demonstrate your ability to:
Investigate, analyse, reflect on and integrate information, concepts and ideas to
communicate for a dramatic purpose.
Analyse and reflect on the performance of Drama, and drama texts, using arts-
specific terminology.
Analyse the interdependent nature of drama and dramatic elements
Consider the response of an intended audience
Evaluate a text and its concepts, which in turn informs the development of the
presentation of dramatic works.
Outline of task:
In the report, you need to review and analyse your learning and involvement in the group
performance or related off-stage presentation. This should be done by reflecting on and
evaluating the process and outcomes of the performance or presentation. Using your
knowledge and experience, judge the quality and merits of the performance or presentation,
by analysing and reflecting on the dramatic concepts and their realisation, skills, techniques
and the intentions in the performed piece or presentation.
Assessment Conditions:
The report is part of the folio that comprises of: A Performance Report
1 Review
The folio should be a maximum of 2000 words if written or a maximum of 12 minutes if oral,
or the equivalent in multimodal form.
Therefore, your report should be 1000 words in length or a 6-minute oral.
29
The folio is worth 30% as a total unit.

Assessment Criteria:
For this assessment, you will be assessed using the following criteria:
Knowledge and understanding- Points 1,2
Analysis- Points 1, 2, 3, 4
DUE DATE: Thursday week 7
Grade:
You may present your report as an oral presentation. You may want
to create a PowerPoint to help with your examples and explanation,
however it is not compulsory. Your presentation will be recorded in
a one-on-one interview. Use the dot points and questions below to
formulate your report.
Writing Tips
Use drama terminology
Use referencing throughout your report
Analyse the page to stage process
Evaluate the performance from the point of view of audience and director
Interpret the meaning of the text & the intention of the director
Designs, illustrations & other design material may be included if relevant
Focus on the text (script) rather than biographical information about the writer
Problem solving should relate to theatrical and dramatic interpretations;
rather than dwelling on trivial matters or personality differences & gossip
Do not write in the style of a diary
Whatever you write, make sure you always relate it to the text. In other words,
dont say anything unless you are supporting the success of the written play and
its transference to stage (the page to stage process).
30
Questions:
1. Date, title and author of play

2. Outline of the play and your characters
3. Page to Stage process- How did you take the play from a script to the final
performance? The processes, techniques and skills you used. Do not describe but
analyse the process. Give examples of your characters from the play.
4. Character development (rehearsals): How did you develop your character
throughout the rehearsal period? Give specific examples- e.g. scene 10 David and
Richard. What were the processes, techniques and skills that you used? What was
your intention for this character? What impact did your character have on the
audience?
5. Authors and directors intent- what was the play about and how was this conveyed
in the performance? (themes and messages) Give examples- How did the audience
react?
6. Acting styles- Link your acting to a specific dramatic style. (Stanislavski/ realism)
Provide examples of where you used this.
7. Design concepts: Lighting, costumes, props, set and how these effected the
play/characters and the impact on the audience.
8. Problems that arose & how they were overcome
9. The performance, its success and your learning
10. Audiences reaction
Assessment criteria
KU1: Knowledge and understanding of practical skills and techniques relevant to specific practitioners
on-stage or off-stage roles.
KU2: Knowledge and understanding of different dramatic roles, their interdependence, and their impact
on an audience.
An1 Investigation and analysis of the students own dramatic works and the dramatic work of others.
An2 Integration of skills, techniques, knowledge, and understanding related to on-stage or off-stage
roles.
An3 Analysis of, and reflective response to, dramatic concepts and works.
An4 Analysis of the ideas, concepts, and intentions of a dramatic practitioner or source.
31

Year 11 Drama Unit of Work - Chris Scapens

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Year 11 Drama Unit of Work - Chris Scapens

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Chris Scapens: Scap0004 Drama Senior Years Curriculum

UNIT OF WORK YEAR 11 DRAMA CHARACTER DEVELOPMENT

Unit: CHARACTER DEVLOPMENT

What is the importance of working cohesively as an

How can an actor utilize theories from dramatic practitioners

What makes an effective review in the realm of theatre?

General Capabilities Cross-Curriculum Topics

Knowledge and KU1 Knowledge and understanding of practical skills and

Skills and Students will be able to:

Students will know how to:

Learning Activities See individual lessons and appendix

SACE Board of South Australia. (2010). Drama 2017

Diagnostic and Formative:

Lesson 1 Introduction 100 Minutes

Learning Activities Duration

The class stands in a circle and begins throwing an object (ball,

As a variation, the catcher can call out the name of the

Adapted from: Farmer, 2007, P 6.

2. Unit goals 10 min

Using a whiteboard, the unit objectives/assessments will be

Goals to creating an effective, believable character:

Learning Activities Duration

Students will form groups of 4-5 and in 10 minutes, brainstorm the

If students have forgotten some of the elements, refresh

3. Warm up and space Walk 10 min

Form a circle with the class and perform several verbal

Students will be asked to continue to move around the room

Students work on scenes from their play Thicker than Water by

Lesson 2 Foundations of review 100 Minutes

Learning Activities Duration

The class stands in a circle and students introduce themselves by

As a variation, students can add an action

Adapted from: Farmer, 2007, P 7.

2. Dungeons and dragons 10 min

An emphasis on projection and physicality is to be

Learning Activities Duration

Introduce students to the performance they will be seeing next

Discuss with students the difference between description and

Go through the layout of the review as well as the SACE Stage 1

Form a circle with the class and perform several verbal

Students work on scenes from their play Thicker than Water by

Lesson 3 Class performance

Learning Activities Duration

Attend the first performance of Sista Girl by the State Theatre

Mental notes of the performance for next lessons

Lesson 4 Review writing 100 Minutes

Learning Activities Duration

Discuss memorable scenes, whether there were themes or

On the white board, work as a whole class to create a mind map of

Learning Activities Duration

Students will begin working on their skeleton plans of the review

Form a circle with the class and perform several verbal

Students work on scenes from their play Thicker than Water by

Lesson 5 Script analysis/ 100 Minutes

Learning Activities Duration

Students stand in a circle and each pass on energy in the form of a

2. Script analysis 20 min

Explain the importance of script analysis in regard to understanding

Form a circle with the class and perform several verbal

Learning Activities Duration

Volunteers will come on stage and perform a scene they have

The audience is tasked with determining what the objective of each

5. Dress rehearsal 30 min