Teaching and learning

Outcome 1:

Devise, demonstrate and document solo and/or ensemble drama works based on experiences and/or stories.

Example of learning activities

Exploring performance style


• When exploring the performance style of Bertolt Brecht’s Epic theatre, examine how Brecht aimed to enhance the social and political messages of a performance. As a class, analyse key literature, including Brecht on Theatre by Bertolt Brecht, and discuss how the conventions, dramatic elements, and production areas of Epic theatre are used to shape the actor–audience relationship and create the alienation effect.
  
  Devise an Epic theatre performance, applying selected or nominated conventions to a Brechtian play (or excerpts from one) such as Mother Courage and her Children. The aim is to intentionally manipulate the actor–audience relationship.

Exploring stimulus material

• One example of a focus, when devising and developing the group performance, could be the 1960s group ‘Women’s International Terrorist Conspiracy from Hell’ (WITCH). Use this to engage in various activities using research-based play-making techniques. In doing this, gather materials such as:
  • newspaper articles and online journals about the 1968 Wall Street Protest
  • photography and artwork depicting the group and their activist campaigns
  • speeches and documents of chants and leaflets from various protests.

Mind mapping and unpacking sourced material

• Explore the creative potential of stimulus material and use it to communicate personal and cultural experiences or stories. Also, extract dramatic potential from the materials you collect.
  
  Study excerpts from Shakespeare’s Macbeth and Arthur Miller’s The Crucible (provided by your teacher) to draw parallels between historical depictions of witches and the feminist group (when developing a piece based on ‘Women’s International Terrorist Conspiracy from Hell’ (WITCH).
  
  Through brainstorming and mind-mapping, explore and record creative possibilities from the stimulus material, including:
  • characters
  • settings
  • times
  • storytelling and narrative ideas.

Character profiling

• Revisit the play-making technique of research to create and develop a central character. Responding to the stimulus material and/or the prescribed structure, research a key figure or character. Document the biographical details, including:
  • name
  • age
  • gender
  • occupation
  • key relationships
  • beliefs about female empowerment
  • aspirations for the future
  • qualities of physicality.

Developing character and key relationships

• Using stimulus material and sourced research, explore how experiences and stories can enhance meaning within a performance. With your developed biographical profile, use improvisation techniques to deepen character development. Activities can include:

  • hot seating
  • scenario-based improvisation
  • script-based improvisation.
    

Detailed example

Developing character and key relationships

Focus for this activity: 1960s group ‘Women’s International Terrorist Conspiracy from Hell’ (WITCH)

The play-making technique of improvisation involves students responding to scenarios related to the performance focus. This task encourages students to explore character objectives and motivations during the devising process.

Students use the backstories and key details from their research to improvise storytelling responses and manipulate expressive skills. The devising process, including characterisation and the use of expressive skills, should be documented in the students' Drama Journal.

Hot-seating activity:

Contexts for hot-seating can be drawn directly or indirectly from the stimulus material. For example:

• The character is asked why they want to join the ‘WITCH’ feminist group at their first meeting.
• During an interview with a news reporter at the Wall Street protest, the character explains the group’s political goals.

Students document their experimentation with expressive skills and refine them for effective characterisation.

Scenario-based improvisation:

Students improvise different characters and settings as described by the scenario. They focus on the creative possibilities within the scenario. This activity supports the devising process and the exploration of specific scenarios related to the performance focus, such as:

• At the meeting at the Wall Street train station, the women put on their WITCH cloaks, ready to protest on the steps of Wall Street.
• After the success of the Wall Street protest, the women regroup to prepare for their next political action and to share their feminist message at an upcoming bridal fair.

Script-based improvisation:

To draw parallels between the depiction of witches in literature and the feminist group, students experiment with script extracts from their research, such as Shakespeare’s Macbeth and Roald Dahl’s The Witches.

Working as an ensemble, students create a dramatic moment using one piece of sourced text. They apply conventions from the prescribed performance style to enhance the scene’s blocking.

Students might use Epic Theatre conventions such as:

• narration
• direct address
• fragmented design elements
• spoken stage directions.

After exploring the text, students document in their Drama Journal their understanding of how the experimentation with conventions and style shaped their performative work. Key reflection prompts may include

• How did the ensemble explore different ways to block and use space in the workshop?
• How did a specific convention help communicate meaning in the devised work?
• How might production areas enhance the meaning of the scene?

Outcome 2:

Perform devised works to an audience.

Example of learning activities

Character refinement workshops


• Through character refinement workshops, explore how to manipulate expressive skills to portray more refined characters within the ensemble or solo performance. In practical workshops, explore a variety of theatre practices and methodologies to enhance character development.
  

Conventions and performance styles

• Evaluate the relevant conventions of the performance style explored in Area of Study 1 to improve meaning and actor–audience relationships. Create a mind map of the performance style, outlining key conventions and how to manipulate the actor–audience relationship to enhance your performance work. Use the developed checklist to guide your rehearsal process and ensure you meet the theatrical intentions of the style.
  

Filmed footage to support refinement

• Review and analyse filmed footage of your performances to refine your performance and set further goals for focused rehearsal. Use a key skills table to critically reflect on the assessable components of your performance, including:
  • sustaining character
  • dramatic elements
  • conventions
  • actor–audience relationship.
  Reflect on your note-taking process to identify three key goals for improvement and devise rehearsal strategies to support your development. For example, to enhance the dramatic element of contrast between the depiction of witches in fairytales and the WITCH movement, you might experiment with the convention of caricature. As an ensemble or group of solo performers, take turns viewing the work and providing peer feedback to improve the contrast.

Detailed example

Character refinement workshops

Character intentions:

Students select a four-line scripted passage from their developing performance to explore a specific character’s intentions within the scene. They discuss the character’s goals and brainstorm various verbs to describe how the character might deliver the passage. Examples of verbs include:

• accuse
• confront
• provoke
• encourage
• beseech
• ridicule
• scold

The character’s objective should be shown through purposeful and consistent manipulation of expressive skills. In small groups, students discuss how to manipulate these skills; for example:

• voice: vocal inflection
  
• facial expression: tension in the mouth
• gesture: symbolic hand gestures
• movement: changes in gait and posture.

Using the four-line text, students choose three contrasting verbs and experiment with different intentions for the scene. They rehearse the passage repeatedly, applying a new intention each time.

Exploring Laban’s movement theory:

Use Rudolph Laban’s movement analysis to enhance the portrayal of character. Students examine human movement through four components: direction, weight, speed, and flow (as detailed in a visual table.)

Students first observe each other’s natural walk and movement in the rehearsal space through peer-to-peer observation. In class discussions, they analyse contrasting styles of movement within the group, using the eight efforts terminology.

Students explore practically the eight efforts: wring, press, flick, dab, glide, float, punch and slash. They workshop these efforts to understand how different types of movement can enhance and communicate aspects of a character.

Applying Laban’s movement theory:

Using their knowledge of Laban’s movement theory, students analyse their character’s portrayal, focusing on biographical details, emotional depiction and physicality. They document the character’s personality traits and emotional states to align with a specific effort. For example: The character Ruth, a fictional member of the WITCH movement, is bold and unforgiving. She often interrupts and interjects in conversations. Her effort is ‘Punch,’ reflecting her direct, heavy, quick, and bound nature.

Outcome 3:

Describe, reflect on and analyse the exploration and development of a devised performance to an audience.

Example of learning activities

Play-making process review


• In groups, identify key activities from specific play-making techniques. Reflect on these activities and find examples that support your written analysis. Think about the techniques used and evaluate how successful they were in the devising process.
  

Character development, refinement and presentation

• Create a detailed list of the different characters you performed in your ensemble performance. Consider the non-linear nature of the play-making process, including how revisiting research may have influenced the refinement of your characters. In doing this, remember to:
  
  • focus on one specific character and review how they were developed, refined and performed
  • reflect on how research supported the development of this character
  • consider how the character was shaped by improvisation techniques, such as hot seating or role play
  • view filmed footage of your performance and reflect on how you manipulated your expressive skills to portray the role.

Key dramatic moments

• Review the filmed performance and the finalised script. Create a glossary bank of key dramatic moments to support future analysis. Having a comprehensive list of these moments will help you identify relevant examples for your analysis.
  
  Select six dramatic moments, as a class, and list how you manipulated:
  • conventions
  • production areas
  • dramatic elements
  • expressive skills
  • performance skills.

Conventions and style

• In a class discussion, consider:
  
  • What conventions were crucial to the performance and used throughout? Also, list three key moments where prescribed conventions were manipulated.
  • What performance styles were used in your ensemble performance?
    
  Using examples from the glossary bank, plan a response to a set of questions in relation to the performance. The teacher will provide model structures, an example being TEEL (Topic sentence, Example, Elaboration, Link). An example of this exercise follows.
  
  Example question: Describe how two conventions from the performance style were manipulated in one dramatic moment.
  
  Topic sentence: In the ensemble performance, the conventions of satire and caricature were used to comment on the political climate regarding women in politics. The dramatic moment of ‘Little Red Riding Hood’ was an allegory for Julia Gillard’s rise to power.
  
  Example: In this scene, satire was achieved through the symbolic manipulation of expressive skills. Ruth portrayed Julia Gillard with naturalistic expressive skills, contrasting with the caricatured portrayal of male politicians.
  
  Elaboration: Caricature was applied by exaggerating expressive skills beyond naturalistic portrayal. This created a satirical effect by highlighting the faults of the political figures. For example, distorted facial expressions like narrowed eyes, and pouted lips exaggerated the characters and satirised their misogynistic views. The scene drew a parallel between Little Red Riding Hood’s innocence and Julia Gillard’s experience entering Parliament. This moment manipulated the actor–audience relationship to create alienation, first making the audience laugh, then shifting to a political reflection where they sympathised with Julia Gillard.
  
  Link: The use of satire and caricature encouraged the audience to reflect on the injustices within the political system, leading to an activist response.
  
  

Detailed example

Play-making process review

Each ensemble group splits into pairs to review the Research and Brainstorming stages of the play-making process. By examining their Drama journals, students respond to specific questions for each technique to support their analysis and evaluation of the play-making process.

Research:

Students discuss the following:

• How did researching the stimulus material help generate ideas, themes, characters or settings?
• What additional research was informed by the stimulus material or the prescribed structure?
• How did a specific piece of research contribute to the development of a key character?

Brainstorming:

• List the different brainstorming activities completed during the ensemble's development. For example: mind maps, dot point analysis, production areas, character possibilities
• Identify how one idea generated during brainstorming was further developed through an improvisation technique. For example, a character possibility workshopped through hot seating.

Improvisation:

• List the different improvisation activities that were completed. For example, hot seating, scenario-based improvisation, role play, and script-based improvisation.
• Identify a key example that contributed to the development of a central character or scene.

Scripting:

• Select a script (or excerpt) that went through a drafting process and explain how it addressed the chosen performance style. Outline how the script was drafted, from its initial concept to the final version.

Editing:

• Identify a key scene that underwent editing. Review the key annotations and notes that led to the final edit. For example: adjusting dense dialogue, aligning character dialogue with previous scenes, adding supportive facts or statistics.
• What was the focus of the editing process?
• How was the scene improved through editing?

Rehearsal:

• List the different goals and focus points that guided the rehearsal.
• Outline the strategies used to achieve these goals.
• What challenges were encountered in meeting these goals?

Refining:

• List the different ways by which the work was refined.
• How did specific feedback from the teacher shape the focus of refinement?
• With a focus on character refinement, identify how a key activity helped shape a character. Consider which activities focused on experimenting with expressive skills.
  

Outcome 4:

Analyse and evaluate the presentation of ideas, stories and characters in a drama performance by professional or other drama practitioners.

Example of learning activities

Pre-show script exploration


• As a class, read through the script together. At different points, stop the reading and start a discussion using prompts such as:
  • How do you imagine this scene being performed on stage?
  • How might a specific scene be delivered to affect the actor–audience relationship?
  • How might a production area be used symbolically to enhance the meaning of this scene?
  
  Explore key moments from the script through physical investigation by:
  • applying conventions of a performance style and experimenting with different ways to use expressive skills to portray a central character
  • exploring the dramatic element of space and considering how it might improve the actor–audience relationship.

Post-show analysis

• Discuss the production areas used in the performance and analyse how they were manipulated to create meaning.
  
  Evaluate key dramatic moments in the performance. Use information from the provided resource pack (if one was made available by the theatre company) and your experience of the live performance to critique the choices made by the creative team to enhance the theatrical or thematic intention.
  
  

Exam-style questions

• Review the outcome descriptors, key skills and key knowledge areas in the VCE Drama Study Design. Brainstorm a list of potential exam-style questions that cover these key areas. Discuss the definitions of key terms and explore command verbs.
  
  Devise an exam paper with challenging questions that total 25 marks (with the teacher’s help). Write responses to these questions and submit your work for feedback in order to refine your understanding of how to analyse and evaluate a performance.

Detailed example

Post-show analysis of production areas

Brainstorming key dramatic moments:

After viewing the performance, students complete a table that lists how production areas were used in key dramatic moments. This includes areas such as costume, makeup, set design, sound design, lighting, props, and theatre technology.

Using a sheet of butcher’s paper, students write a specific production area in the centre of the paper. They then describe to the group how this production area was used in a particular dramatic moment. Fellow students formalise their ideas by annotating the butcher’s paper with post-it notes.

Reviewing creative team analysis:

• To deepen their understanding of specific production areas, students analyse the creative team’s approach by highlighting and annotating the provided resource pack to identify key technical terms and specific qualities of production areas. (This is assuming there was a resource pack; if not, the teacher could produce relevant background information or you could engage in independent or small-group research.)
• Students brainstorm unfamiliar terms, as a group with the teacher guiding their understanding of definitions. They add these terms to a glossary bank (in their Drama Journal) to extend their knowledge of technical terms. These could include the names of specific stage lights or details about how costumes were finished.

Application of symbol:

Students analyse how a production area was used to apply symbols in the performance. The word SYMBOL is written in the centre of a piece of butcher’s paper. Students then brainstorm different ways that meaning was explored symbolically in the performance. To guide this discussion, they consider:

• What is the central theme of the performance?
• What ideas and meanings are explored throughout the performance?
• Is there a recurring image or motif in the performance?
  

Students then discuss the questions below in order to connect the symbols in the performance with how production areas were applied.

• What was a recurring prop?
• How did the music influence the meaning of the performance?
• How did the qualities of the lighting impact the communication of specific meanings?
  

Outcome 1:

Devise work and document play-making techniques used to create a solo or ensemble performance that reflects an aspect or aspects of Australian identity and reflects contemporary drama practices.

Example of learning activities

Exploring Australian identity


• In small groups, undertake research into what it means to be ‘Australian’. To consider this overarching inquiry, examine the Australian values statement found on the Department of Home Affairs website. Using a mind-mapping technique, create a word cloud of key words and phrases that are used in the values statement.
  

Life in Australia

• In small groups, read the Life in Australia booklet, published by the Department of Home Affairs. When reading the ‘Our values’ section, improvise three to four tableaux that could represent each value. Using these tableaux, create a short performance that weaves the tableaux together and uses a word or phrase from the word cloud of the previous activity to transition between each.
  

Marketing Australia

• As a class, watch the videos: Tourism Australia and Chris Hemsworth and G’day the short film . In a class discussion, consider:
  • What aspects of Australian Identity are featured?
  • What aspects of Australian Identity are omitted?
  • What ‘characters’ do you see – both literal and non-literal?
  • How is ‘place’ featured in the campaign?
  • What objects are featured in the video?
  • What effect does music and narration have in the video?

  Using the information discussed and prior work in class, in small groups, brainstorm, improvise, rehearse and perform a short, 1–2 minute living post-card of Australian life.
  

• Researching for inspiration

  Undertake, with teacher guidance, research into people, events, issues, places, art, text, music and icons that shape or contribute to Australian identity.
  
  Examples could include:
  • People: William Barak, Truganini, Dame Nellie Melba, Julia Gillard, John Howard, Ian Thorpe, Adam Goodes, Grace Tame, Shane Warne, Nicole Kidman, Alice Pung, Bachar Houli, Bhakta Bahadur Bhattarai, Squizzy Taylor, Uncle Jack Charles, Tim Minchin and more.
  • Places: Great Ocean Road, Ballarat, Hosier Lane, Sydney Harbour Bridge, The Big Banana, The Shrine of Remembrance, Flinders Street Station, Federation Square, The Bayside Beaches, Gippsland Lakes, The Goldfields, Wonthaggi State Coal Mine and more.
  • Historical and contemporary Issues: climate change, immigration, political campaigns and elections, media in Australia, natural disasters, gun reform, women’s rights, Aboriginal and Torres Strait Islander Peoples’ rights, the right to vote and more.
  • Music*: My Island Home by Christine Anu, How to Make Gravy by Paul Kelly, Beds are Burning by Midnight Oil, Marryuna by Baker Boy, Great Southern Land performed by Mitch Tambo and Reigan Derry, From Little Things Big Things Grow performed by Electric Fields, Down Under by Men At Work, I Am Australian performed by The Seekers. *Aboriginal and Torres Strait Islander viewers are warned that some of these clips contain images and voices of deceased persons.

Play-making techniques and Verbatim Theatre

• Interview friends and family members about what they think it means to be an Australian and record their responses (hand-written or on an electronic device). Use these interviews to explore Verbatim Theatre, working in small performance groups and creating scripts from the recorded responses. Edit and refine the order of dialogue to create moments of contrast, tension, conflict and climax. Rehearse and refine the script, experimenting with conventions of direct address and third-person narration. Experiment with developing a strong actor–audience relationship through use of expressive and performance skills.
  
  
  

Still and moving images

• Collect visual images of iconic Melbourne places and pastimes that reflect Australian identity. For example, Flinders Street Station, trams, MCG and AFL, Shrine of Remembrance, Eureka Tower and the coffee and café culture. Using freeze frames and physical theatre conventions to create an image of each place and/or pastime. Using improvisation techniques, extend each image to a series of vignettes by adding sound, movement, levels and dynamic use of space. Refine the use of transformation techniques when transforming from place to place.

Detailed example

Play-making techniques and Verbatim Theatre

Research:

Students start by interviewing friends and family about their views on what it means to be an Australian. They can record these responses by writing them down or using an electronic device. Crafting thoughtful questions will help in gathering a diverse range of opinions and insights.

Brainstorming:

Students then brainstorm, in small groups, how to use the collected responses in their performance. It is useful to identify common themes and interesting ideas that emerge. Discussing various ways to present these ideas in a script will help shape the overall performance. When brainstorming, the development of a mood board and/or scene board may be beneficial for weaving together a narrative.

Improvising:

Students use improvisation to explore and experiment with ways of presenting the recorded responses. Role-playing different scenarios based on the interviews can be a good way to try out various approaches to characterisation. Focusing on the expressive skills (voice, movement, gesture and facial expression) during these improvisations will assist in the development of character. Performance skills such as focus, timing and energy can further enhance this exploration.

Scripting:

Students work together to turn the interview responses into a script, arranging the responses to create a narrative with moments of contrast, tension, conflict and climax. Integrating stage directions into the script (with regard to voice, movement, gesture and facial expression) may assist in making the rehearsal process easier. Ensuring that the dialogue flows naturally and reflects the intended emotions can also be beneficial.

Rehearsing:

Students then begin rehearsing their script, experimenting with how to use voice, movement, gesture and facial expression to bring the script to life. It is important to consider the performance skills of focus, timing and energy when developing a strong actor–audience relationship and making the performance engaging.

Editing:

Students review and adjust their script based on feedback from peer audiences at rehearsals. Refining the dialogue to enhance emotional impact and clarity might be necessary. Tweaking voice modulation, movement choices, gestures and facial expressions will improve the overall flow and effectiveness of the performance.

Refining:

Students finalise their performance by honing their use of voice, movement, gesture and facial expression. Paying attention to performance skills such as focus, timing and energy will help in creating a strong connection with the audience. Ensuring that the script and performance are polished and impactful will enhance the overall performance.

Outcome 2:

Present a devised performance that reflects aspects of Australian identity through the application of contemporary drama practices.

Example of learning activities

Rehearsal


• Engage in rehearsal and refinement exercises to enhance the quality of a devised performance that will be performed for an audience.

Self-record


• Using a digital device, record your devised performance and watch it back. Pay close attention to the following:
  
  • Expressive skills: are your expressive skills clear and do they accurately communicate action, emotion and character?
  • Performance skills: is there evidence of energy (both high and low) throughout the performance? Are there moments where the audience’s focus is manipulated? From the recording, what type of actor–audience relationship could be present? How would you describe the timing of your performance?
  • Conventions: can you identify conventions from the intended and/or prescribed performance styles?
  • Dramatic elements: which dramatic elements are present in the performance? How can these be further enhanced to make the piece more engaging?
  • Is the narrative clear and interesting? What questions may an audience still have at the end of the performance?
  • How is character(s) sustained throughout the performance? Are there moments where characterisation is not clear or present?
  • Are transformation techniques clear and appropriate in the moments where they exist?

Warming up


• Prior to presenting your devised performance, engage in mindfulness activities and undertake a physical and
  vocal warm-up.

Class feedback

• Present your devised performance to the class for feedback. Prior to performing, provide your peers with three elements you wish to have direct and constructive feedback about. This may include the evidence of stimulus material in the performance; use and manipulation of expressive and/or performance skills; narrative conventions and performance styles.
  
  

Detailed example

Class feedback

In this activity, students present their devised performances to the class to gather constructive feedback. Before the performance, students should identify three key elements on which they want feedback, such as how well they incorporate stimulus material, the effectiveness of their expressive and performance skills, and/or the clarity of their narrative and use of conventions. This preparation helps focus the feedback process and ensures that it is relevant and actionable.

During the performance presentation, students showcase their work, providing context about the elements on which they are seeking feedback. After each performance, the class engages in a structured feedback session. Peers offer their insights on how effectively the stimulus material was integrated, the clarity and impact of the expressive and performance skills used, and the narrative’s coherence and engagement. Feedback should focus on specific aspects such as voice, movement, gesture, facial expressions, energy and timing, as well as the adherence to dramatic conventions and performance styles.

Following the feedback session, students meet in their groups to review and discuss the comments they received. This reflection is crucial for identifying common themes and areas for improvement. Students then develop an improvement plan, detailing actions to address the feedback; for example, refining their use of stimulus material, enhancing their expressive skills, clarifying their narrative. They rehearse their performance piece with these adjustments in mind, focusing on implementing the feedback to make their performance more polished and effective.

If time permits, students may have the opportunity to present their refined performance again to showcase the improvements made. Finally, students reflect on the feedback process and consider how it has influenced their performance and their approach to future projects. This reflection helps students understand the value of constructive criticism and apply these insights to enhance their overall performance skills.

Outcome 3:

Reflect on, describe, analyse and evaluate the development of a performance to an audience of their devised work.

Example of learning activities

Play-making record

• First, make a list of the play-making techniques you engaged with throughout the devising process. Second, identify two key activities for each technique. For each of these activities, describe how they were integral in the development of your devised performance and what ideas were still evident in your final performance.
  

  Use a table to record the process of devising the performance, listing for example: researching, brainstorming, improvising, scripting, editing, rehearsing, refining. In subsequent columns make comments on each of these processes.

  
  

Review the scrap-heap

• Throughout the play-making process, you will have generated ideas that did not make it to the performance. Identify three of these moments or ideas and analyse why they were not present in the final piece.



Review command terms

• Considering the key words ‘reflect’, ‘describe’, ‘analyse’ and ‘evaluate’, establish definitions for each and draft your own sample questions. For example, ‘Describe how the play-making technique of brainstorming was used to establish one idea’.



Video recording

• Watch a recording of your performance and complete an evaluation. In your evaluation, identify the strengths of the performance, moments that were successful and moments that did not achieve their intended effect or purpose. Consider: Why were these moments successful or unsuccessful? How did these moments contribute to the overall success of the performance?
  

Detailed example

Play-making record

Students fill in the table below, writing about a detailed example of a moment where they used each play-making technique when devising their performance:

	A time I did this was…	The reason I did this was…	This was/was not an effective choice because…
Researching
Brainstorming
Improvising
Scripting
Editing
Rehearsing
Refining

Outcome 4:

Analyse and evaluate a performance by Australian practitioners.

Example of learning activities

Script and background review


• Before attending a professional performance, read through any available script or educational notes related to the production. If you have access to the script, become familiar with the story, characters, and key events. If a script is not available, review any supplementary information or education notes that provide details about the play’s themes, historical context or production insights. This preparation will help you follow the performance more closely and understand its context.

Scene division and discussion


• In small groups, assign key scenes (from the professional performance to be viewed) between group members. Following this, each group member discusses with the whole group their assigned scene, explaining how it might be presented in a performance. Focus on using expressive and performance skills, as well as dramatic elements such as tension and conflict. Consider how different performance styles, conventions, and production areas (such as lighting, costume and set design) could enhance your scenes.

Scene performance and interpretation


• Following this preparation and discussion of the scenes, groups rehearse and perform them in front of the class. Class members discuss each interpretation and the choices made. This will provide an opportunity for comparing how the professional company chooses to interpret the scenes, and for further class discussion after viewing the professional performance.
  

Research and discussion of performance styles


• Research the performance style(s) present in the script and create a list of the conventions associated with these styles. Predict how these conventions might be used or manipulated in the professional performance to be viewed. This exercise will develop an understanding of how the performance style influences the staging and audience experience.
  

Post-performance analysis

• After watching the performance, develop a character and actor list. Document how each actor used expressive and performance skills to portray their character and communicate meaning. Pay attention to their use of voice, movement, gestures and facial expressions. Reflect on how these skills impacted the portrayal of characters and the overall performance.
  
  
  

Detailed example

Post-performance analysis

When conducting a post-performance analysis and evaluation, students could engage in any of the following discussion, analytical and evaluative tasks.

Expressive skills:

During the performance, observe how the actors use voice, movement, gestures and facial expressions. Note the effectiveness of their vocal delivery, including tone, pitch and volume. Observe their physical movements and gestures—are they purposeful and well-coordinated? Consider their facial expressions and how these convey the character’s emotions and intentions. After the performance, reflect on how these skills contributed to the overall portrayal of character and what the impact was on the audience.

Dramatic elements:

Identify the dramatic elements used in the performance, such as tension, rhythm and climax. Document how these elements were integrated into the scenes and their role in advancing the narrative. For example, how did tension build in key moments, and how was conflict resolved? Consider how these elements influenced the audience’s engagement and understanding of the narrative.

Production areas:

Examine how various production areas were incorporated into the performance. Analyse how props were used to enhance scenes and support the narrative, and consider whether there were moments of application of symbol. Reflect on the costumes and their role in defining characters and setting the tone. Evaluate the use of sound design—did this complement the action and emotional tone of the performance? Assess the lighting design and its impact on mood and focus. Reflect on how these production elements contributed to the overall effectiveness of the performance.

Devised ensemble performance

Review how different performance styles were incorporated into the production. Identify specific conventions associated with the performance style(s) used, such as breaking the fourth wall, exaggerated emotions or stylised movement. Note how these conventions were applied and their effectiveness in conveying the themes and mood of the performance.

Actor–audience relationship:

Reflect on how the actor–audience relationship was established, maintained and/or manipulated throughout the performance. Consider moments when actors directly engaged with the audience or used techniques to shift the audience's focus. Evaluate how the performance style and dramatic elements influenced the connection between the actors and the audience. Did the actors effectively manage audience reactions and maintain engagement throughout the performance?

Conclude your analysis by summarising how these various elements worked together to create a cohesive and impactful performance. Reflect on the strengths and areas for improvement, considering how well the different components supported the overall narrative and audience experience. This detailed analysis will help you understand the complexities of performance and the interplay between different elements in creating a compelling production.

Outcome 1:

Develop and present characters within a devised ensemble performance that goes beyond a representation of real life as it is lived.

Example of learning activities

Brainstorming ideas

• Draw a mind map with your main topic or idea in the centre. Branch out into ‘potential characters’, ‘locations’, ‘themes’, ‘production areas’ and ‘key events’. Add new branches as you work on different parts of your performance.

Researching characters

• If your ensemble structure includes specifically mentioned characters, create an initial character profile for each of them. If the ‘character’ is a real person, find out about their early life, major achievements, important relationships, personality traits, and any other interesting details. Use this profile to identify key moments in their life that would make a dramatic scene for a performance.
  

Improvising moments

• Pick one dramatic moment to improvise. Think about who is involved and how each character feels about the others. In your scene, include at least one of the following to make it more interesting:
  • one or more tableaux (frozen scenes)
  • a moment with no dialogue
  • a scene in slow motion
  • a character who is also an inanimate object
  • repetition (of actions, dialogue, sounds, etc).

Exploring stimulus

• As a class or in small groups, read and discuss the chosen stimulus material for an ensemble performance. Identify key themes, emotions, characters and events. Brainstorm and improvise ways to show these emotions and events. Individually or in pairs, create movements that represent the key themes without speaking. Choose a key moment and develop a sequence with different conventions. Present your work to an audience and discuss the feelings and moods it creates. Reflect on how the audience connects with the performance.
  
  Research and discuss the history and conventions of Antonin Artaud’s Theatre of Cruelty. Then use ‘The mouse, the bird and the sausage’ by the Brothers Grimm as a stimulus for improvisation and performance to fellow students.
  
  

Exploring performance styles

• As a class, watch the following performance clips from the National Theatre’s Five Truths YouTube series. As you watch each interpretation, consider the conventions you can identify and consider the actor-audience relationship that is developed in each recording.
  
  

  Stanislavski- Naturalism

  Grotowski- Poor Theatre

  Brecht- Epic Theatre
  

  Artaud- Theatre of Cruelty
  

Applying performance styles

• In groups, create a scene where a character finds a lost letter in their attic. The letter has a secret that changes how someone thinks or feels. Act out this scene several times using different performance styles, such as Epic Theatre, Melodrama, Commedia dell’Arte, Theatre of Cruelty or Musical Theatre. Discuss how each style affects the mood and the relationship between actors and the audience.
  

Transforming time and place

• In groups, create a series of at least five locations using tableaux (frozen scenes) with your bodies. Make sure each tableau clearly shows different times and places through space, levels, gestures and facial expressions. Add a soundscape with vocal sounds, body percussion or instruments to represent each location. Use different transformation techniques, such as snapping, morphing or repetitive actions, to move between tableaux. Refine your work to ensure that each location is clear to the audience.

Editing and refining performance

• Perform scenes for your class and receive feedback on the actor–audience relationship, dramatic elements, conventions, overall clarity, pacing and impact. Discuss the feedback with your group or teacher and set goals to improve your performance. Rehearse with the changes and seek more feedback to make sure the adjustments are clear and effective.
  

Detailed example

Exploring stimulus through Theatre of Cruelty

Students research the history and conventions of Antonin Artaud’s Theatre of Cruelty.

As a class or in small groups, students read ‘The mouse, the bird and the sausage’ by the Brothers Grimm. They discuss the story’s key themes, emotions, characters and events, and organise their findings on a mind map displayed on a large sheet of paper or whiteboard.

In small groups, students create a soundscape that represents the story’s emotions and events, using unconventional sounds and techniques. This might include discordant vocal sounds, body percussion and found objects to enhance the atmosphere.

Individually or in pairs, students improvise movements that embody the key themes from the story, such as betrayal or loss, without using words. They focus on exaggerated gestures and facial expressions.

Students select a symbolic moment from the story, such as the sausage’s role as cook, and in small groups, they develop a sequence where this gesture is repeatedly emphasised. They manipulate rhythm to intensify the emotional and sensory impact of this repetition.

Finally, students create a key scene from the story, using minimal dialogue, transformations of time and exaggerated movements, to strongly assault the audience’s senses. They experiment with different lighting and sound design choices to enhance the impact of their performance.

After presenting to an audience, students discuss the various moods and feelings evoked for both actors and audience members. They reflect on the actor–audience relationship and consider how Theatre of Cruelty can communicate ideas and impact an audience.

Outcome 2:

Describe, analyse and evaluate the use of processes, play-making techniques and skills to create, develop, and present a devised ensemble performance.

Example of learning activities

Back to brainstorming


• Look over your brainstorming materials from the start of the devising process. Make a list of ideas and moments that changed or evolved during the development of your performance. For each item on your list, describe the specific changes made and why you made those creative decisions. Think about factors such as feedback from peers and teachers, new insights from research, and practical issues that came up during rehearsals. Reflect on how these changes affected the final performance, including any improvements in clarity, effectiveness, or audience engagement.
  

Revisiting the stimulus


• Go back to the original stimulus material you used at the beginning of this unit. Write a paragraph reflecting on how your understanding of this topic or idea has developed throughout the unit. Consider how your initial impressions and interpretations have changed through research, discussions and practical work during the devising process. Explain how your new understanding is shown in your performance. Reflect on any new insights or perspectives you gained and how these influenced your creative choices and the final performance. Describe how this deeper understanding has improved your appreciation of the topic or idea and its representation in your work.
  

Watch your performance back


• Watch a video of your final performance. Take detailed notes on moments where conventions, dramatic elements and performance skills were used to create meaning. For each moment you note, evaluate how effective these choices were. Think about clarity of communication, emotional impact and audience engagement. Look for specific examples, such as how expressive skills were to show a character's emotion, how dramatic tension built suspense, or how lighting enhanced a scene’s mood. Explain why these choices worked well or suggest improvements if needed.
  

Group debrief


• Discuss with your ensemble group how you wanted the audience to feel at different stages of your performance. Reflect on whether you think you successfully achieved these emotions.
  
  Think about moments where you aimed to evoke specific reactions, such as empathy, suspense or joy. Discuss how effective your strategies were, including the use of performance techniques, dramatic elements and production elements to engage the audience. Share what worked well and areas where improvements could be made.
  
  If possible, seek feedback from audience members about their experience and discuss it with your group to better evaluate the effectiveness of your choices.
  
  
  Use a table to reflect on the process of devising the performance, listing for example: researching, brainstorming, improvising, scripting, editing, rehearsing, refining. In subsequent columns make comments on each of these processes.
  
  

Detailed example

Play-making record

Students fill in the table below, writing about a detailed example of a moment where they used each play-making technique when devising their performance.

	A time I did this was…	The reason I did this was…	This was/was not an effective choice because…
Researching
Brainstorming
Improvising
Scripting
Editing
Rehearsing
Refining

Outcome 3:

Analyse and evaluate a professional drama performance from the prescribed VCE Drama Playlist.

Example of learning activities

Responding to reviews

• As a class, read professional reviews of the performance you recently watched. Discuss what the reviewers say, focusing on how themes were interpreted, how dramatic elements were used, and how well the actors performed.
  
  After the discussion, individually write a response to one of the review authors. You can either agree or disagree with their critique. In your response, use specific examples from the performance to support your opinion. Make sure your response clearly shows your own views and demonstrates your understanding of both the performance and the review.

Unpacking Educational Notes


(if available. Note: it is not a requirement for theatre companies to provide education notes.)
• Read the theatre company’s educational notes or information about the performance from the theatre company’s website. Use this information to create a detailed notes sheet of your own. Include the names of the actors and creatives involved, key ideas and themes from the performance, and other relevant details, such as the setting, notable production elements, and any important historical or cultural context. Your notes sheet should be clear, organised and comprehensive, making it a useful reference for future discussions and analysis.
  

Describing and analysing moments from the play


• In groups, work together to find moments in the performance where specific dramatic elements and conventions were used. Create a master list of these moments in a shared online document. Each group should add at least three examples, noting the scene, the dramatic element or convention used, and its effect on the audience. Discuss and refine your list to ensure it is accurate and detailed. This master list will help with analysing the performance’s effectiveness.
  

Barometer exercise


• Set up one side of the room as 'Strongly Agree' and the other side as 'Strongly Disagree.' You can write these labels on paper or say them out loud. When given different statements about the play, position yourself along the spectrum between 'Strongly Agree' and 'Strongly Disagree’. Explain your position to the group, using specific examples from the performance.
  
  
  

Performance review


• Write a review of the performance you recently saw. In your review, clearly express and justify your opinions. Discuss aspects such as how effective the acting was, how themes were interpreted, the use of production elements (e.g. lighting, sound and set design), and the overall impact of the performance. Provide specific examples from the performance to support your opinions. Your review should be concise, insightful, and reflect your personal perspective on the production.
  
  

Detailed example

Barometer exercise

Assign one side of the room as 'Strongly Agree' and the other side as 'Strongly Disagree’. These labels can be written on paper or stated verbally.

Give students a series of statements about the performance. Ask them to show how much they agree with each statement by positioning themselves somewhere between ‘Strongly Agree' and 'Strongly Disagree’.

Encourage students to explain their position to the group, using evidence from the performance to support their views.

Examples of statements include:

• The performance created a strong mood in the audience.
• The performance (or a specific actor) built tension effectively.
• The performance did not use stillness and silence well.
  
• The actors had strong performance skills.
• [Actor] used timing effectively.
• The narrative was clearly communicated.
  
• The performance had a clear climactic moment.
• The performance was a good example of [style] (e.g. Epic Theatre or relevant style of the performance).
• The lighting design in the performance was highly symbolic.
  
• The actors created strong characters through movement.

Outcome 1:

Demonstrate, in response to selected stimulus material from the VCE Solo performance examination, application of symbol and transformation of character, time and place, and identify, describe and explain the techniques used.

Example of learning activities

Please note: the following example is based on a prescribed structure from the VCE Solo Performance Examination of 2024, The Spirit of the Commonwealth Games. It is a requirement of the VCE Drama Study Design 2025–2029 that students demonstrate this outcome based on a structure from the year in which they are enrolled; for example, when teaching this outcome in 2025, students should be choosing from the prescribed structures in the VCE Solo Performance Examination of 2025.

Transformation of character

• Reflecting on the selected prescribed structure, consider whether there are two characters present. For the above example, the two characters are the ‘Spirit of the Commonwealth Games’ and King Charles. Create a tableau that explores the physicality of the Spirit. You may wish to consider Laban’s movements in an improvisation activity to determine the character’s physicality, such as gait and posture. Similarly, drawing on research into King Charles, establish a tableau that demonstrates his physicality. Now that you have two tableaux, experiment with a series of transformation techniques as you transform from one character to the next.
  

Transformation of place

• First, consider where this performance may begin (location). Imagine how the Spirit responds to this environment, asking: Do they feel comfortable and at ease? Are they part of a busy or relaxed environment? Once you have established what this location looks and feels like, conduct research into Buckingham Palace. Looking at both still and moving images, ask: What mood does the Palace establish? How can the Spirit’s arrival at the Palace demonstrate this? Now that you have considered the two locations, improvise ways to transition between them, using for example, a transformation technique. You could also use heightened use of language and/or dialogue to assist with your transformation.

Application of symbol

• As you research the Commonwealth Games and its historical and contemporary significance, decide whether there are any symbols that are present throughout its history. What prop or costume item would allow you to represent this symbol? How might this production area feature in the opening moment of this performance?
  

Transformation techniques

• Make a list of as many transformation techniques you can think of (ie: morphing, melding, snapping etc.). Next to each technique, outline how expressive and performance skills are used to achieve the intended transformation effect.

Detailed example

Application of symbol

In this activity, students engage in a detailed exploration of the Commonwealth Games to understand its historical and contemporary significance. Begin by guiding students to conduct comprehensive research into the Commonwealth Games. This research should cover various aspects, including its origins and evolution, as well as its impact both historically and in contemporary times. Encourage students to focus on significant symbols associated with the Games, such as the iconic Commonwealth Games emblem, the Queen’s Baton, and other emblematic elements linked to its history and tradition.

Once students have gathered their research, they identify and choose key symbols and consider how they can be translated into a performance setting. Students brainstorm potential props or costume items that could effectively represent these identified symbols. For instance, if they identify the Queen’s Baton as a central symbol, they might consider how to design a prop that mimics its appearance or captures its symbolic significance. Similarly, if the Games emblem is a focal point, they could explore how to incorporate elements of its design into costumes or set pieces.

The next step involves applying these symbols to the opening moment of the performance. Guide students to conceptualise how their chosen props or costume items can feature prominently at the beginning of their performance. Encourage them to think about how the symbols will be introduced to the audience and how they will set the tone for the rest of the performance. Students consider the symbolic value of their chosen items and how they can enhance the audience’s understanding of the performance’s themes and narrative from the outset.

By engaging in this activity, students develop a deeper appreciation for the role of symbols in performance and gain insights into how historical and contemporary elements can be creatively represented through production areas such as props and costumes. This process also aids in enhancing the thematic depth and visual impact of their devised performance.

Outcome 2:

Create, develop and perform a solo performance in response to a prescribed structure.

Example of learning activities

Unpacking the performance focus

• Once you have selected your prescribed structure, undertake an analysis of the performance focus. When completing this analysis, highlight or underline:
  • key words
  • key character(s)
  • key location(s).
  Once you have highlighted the key words in the performance focus, consult a dictionary to define each word.

Engaging with the stimulus material

• Each structure has prescribed stimulus material (this could be one piece of stimuli or multiple pieces). It is important to engage with this material. Once you have considered the stimulus material, answer the following questions in a drama journal or digital folio:
  • What images does the stimulus material generate in your mind?
  • What is the purpose of the stimulus material?
  • What are the key themes or issues that are apparent in this material?
  • What connections can be drawn between the stimulus material and the performance focus?

Engaging with the additional resources

• Each prescribed structure contains suggested resources that may help to provide further context or provide opportunities for idea development. As you engage with this material, consider:
  • What strikes you as having performance potential and why? (Note any interesting events.)
  • Are there any potential characters that can be drawn from the material?
  • What themes do you notice emerging?
  • Are there any emerging symbols or apparent symbolism in the material?
    

Brainstorming Ideas

• For each dot point listed, brainstorm five potential ideas for short moments or scenes that could satisfy this dot point. Once you have completed this brainstorm, draw potential links or parallels to the performance focus. Can you identify an emerging narrative?

Improvising ideas

• From your initial brainstorms, identify eight moments that are of most interest. For each moment, develop a series of 3–5 tableaux that could be used to show the idea. Once these tableaux are constructed, consider how you could transition from one to another using a combination of transformation techniques. As a further challenge, consider adding a line of dialogue in between each transition. By doing this, you are creating small scenes with potential action, character, transition, transformation and dialogue.

Storyboarding and narrative development

• In your drama journal or digital folio, create a working structure for your performance in the form of written and/or visual images of the scenes you have started to develop. Consider what would happen in your performance if the order of these scenes were to change.
  




Main character(s)

• Complete some research into the main character(s) in your performance. In this research, find at least three images that reflect the physicality or physical attributes of the character. These images could be photographs, paintings, advertisements or AI-generated images. Once you have these images, undertake a mirroring exercise where you use your expressive skills to mirror the images you have found.
  

Detailed example

Storyboarding and narrative development

Initial scene listing

Provide students with large pieces of paper and instruct them to note down all the scenes they wish to include in their performance structure. This should encompass scenes that have been previously improvised as well as any new ideas they have. At this stage, students should not worry about the order of the scenes.

Title and description

Ask students to assign a title or name to each scene; each one should reflect the specific focus of that scene. Under each title, they list the characters (if multiple) and/or the key ideas explored in that scene.

Cut and sort

Students cut up the paper so that each scene, along with its title and character/theme list, is on a separate piece.

Ordering the scenes

To experiment with the order of the scenes, students discuss their proposed scene order with their classmates and with the teacher. They may find they need to create new scenes or linking devices to improve the flow. It is important to keep in mind that the order does not have to be chronological.

Requirements for the final structure

• The storyboard should incorporate all elements of the prescribed structure, ensuring it covers all aspects of the performance focus and the three dot points.
• It must use the chosen performance style(s) and include transformation of character, time, place, and application of symbol.
• Each scene should have a clear sense of time and place.
• The storyboard should employ various dramatic elements to create an engaging solo performance, such as using tension to build suspense and uncertainty.
• The main themes and ideas must be clearly communicated and should directly relate to the prescribed character derived from the stimulus material.

Outcome 3:

Describe, analyse and evaluate the creation, development and presentation of a solo performance devised in response to a prescribed structure.

Example of learning activities

Video recording

• Watch a recording of your devised solo performance. As you view it, focus on the following:
  • Identify strengths:

    Note the moments where your performance stood out. What elements contributed to these highlights?
    

  • Recognise areas for improvement:

    Observe any parts where the performance could have been strengthened.
    

  • Compare feedback:

    Review any feedback from peers or your teacher and see how it aligns with your own observations.
    

Evaluating the play-making process

• Students fill in a table, writing about a detailed example of a moment where they used each play-making technique when devising their ensemble performance.
  
  

  Reflect on your use of play-making techniques through scripting, rehearsal, editing, and refinement:

  • Script analysis:

    Review the script you created. Assess how effectively the dialogue and structure supported your performance.

  • Rehearsal reflection:

    Evaluate your rehearsal process. What worked well, and what challenges did you encounter?

  • Editing review:

    Examine the edits made to the script. How did these changes impact the performance?

  • Refinement assessment:

    Reflect on the refinement stage. How did your final performance benefit from the revisions and adjustments?
    




Evaluating expressive and performance skills

• Watch a recording of a performance and focus on evaluating your expressive and performance skills:
  • Assess vocal and physical expression:

    Evaluate how well your vocal and physical expressions conveyed emotion and character.

  • Actor–audience relationship:

    Reflect on the emotional impact of your performance. Did you effectively engage your audience?
    

  
  



Evaluating performance styles and conventions

• • Conventions of style(s):

    Review how well you incorporated the conventions of the chosen performance style(s) (for example, Commedia dell’Arte, Absurdism, Gothic Theatre, etc.).

  • Effectiveness:

    Assess how these conventions affected the overall performance.

  
  



Analysing dramatic elements

• Examine how you used dramatic elements in your performance:

  • Element analysis:

    Identify how the chosen dramatic element (e.g. tension, conflict) was incorporated into the scene.

  • Impact assessment:

    Reflect on how this element influenced the overall narrative and audience engagement and/or relationship.
    




Evaluating production areas

• • Design effectiveness:

    Review how your design choices (e.g. costume, prop, set pieces) contributed to the performance.

  • Implementation analysis:

    Reflect on how these production elements were manipulated during the performance.
    

Detailed example

Dramatic elements record

Students fill in the table below, considering the effectiveness of each dramatic element. In this table, students should use evaluative language.

	A moment when this dramatic element was successful and why?	A moment when this dramatic element was unsuccessful and why?
Climax
Conflict
Contrast
Mood
Rhythm
Sound
Space
Tension