Teaching and learning

Detailed example

Oral presentation of theatre styles

Students research, develop and present an oral presentation on Greek Theatre, focusing on its historical context, key conventions, and its influence in theatre. This detailed example includes lesson activities and examples to support the oral presentation.

Students begin exploring the social and cultural context by watching a video excerpt of a Greek chorus performance to observe the physicality and vocal techniques used. In groups, students then select a chorus passage from a Greek play (e.g. Antigone by Sophocles) and practise reciting it together, focusing on synchronisation and projection. This practice will help them understand the collective nature of the chorus. They document their experiences and insights in their folios/digital journals, focusing on the challenges and techniques of working as a chorus.

Students conduct a comparative analysis of Greek tragedy and Greek comedy by working in groups with assigned plays (e.g. The Oresteia by Aeschylus for tragedy and Lysistrata by Aristophanes for comedy). Each group creates a presentation highlighting the structure, key themes and stylistic elements of their assigned play. In their groups, they discuss the use of space, physicality and facial expression while creating a series of tableaux depicting key moments from these plays. Finally, students perform selected excerpts from their assigned plays, focusing on delivering lines with the appropriate emotional weight and comedic timing. They then participate in peer feedback sessions to refine their performances.

Students compare two script excerpts, one from a Greek tragedy and one from a Greek comedy. They analyse the language, themes and character dynamics in each excerpt. This comparison will help students understand the differences and similarities between the two genres. In pairs, students discuss how the playwrights use dialogue and dramatic structure to convey their messages. They also explore how different staging and performance techniques can enhance the meaning of each excerpt. Students document their findings and reflections in their folios/digital journals.

Students engage in thorough research on the historical context and key conventions of Greek Theatre, focusing on elements such as the use of chorus, structure of plays, and thematic content. They prepare visual aids, such as slides or posters, to support their oral presentations. Students develop a structured outline for their presentation, ensuring it includes an introduction, detailed discussion of key points, and a conclusion. They rehearse their presentations in pairs or small groups, focusing on clear articulation, engaging delivery, and effective use of visual aids.

Students deliver their final oral presentations to the class, demonstrating a comprehensive understanding of Greek Theatre. Following their presentations, they engage in a Q&A session with the audience, responding to questions and further explaining key points. Finally, students reflect on the preparation process and their presentation with reference to Outcome 1. They do this in their folios/digital journals, also considering what was challenging, what was successful, and what could be improved for future presentations.

Detailed example

Script annotations

Students deepen their understanding of the selected scripts by conducting detailed script analysis and participating in a series of script annotation exercises. This detailed example builds on students’ initial annotations and allows them to explore directorial and design concepts in depth, as well as engage in practical applications of their ideas.

Detailed script analysis

Students start by revisiting their initial script annotations, expanding them to include more detailed analyses of key scenes, characters and thematic elements. They focus on understanding the playwright’s intentions and how these can be realised in production. Students identify significant moments in the script that require particular attention and propose potential directorial and design approaches. These analyses are documented in their folios/digital journals, providing a comprehensive reference for future rehearsals.

Character and scene workshops

Students participate in workshops that focus on developing their interpretations of characters and scenes from the scripts. They work in their assigned and/or selected production roles (e.g. director, designer, actor) to experiment with different approaches to character development and scene staging. Through a series of improvisation exercises and blocking rehearsals, students explore how to bring their annotated ideas to life. This practical exploration helps them refine their production concepts and prepare for more detailed scene work.

Script annotation techniques:

• Identify and highlight key lines that reveal important information about characters, plot and themes. Annotate the margins with notes on why these lines are significant and how they contribute to the overall understanding of the play.
  • For those in the director role, write notes on potential staging (including stage type), blocking and pacing for each scene. Consider how to use space effectively and how to bring out the style and thematic depth of the script through directorial choices.
  • Designers add notes on set, costume, prop, hair and make-up, lighting and sound with ideas that align with the script’s period and style. Sketch quick visuals or write detailed descriptions to capture the envisioned aesthetic and practical elements.
  • Actors annotate the script with insights into their character’s motivations, objectives and relationships. Highlight emotional beats and significant changes in the character’s journey throughout the play.
• Students focus on the specific tasks related to their assigned production roles, using their annotations to guide their work.
• Use the annotated script to create a preliminary blocking plan. Conduct scene rehearsals to experiment with different staging ideas, adjusting as necessary based on what works best in practice.
• Develop more detailed sketches and models based on the initial design ideas in the annotations. Collaborate between directors and actors to ensure the designs support the overall vision of the production.
• Use the annotated script to inform character development exercises, such as hot-seating and improvisation. Practise delivering lines with the annotated emotional beats and intentions, refining the performance based on feedback.

Detailed example

Elements of theatre composition

Students read the script of a pre-1945 play, attend a live performance of the same play, and analyse the elements of theatre composition as they were conveyed on stage . They consolidate their understanding of the production process by taking notes about the live production. In order to write their analysis, they revisit these notes, focusing on the elements of theatre composition. They document how these elements were used in key scenes to create meaning and impact.

In completing this activity, students respond to guidelines such as the following:

• Motion: Analyse how the use of motion influenced the dynamics of the performance. Note the movement of actors, use of set pieces, and choreography. Consider how physical movements highlighted relationships and conveyed emotions.
• Rhythm: Examine the pacing and flow of the performance. Identify moments of tension and release, fast and slow scenes, and how rhythm was used to engage the audience. Highlight scenes where rhythm was particularly effective in conveying emotion or advancing the plot.
• Variation: Observe how variation in performance elements (e.g. voice, movement, lighting) contributed to the storytelling. Document specific examples where variation enhanced the narrative.
  
• Cohesion: Analyse how elements were used to create a cohesive aesthetic. Note the use of consistent design elements and performance styles. Discuss how cohesion contributed to the overall unity of the performance.
  
• Contrast: Identify moments where contrast was used to highlight differences in themes, characters or settings. Discuss how contrasting elements (such as lighting, sound and costume) created dramatic tension and enhanced the audience’s understanding of the play.
  
• Emphasis: Identify key moments where emphasis was placed using lighting, sound, positioning or other elements. Discuss how emphasis directed the audience's attention and supported the overall message of the performance.

In groups, students discuss their findings, comparing notes on how the elements were used in the performance. Each group focuses on one element and prepares a short presentation on their observations. Groups present their findings to the class, receiving feedback on their analysis. This collaborative approach will help students see different perspectives and refine their analytical skills.

Detailed example

Exploring playwrights’ influences: revisionist history as a theatre movement

This learning activity is designed to help students understand the relevance of theatre movements, such as revisionist history, in a modern context. The aim is to move from surface-level learning to a deeper comprehension by connecting intended meaning, context, style, and the roles of production in interpreting scripts. This structured approach will guide students through a comprehensive exploration of revisionist history in theatre, enhancing their analytical skills and contextual understanding. Note: This sample activity focuses on the plays Photograph 51 and Hamilton but teachers can choose their own plays for comparison and discussion.

Definition and background:

• Students research the definition of revisionist history in literature and performance.
• They brainstorm and compile a list of revisionist history texts they may have encountered.

Playwright interviews:

Students watch or read interviews with playwrights who have created revisionist history plays. For example:

• Anna Ziegler (or an interview with the lead actor) discussing ‘Photograph 51’.
• Lin-Manuel Miranda discussing ‘Hamilton’.

Discussion and reflection

Students discuss and reflect on the following questions:

• What are the intended meanings of the playwrights?
• Why did the playwrights choose to revisit these historical moments?
• What were the political and/or social impacts of their research and intention?
• Who might be the intended audience for these plays?
• What deliberate impacts might the playwrights aim to achieve through their performances?

Generate characteristics

Students generate a list of characteristics that define a revisionist history theatre movement.

Play clips

• Students watch clips from the two plays and discuss how the characteristics of the revisionist history movement are represented on stage. Examples include:
  • Photograph 51’ Trailer from Seattle Repertory Theatre
  • Photograph 51’ Scene
  • Hamilton Clip 1 and Clip 2

Infographic creation

• Students research contemporary contexts relevant to the two plays to deepen their understanding of the significance of the movement. Areas of focus include:
  • the historical role of women in science
  • feminist movements
  • the importance of minority voices
  • American history and its influence on contemporary society.

Contextual research

Contemporary contexts

• Students create an infographic that demonstrates their understanding of the revisionist history theatre movement. The infographic should include examples from Photograph 51 and Hamilton.

Detailed example

Experimenting with elements of theatre composition

This activity focuses on interpreting a script through the lens of the theatre movement for climate change and the environment. It uses Lynn Nottage’s Mlima’s Tale as the text for exploration. The goal is for students to actively engage with the script and use elements of theatre composition to enhance their understanding and interpretation.

Initial script exploration

Reading and annotation

• Students read and annotate the opening scene of Mlima’s Tale, focusing on key language elements that convey meaning, setting, context and style conventions.

Movement features

• Moving from planning into development, students explore the application of their assigned element in the rehearsal room. Splitting the group in half, each group has 20 minutes to explore the element in a rehearsal context and consider how it can be physically applied.

Ethical practices

• The two groups then perform their moment(s) from the script and analyse each group’s application of the element.

Exploring possibilities through workshops for design

Group work

• Students work in small groups, each assigned one or two elements of theatre composition to experiment with. Looking at their recent script annotations, students consider how two to three moments of the play can be interpreted from an acting or directing perspective. Considering their allocated element, students workshop how the element could be applied through either the portrayal of character(s) or directorial blocking in that key moment(s).
• Moving from planning into development, students explore the application of their assigned element in the rehearsal room. Splitting the group in half, each group has 20 minutes to explore the element in a rehearsal context and consider how it can be physically applied.
• The two groups then perform their moment(s) from the script and analyse each group’s application of the element.

Exploring possibilities through workshops for design

Visual concepts

• Students work in small groups to create initial design concepts using visual mediums such as sketches, mood boards or inspiration boards. Where possible, ideas should be annotated to outline application to the play’s context and style.

Design pitch

• Groups pitch their design ideas, explaining how their visual concepts use elements of theatre composition to enhance context, intended meanings, and the theatre movement’s features or style conventions.

Production team development

• As a class, students consider how the work of the directors, actors and designers could cohesively represent the work on stage and, from the initial explorations on script, production roles and elements of theatre composition, they engage in analytical discussion focusing on the ideas are currently emerging.

Detailed example

Practise analysing and evaluating

This activity focuses on a clip from Bridge Theatre’s 2019 production of William Shakespeare’s A Midsummer Night’s Dream, specifically Act 3, Scene 2. The goal is to help students develop their skills in performance analysis and evaluation and to practise writing detailed responses in preparation for their assessment task.

Pre-viewing

Scene exploration: Students read and analyse the written text of Act 3, Scene 2 from A Midsummer Night’s Dream. Students should focus on understanding the scene’s context, characters and key interactions. Encourage students to make predictions about how these elements might be portrayed on stage, considering aspects such as setting, character dynamics,and dramatic action.

Initial viewing

First viewing: Watch the clip once to gain an overall understanding of the performance dynamics. Students should pay attention to the staging, actor movements, and general tone of the scene, without making detailed notes.

Second viewing: Watch the clip a second time, comparing their initial predictions and annotations with what is actually presented on stage. Students should observe how closely the performance matches their predictions and note any differences or surprises.

Third viewing: During the third viewing, students should focus on describing the scene from the perspective of specific production roles, such as director, actor, set designer or costume designer. They should analyse how each role contributes to the scene’s overall impact, considering elements such as directorial blocking, use of acting space, set design, costume design and acting choices.

Scaffolded writing

Descriptive paragraph: Students first write a descriptive paragraph about the clip, using relevant theatre terminology. This paragraph should provide a general overview of the scene, focusing on observable elements such as the set, costumes and actor movements.

Analytical paragraph: Next, students transform their descriptive paragraph into an analytical paragraph. This involves examining how the various elements of the production (such as set design, actor performances and staging) contribute to the scene’s meaning and effectiveness. Students should use their observations to discuss how specific choices impact the audience's understanding of the scene.

Evaluative paragraph: Finally, students convert their analytical paragraph into an evaluative paragraph. This step requires them to assess the effectiveness of the production choices and their impact on the scene. Students should consider how well the production elements achieve their intended effects and contribute to the overall interpretation of the scene. They should also reflect on the strengths and weaknesses of the performance, based on their analysis.

Extension

Comparative analysis: For a deeper understanding, students can compare this production clip with another version of Act 3, Scene 2 from A Midsummer Night’s Dream. This comparison can help students to see how different directors and actors interpret the same scene, enhancing their appreciation of diverse theatrical approaches.

Peer review: Incorporate a peer review process where students exchange their paragraphs with classmates. Each student provides feedback on their peer’s work, focusing on the clarity of analysis and the effectiveness of their evaluations. This collaborative approach helps students refine their writing skills and gain different perspectives on the scene.

Detailed example

Discovering the production process

This activity aims to connect students with real-world theatre practices by exploring the production processes used by professional theatre practitioners. The goal is for students to understand how different production roles use each stage of the production process to plan, develop and present their ideas to an audience.

Resources

• Melbourne Theatre Company: Production Roles
• American Wing Theatre: Working in the Theatre series (Note: Production roles are discussed across various seasons)

Explore

Students begin by reading and annotating at least three interviews from the Melbourne Theatre Company’s ‘Production Roles’ page. They focus on understanding the processes described by different practitioners and the stages they follow to achieve their final outcomes.

Next, students watch a relevant video from the American Wing Theatre’s ‘Working in the Theatre’ series, which aligns with their production role. During their viewing, they take detailed notes on the activities and techniques demonstrated by the practitioners.

Students also pay attention to any specialised terminology and concepts related to their production role. Additionally, they note any practices related to safety, ethics, inclusivity and sustainability that are mentioned.

Reflect

After completing the exploration phase, students reflect on the various processes described by the theatre practitioners. They consider which elements of these professional practices they might incorporate into their own approach to interpreting a script. Students identify aspects that are particularly relevant to their work and how they might apply these practices.

Sort

Students will read the definitions of the different production stages as outlined in the VCE Theatre Studies Study Design. They will then categorize their annotations and notes into the production stages of Planning, Development, and Presentation. This exercise will help students structure their understanding of the production process and align their approach with professional practices. Students categorise their annotations and notes under the headings: Planning, Development, Presentation (the three stages of the production process as listed in the VCE Theatre Studies Study Design). This exercise will help them to structure their understanding of the production process and align their own approach with professional practices.

Detailed example

Using unseen dramaturgy materials

This activity helps students develop strategies for interpreting and applying unseen dramaturgical materials.

Approaches to interpreting written information

Initial reading: Students start by thoroughly reading all the dramaturgical materials provided. This initial reading will help them understand the context, themes and stylistic intentions described in the materials.

Annotation and analysis: After the initial reading, students annotate the dramaturgical materials, focusing on a specific production role, such as director, designer or actor. They identify key elements such as themes, character motivations, and stylistic choices that could influence their stage interpretation. Students make notes on how these elements might impact staging, design or performance choices.

Collaborative design or performance: In pairs or small groups, students use their annotated materials to create a design concept or performance segment. For example, they might develop a set design, a costume sketch, or a rehearsal scene that reflects the dramaturgical insights they have gathered.

Presentation and justification: Students present their design or performance segment to the class. They justify their choices by explaining how their work is informed by the dramaturgical materials they have engaged with. This includes discussing how their design or performance aligns with the themes, character dynamics, or stylistic elements outlined in their annotations.

Approaches to interpreting visual information

Visual analysis: Students examine the visual dramaturgical materials provided. They analyse aspects such as people represented, locations illustrated, diagrams, colour schemes, composition, lighting effects, physical objects and implied stage movement, describing how these visual elements contribute to the overall concept and mood of the production.

Collaborative design or performance: In pairs or small groups, students use their analysis of the visual materials to guide their design or performance work. For instance, they might create a mock-up of a set design, develop a costume concept, or stage a scene that incorporates visual elements from the materials.

Presentation and justification: Students present their design or performance to the class. They explain how their work integrates the visual dramaturgy, detailing how their choices reflect the visual aspects and contribute to the overall theatrical vision.

Bringing it all together

Integration: Students synthesise insights from both written and visual dramaturgical materials, ensuring that their final design or performance reflects a cohesive interpretation that merges insights from both types of dramaturgy.

Written responses: Students respond to a series of questions (that use a range of command terms) to interrogate their explorations and learnings from their unpacking of the written and visual dramaturgy, as well as their small group workshops and presentation.

Detailed example

Initial analysis of performance

This activity helps students engage deeply with a play through analysing and evaluating their personal reactions to specific moments in the performance.

Personal reflection on performance moments

Students select and describe in detail their most favourite and least favourite moments from the performance. They focus on specific elements such as acting or staging, or technical aspects, that impacted their experience.

Creating a mind map

Using butcher’s paper or digital tools such as ‘Whiteboard’, students create a mind map that visually organises their most favourite and least favorite moments. They label each moment and include details about what made it engaging or disengaging.

Discussing engagement

In small groups or as a class, students discuss why certain moments were particularly engaging or disengaging. They explore elements such as performance quality, design or emotional impact.

Recording evaluative language

As students discuss, they record the evaluative and analytical language being used. They then review the recording to highlight key terms and phrases that describe their reactions and judgments about the performance.

Writing analytical and evaluative paragraphs

Students use their recorded discussions to write two types of paragraphs:

• Analytical paragraph: This should describe their chosen moments in detail, analysing what made these moments effective or ineffective.
• Evaluative paragraph: This should evaluate how well these moments succeeded in conveying the intended meaning of the script or impact of the performance.

Linking to the written playscript

Provide students with excerpts from the written playscript related to their favourite moments. Students then compare these excerpts with the live performance, noting any similarities and differences in how the moments were realised on stage, as well as making notes about the directing, design and acting within these specific moments.

Creating a Venn Diagram

Students create a Venn diagram to visually compare the similarities and differences between the written playscript and the live performance in order to deepen their understanding of how the script’s intentions were either realised or not realised in the performance.

Rewriting the paragraphs

Students revise their analytical and evaluative paragraphs to incorporate insights from the written playscript. They explain how the live performance interpreted the moments from the script and how the interpretation affected their understanding of the play.

Detailed example

Design and performance choices

This learning activity is designed to ensure that students develop a detailed and well-justified interpretation of their monologue, culminating in an oral presentation that showcases their design and performance choices, supported by responses to structured questions to deepen their analytical skills.

Students further develop their design and performance plans by participating in a series of workshops. They create detailed set design sketches and 3D models, considering spatial relationships and visual aesthetics. For costume design, students create renderings and fabric swatches to visualise their ideas. Lighting design involves developing a lighting plan with plots and colour palettes to enhance key moments. Sound design involves selecting sound effects and music that underscore emotional and thematic elements.

In performance workshops, students explore character motivations, physicality and vocal delivery. They delve into their character’s backstory and objectives, experiment with movement and gestures, and practise delivering their monologue with various vocal techniques. Through rehearsals, they integrate these design and performance choices, refining their work based on feedback.

Students write a director’s concept statement explaining their interpretation and how their choices support this interpretation. They present their final design and performance choices through an oral presentation, showcasing their detailed design sketches, mood boards and director’s concept statement.

To further their understanding and articulation of their design and performance choices, students answer structured questions as part of their oral presentation.

This learning activity is designed to ensure that students develop a detailed and well-justified interpretation of their monologue, culminating in an oral presentation that showcases their proposed directing, acting and/or design choices, supported by responses to structured questions to deepen their analytical skills.

Throughout this outcome, it is important for students to spend time undertaking planning activities to explore interpretive possibilities, rather than becoming set on definitive ideas in a short period of time.

For design students:

Students develop their design ideas by participating in a series of workshops. They create detailed design sketches, renderings, plans, physical mock-ups such as 3D models, considering spatial relationships and visual aesthetics. Students consider the intended style of the monologue and begin to consider how this style impacts design. Additionally, students consider if the monologue is going to be recontextualised and if so, how these proposed changes will be reflected in their designs and interpreted for an audience.

For acting and directing students:

In performance workshops, students explore character motivations through exploratory workshops that focus on acting skills. They delve into their character’s backstory, objectives and motivations, considering how these aspects can be represented through physical expression. They annotate the script, discovering staging possibilities and trial these through physical exploration of a 5m x 5m performance space, trialing physical proximity and considering intended effects through blocking. Students consider the intended style of the monologue and begin to consider how this style impacts both acting and direction. Additionally, students consider if the monologue is going to be recontextualised and if so, how these proposed changes will be reflected in their work and interpreted for an audience.

To further their understanding and articulation of their directing, acting and/or design choices, students answer structured questions as part of their oral presentation.

Detailed example

Character timeline in a play

The aim of this activity is for students to understand the importance of character timelines in the context of interpreting a play. They learn how timelines can help in understanding the character’s journey and motivations. Provide them with a blank timeline template to fill out during the workshops. The initial timeline creation involves marking significant events and moments in the play, focusing on the context of the monologue, noting what has happened before and what follows.

Students then delve deeper into the specific events that shape their character’s journey. They map out significant events and their character’s motivations and intentions at each point in the play. This includes identifying key events that influence their character, such as interactions with other characters, important decisions and pivotal moments. For each marked event, students detail their character’s motivations and intentions, considering questions such as: What drives the character at this moment? What are their goals? How do their intentions influence their actions?

Students finalise their character timelines, ensuring they have a comprehensive understanding of their character’s journey, and prepare to present them, justifying their interpretations. This involves reviewing and refining their timelines, adding any additional details or insights gained from previous lessons.

Students then present their timelines to the class, focusing on how they used the timeline to understand their character’s journey. They explain the motivations, intentions and significant events that shaped their character’s actions. They explain the previous and following events of the play, their character’s motivations and intentions, and the specific moment in the play when the monologue occurs.

Students are assessed on their understanding of the character’s journey and their ability to articulate and justify their interpretative decisions.

Detailed example

Three scenes combining roles

Students extend their analysis and evaluation skills by focusing specifically on three moments from a chosen play from the Playlist. For this example of how to consider moments, the play The Importance of Being Earnest by Oscar Wilde, is being used. This was performed by Ridiculusmus at Malthouse Theatre in 2020 and was part of the Playlist for that year. Students explore how acting, direction and design elements combined to create intended effects.

Students take notes on ‘the opening scene’. In the opening scene, the interplay between set design and acting sets the tone for the comedic style of the performance. The minimalist set, featuring exaggerated Victorian furniture, immediately places the audience in a heightened, satirical version of Wilde’s world. The actors’ physical comedy, characterised by exaggerated movements and facial expressions, enhances the absurdity of the setting. This combination of set design and acting establishes the play's comedic and satirical tone, engaging the audience from the start.

Students take notes on ‘the garden scene’. In the garden scene, lighting and costume design work together with the actors’ performances to highlight the contrasts between characters. The bright, whimsical lighting underscores the playful banter between Gwendolen and Cecily, while their elaborate, period-accurate costumes emphasise their social status and personalities. The actors’ precise timing and delivery of Wilde’s witty dialogue, combined with the visual elements, create a cohesive and engaging comedic moment that reflects the themes of identity and social conventions.

Students take notes on ‘the final revelation’. In the final revelation scene, the use of sound design and direction enhances the dramatic irony and comedic payoff. The director’s staging choices, such as positioning the characters to maximise visual humour and timing of their reactions, work in tandem with sound effects to punctuate key moments of the dialogue. The actors’ performances, marked by their physical reactions and vocal inflections, draw out the humour in the characters’ misunderstandings and realisations. This combination of sound, direction, and acting culminates in a satisfying and entertaining conclusion to the play.

This task culminates with a set of structured short-answer questions asking for analysis and evaluation of these moments and drawing on the role and skills of two or more production roles.