Playbuilding from What is the matter with Mary Jane
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Implementing 7–10 drama syllabus Playbuilding from What is the matter with Mary Jane? QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Implementing the Drama 7-10 syllabus Curriculum K–12 Directorate NSW Department of Education and Training 1 Implementing 7–10 drama syllabus ACKNOWLEDGEMENTS These support materials have been designed and written and implemented by experienced drama teachers in schools in NSW for the new 7-10 drama syllabus. Each unit of work has been trialled in classroom situations in Term 4 2004 and/or Term 1 2005. Work samples, assessment materials and records of student learning activities were collected and are being evaluated in Phase 2 7-10 drama syllabus workshops. The focus of these workshops and materials is on assessment, recording and reporting of and for student learning. The units of work, work samples and support materials will be published during 2005 on the Curriculum K-12 website at http://www.curriculumsupport.nsw.edu.au/creativearts Student work samples for each unit demonstrate significant learning in drama related to new syllabus outcomes. Activities recorded in the process of assessing for learning include relevant warm-ups, practices in making, performing and appreciating and examples of possible recording and reporting for students, teachers and parents. Many thanks to the students involved in the collection of work samples and to their teachers. Project team, writers and contributors: Sonya Mason Mitch Ulacco Judith Woodroffe Orange High School Tumbi Umbi campus of Tuggerah Lakes Secondary College Newtown High School of the Performing Arts Colleen Roche Curriculum K-12, Creative Arts (Drama) consultant Curriculum K–12 Directorate NSW Department of Education and Training 2 Implementing 7–10 drama syllabus Table of Contents 1. Preamble 2. Context/Outcomes/Unit description 3. Unit Outcomes 4. A Teaching Program 5. Tasks – assessable and non assessable 6. Creating a Poster/ Poster design 7. Marking Criteria 8. Evaluations 9. Bibliography Curriculum K–12 Directorate NSW Department of Education and Training 3 Implementing 7–10 drama syllabus PREAMBLE ‘Page to Stage’ is an integral part of the 7 – 10 Drama syllabus. This form of drama reflects the aims and objects of the syllabus with a strong focus on experimental treatment of texts in the junior years. This will prepare and provide students with a foundation of skills and knowledge to progress successfully into Stage 6 Drama. In response to the Quality Teaching document released by DET, this unit focuses on the three dimensions of Intellectual Quality, Quality Learning Environment and Significance. The teaching and learning tasks and assessments have been closely linked with the following elements in particular: metalanguage, substantive communication, students’ self-regulation, student direction, engagement and cultural knowledge. These links ensure that this unit reflects sound pedagogical practices. The three areas, (Making, Performing and Appreciating), of the syllabus are addressed through this unit. It builds on the early Stage 5 units of improvisation and playbuilding and the skills of characterisation, role, and projects and group-devised procedures and processes. This unit has a specific ICT component that challenges and extends the students while encapsulating the aims, objects and skills of the 7–10 Drama syllabus. Curriculum K–12 Directorate NSW Department of Education and Training 4 Implementing 7–10 drama syllabus Essential Content Stage 5(Year 9) Drama Unit Playbuilding from What is the matter with Mary Jane? Context This unit is intended to be taught in the second semester of the 100 hours essential content and would fulfill the requirement of the mandatory Playbuilding unit to be undertaken in the essential content. Students will undertake an integrated learning experience from the three practices of making, performing and appreciating drama, including introductory activities such as warm-ups, trust games, spontaneous improvisation, rehearsed improvisation and the elements of drama. Students will have experience relevant drama terminology and understand the function of their drama workbook that documents the process of group-devised tasks and critically written reflections. Outcomes Making 5.1.2, 5.1.4 Performing 5.2.1, 5.2.3 Appreciating 5.3.1, 5.3.2, 5.3.3 Unit description Playbuilding refers to a group of students collaborating to make their own piece of drama. This unit explores ways playing and improvisation through a study of the play, What is the matter with Mary Jane?, written by Wendy Harmer. The play will be used as a stimulus to explore across a number of areas of drama relating the contemporary society. Student may also experience various other playbuilding strategies including setting, narrative, character, issues or personal experiences. The unit will incorporate other aspects of playbuilding, including specific performance styles and/or performing to a public audience. Playbuilding is explored through the integrated practices of making, performing and appreciating. The teaching/learning experiences are scaffolded and incorporate initial workshops and introductory activities, using improvisation as a key technique of making, researching, developing narrative structures, developing characters/role, incorporating the elements of drama, linking scenes, timing, final rehearsals and performance. There is a strong collaborative focus in this unit where tasks are designed to allow students to maximise their experiences during the 10-week program. Curriculum K–12 Directorate NSW Department of Education and Training 5 Implementing 7–10 drama syllabus Stage 5 (Year 9) Drama Essential Content Playbuilding from What is the matter with Mary Jane? Unit Outcomes Making Outcome 5.1.2: A student contributes, selects, develops and structures ideas in improvisation and playbuilding. Students learn to: use improvisation as a form as well as a key technique to devise playbuilding playbuild using a variety of stimuli link playbuilding scenes use elements of drama to manage the action in playbuilding create narrative structures to convey dramatic meaning research material from a number areas including, the internet, magazines and the media in general Students learn about: the process of using an active, collaborative process to create group or self-devised works a variety of ways to approach playbuilding including setting, theme, narrative, character, issues and personal experiences creating a cohesive and structured performance by using links such as music, props, freezes, movements, images and soundscapes the creation and enhancement of dramatic meaning through elements of drama such as tension, moment and symbol the development of plot structures in playbuilding (simple, complex, linear) ways to develop different styles of group-devised plays by drawing on the play What is the matter with Mary Jane? Outcome 5.1.4: A student explores structures and refines ideas using dramatic forms, performance styles, dramatic techniques, theatrical conventions and technologies. Students learn to: develop linear scene and plot structures to communicate dramatic ideas refine work in collaboration with others Curriculum K–12 Directorate NSW Department of Education and Training Students learn about: the format of traditional plot structures including beginning, build-up, climax and denouement the nature of an ensemble and the collaborative process 6 Implementing 7–10 drama syllabus Performing Outcome 5.2.1: A student applies acting and performance techniques expressively and collaboratively to communicate dramatic meaning. Students learn to: use body language and physicalisation to help an audience to read performance move through and act with confidence in a variety of performance spaces develop timing in performance use techniques to create a character/role create and maintain clarity of focus in dramatic action create a basic actor/audience relationship in a variety of performance situations Students learn about: aspects of body language and physicalisation such as posture, gesture, facial expression and the use of masks performing with confidence in a variety of spaces and developing trust and collaboration with others the contribution of timing to the creation of impact and dramatic tension in dramatic works different techniques to approach the creation of a character/role physicality and status maintaining clarity of focus as action advances using props, gestures, eye contact, movement and sound the function of the actor/audience relationship Outcome 5.2.3: A student employs a variety of dramatic forms, performance styles, dramatic techniques, theatrical conventions and technologies to create dramatic meaning. Students learn to: explore, understand and use the dynamics of the space develop terminology appropriate to dramatic contexts and technologies Curriculum K–12 Directorate NSW Department of Education and Training Students learn about: the ways in which levels, physical proximity and groupings affect dramatic meaning terminology associated with dramatic forms, performance styles and technologies including Photoshop 7 Implementing 7–10 drama syllabus Appreciating Outcome 5.3.1: A student responds to, reflects on and evaluates elements of drama, dramatic forms, performance styles, dramatic techniques and theatrical conventions. Students learn to: recognise and discuss elements of drama in a variety of drama activities for dramatic meaning recognise and discuss the techniques, conventions and technologies of various dramatic forms and performance styles exhibit appropriate audience behaviour when watching various dramatic forms or performance styles Students learn about: the identification and importance of the elements of drama which together create dramatic meaning and audience engagement the conventions, techniques and technologies applicable to various forms and styles the conventions associated with experiencing a live performance in comparison to cinematic and small-screen viewings Outcome 5.3.2: A student analyses the contemporary and historical contexts of drama. Students learn to: Students learn about: investigates the issues and themes present in the play What is the the ways in which playwright Wendy Harmer presents social issues matter with Mary Jane? through drama texts and performances investigate, discuss and debate the representation of gender the development of critical questioning in order to appreciate and based stereotypes in society using various dramatic understand the role of drama and theatre in provoking questions, forms/performance styles thoughts and ideas adolescent social issues value and use information and communication technologies in use a range of computer-based technologies such as multimedia, drama and theatre to help reflect on aspects of human experience graphics programs and electronic communication to enhance dramatic meaning in their playbuilding, scripts and performances Outcome 5.3.3: A student analyses and evaluates the contribution of individuals and groups to processes and performances in drama using relevant drama concepts and terminology. Students learn to: investigate and analyse dramatic ideas through enactment, workbook, discussion and debate use appropriate language individually and within the group when devising, enacting, discussing, debating or writing about drama reflect on their own work and the work of others recognise dramatic problems and solve them individually /in group recognise the contribution and commitment of individuals and groups to drama and acknowledge a diversity of views value the collaborative nature of drama work Curriculum K–12 Directorate NSW Department of Education and Training Students learn about: the selection and use of various ways to present ideas and information about drama the value of a shared terminology the importance of accepting positive, constructive criticism and critical analysis of group or individual works the process of refinement through trial and error respecting and appreciating commitment in the collaborative process and the diverse approaches to drama making and performing acknowledging the attitudes and views of others through working collaboratively in the development of dramatic meaning 8 Implementing 7–10 drama syllabus Stage 5 (Year 9) Drama Unit Essential Content Playbuilding from What is the matter with Mary Jane? Teaching Program Note that at TLSC Tumbi Umbi the facilitator is also the college’s Digital Imaging consultant Week 1 2 Focus/lessons a. Introduction to Mary Jane Unit b. Developing a character emphasis on shape an form a. Assignment issues and explanation – Read What is the matter with Mary Jane? b. Exploring the assignment options c. Library research a. Directing a scene from …Mary Jane 3 b. Continued including another scene a. Text-based discussion 4 b. As a Director how would you …. Outcomes 5.2.1 5.3.3 5.3.2 5.1.2 5.2.3 5.3.1 5.1.2 5.2.1 5.2.3 5.3.1 5.3.3 c. Group-devised Presentation – Intro a. Elements of Drama/incorporating 5.1.2 Curriculum K–12 Directorate NSW Department of Education and Training Integrated Learning Experiences Overview of unit – with a focus on the page to stage Warm ups – movement, physicalisation, stereotypes Character development – style, mannerism, stance, voice, history, presentation, appearance Character hot seating and evaluation Thorough explanation and expectations of assignment including marking guidelines Reading of text for homework Library lesson – students using resources of issues booklets, internet and magazines, CDROMs Opportunity to discuss findings with peers in social groups Teacher-directed lesson: Using the first 2 scenes teacher directs the entire class incorporating elements of drama – tension mood and atmosphere Incorporating of scene transitions, use of symbol, soundscapes and physicalisation of all roles Class discussion about the issues of the text Discussion – stage to page elements: character, setting, actor/audience relationship, intention/purpose In groups 4-6, provide each group a scene and assigned roles and direct the scene for performance GP assignment explanation including marking guidelines Improvisation workshop Revisit the elements of drama – incorporation in the GP devising process 9 Assessment/Feedback Discussion examining types of characters developed Impact on self and other Teacher verbal feedback Teacher verbal feedback providing a focus and further direction and assistance Students have some assumed knowledge from reading What is the matter with Mary Jane? for homework Teacher verbal feedback - class workshop Discussion - elements of drama and there incorporating into the scenes Peer verbal feedback on GP performance Teacher verbal feedback on GP performance Group evaluation, reflections and discussion of future directions General discussion of the Registration Implementing 7–10 drama syllabus 5 6 7 8 9 10 library research knowledge b. Issues- based GP workshop a. Poster design workshop – intro b. Poster design workshop – initial ideas c. Poster design workshop – experimentation a. Incorporation of different props and elements to GP b. Reworked GP s a. Poster design workshop – sharing of ideas b. Poster design workshop – reworking c. Poster design workshop/complete task a. Rehearse to performance – GP b. Peer assessment & marking guidelines a. GP assessment task/ extension performances b. Assignments due and Theatre Sports 5.1.4 5.3.1 5.3.3 5.2.3 5.1.2 5.1.4 5.3.1 Reinforce prior knowledge of text and issues Clausen’s issued based information p.49 Workshop using the issue of binge eating incorporating the structure provide by Clausen Discussion of the process and where to now Poster Promotions group task provided Standards Package examination & evaluation Discussion about the expectations Defining groups – discussion of key concept focus eg: toilet, blender, food scraps Workshop with teacher/facilitator students discover the wonders of Photoshop Group discussion – preliminary photos taken and experimentation with the program Establishment of a rehearsal timetable Evaluation of group presentation 5.3.3 5.2.3 Workshop with teacher/facilitator students continue working with Photoshop Group discussion – preliminary poster design concepts and experimentation with the program Workshop – final presentation Students continue to work in groups throughout this week process and future directions Peer verbal feedback on GP s Teacher verbal feedback on GP Group evaluation and discussion of future directions Posters submitted for marking Peer verbal evaluation of group posters Teacher and Digital Imaging consultant verbal feedback about each poster Groups continue to work towards their rehearsal schedules Groups perform 2 mins of piece for the class Discussion of peer assessment sheet 5.1.4 5.2.1 5.3.3 5.1.4 5.2.1 5.3.3 Curriculum K–12 Directorate NSW Department of Education and Training GP presentations and Extension performances Submission of all assignments Term reflection sheet to be completed Theatre Sports games 10 Teacher verbal feedback Peer verbal evaluations Group discussions and reflections Establishment of a rehearsal timetable Evaluation of group presentation Marking of all GPs Marking extension performances Marking of assignments Teacher verbal feedback of performances/ unit evaluation to class Implementing 7–10 drama syllabus Stage 5 (Year 9 Drama) Assessment Schedule Tasks set using What is the Matter with Mary Jane? 1. Poster Promotion (Group) Due: Term 4 Week 8 2. Dramaturgy Assignment Due: Term 4 Week 10 3. Group-devised Performance Due: Term 4 Week 10 Extension Activity 1. Individual Performance Due: Term 4 Week 10 Curriculum K–12 Directorate NSW Department of Education and Training 11 Implementing 7–10 drama syllabus Year 9 Drama Poster Promotions Group Assessment What is the Matter with Mary Jane? Outcomes Assessed: 5.2.3, 5.3.1, 5.3.3 In groups of 3–6, complete the following compulsory task: Design a professional poster to promote the text, What is the Matter with Mary Jane?, as a production. Focus on a single design concept. Use the following information to assist you: Time: 8pm Tuesday – Saturday Date: May 15-21 2004 Theatre: Laycock Street Theatre, Gosford Booking number: 433456561 Title: What is the matter with Mary Jane? Playwright: Wendy Harmer You will have the opportunity to work with the College’s Digital Imaging Consultant and have access to the CAMEL room before lunch and after school if required to compete this project. Additional Information: See attached information (on the Group and Extension project sheets) Requirements: See attached information Marking Guidelines: See attached information Due: Term 4 Week 8 Curriculum K–12 Directorate NSW Department of Education and Training 12 Implementing 7–10 drama syllabus Year 9 Drama Group-devised Performance Assessment What is the Matter with Mary Jane? Outcomes Assessed: 5.1.2, 5.2.1, 5.2.3, 5.3.1, 5.3.3 Task: Your task is to design a theatrical piece of theatre using excerpts from the texts and any additional material you may wish to include. Each group will be given 2 to 3 scenes by the teacher or groups may opt to select their own scenes in consultation with the teacher. Groups must assigned roles for each member and direct the scene for performance. You may wish to incorporate music, poetry or any other stimulus material into your performance. You wish to incorporate mime, movement, soundscapes, frozen moments, scene transitions, slow motion, and double time within your piece. Remember to use the skills you have gained during the workshops to assist your group in developing its group-devised performance including the worksheet from Centre Stage provided. Groups will be given some class time to prepare this task. It will be expected that groups will need to design a rehearsal schedule and meet outside class to rehearse and polish their piece for performance. Lights: Lights up at the beginning and lights down at the end will be the only lighting that you be allowed for this performance Technical Equipment: Groups will need to select another member of the class to operate any additional technical equipment such as music, sound effects etc. Costumes: Drama blacks or minimal costumes Time limit: 4 – 6 mins. Marking Guidelines: Attached Due Date: Term 4 Week 8 Curriculum K–12 Directorate NSW Department of Education and Training 13 Implementing 7–10 drama syllabus Task 1: Compulsory Task: Read the set text – What is the Matter with Mary Jane? Task 2: Compulsory Task: Analyse the issues linked to the text: 1. The ‘disorder’ concept. Are anorexia and bulimia diseases? What makes you think so? What medical evidence can you find to support your opinion? Include where you discovered your evidence. Eg, website, book etc 2. The gentle art of advertising. Analyse a series of advertisements from a variety of magazines, including those with men and women’s themes. Choose 5 advertisements, which aim for different audiences, and see what kind of female and male images they portray. Are the images positive ones? What kind of body image do they present? Describe in your own words. 3. What are your perceptions of someone who suffers from an eating disorder like anorexia nervosa or bulimia? Task 3: Compulsory Task: Research the background and style of the text Complete the following questions 1. Who was the playwright? Research her life and times, and other influences that have a bearing on the text. 2. Provide a one-page overview of the text. 3. Where was the text set? (Country, town, city, urban, rural) 4. When was the text set? (Date, historical period and significance) 5. What is the style of the text? (Realism, Absurd etc.) Curriculum K–12 Directorate NSW Department of Education and Training 14 Implementing 7–10 drama syllabus 6. What symbols are important to understanding the text? 7. Is there a metaphor in the text that has a particular importance to the text? In your own words describe the significance of this metaphor. 8. What are the significant themes/issues in the text? How can they be realised in the production of this text? In other words, how can the performance highlight them on stage? Task 4: Compulsory Task: Write a monologue as one of the following characters: Sancia’s mother Sancia’s friend One of Sancia’s teachers The psychiatrist A monologue is a 1-person performance. It is very much like a speech however it is designed to be performed. The monologue should go for approximately 2 – 3mins in length. You must include stage directions, the way the monologue should be delivered as a director etc. Remember you will not be required to perform this task. Extension Activity: Individual Performance Perform excerpts from the text as an individual performance/or from your own written monologue. Time limit: 4 – 6 mins. Marking Guidelines: Attached Due Date: ________________________________ Performances and projects will be submitted on the same day. No extensions will be given unless there are extenuating circumstances. The source for this assignment is the study guide provided at the back of the text – What is the matter with Mary Jane? The questions have been selected to suit the nature of this unit and the class. Teachers may select other questions to incorporate into their Dramaturgy Assignment. Curriculum K–12 Directorate NSW Department of Education and Training 15 Implementing 7–10 drama syllabus Stage 5 (Year 9 Drama) Group and Extension Project – Additional Information Design – Poster Promotion & Performance Role of the designer Groups need to have a clear understanding of the designer’s role in the chosen area of poster promotion, before work commences. The designer perceives a play as a whole entity and develops a design that is visual representation of this entity Understanding project requirements Using specific design area requirements, Groups need to identify exactly what they need to produce for the assessment task. This will involve Groups seeing finished products of work samples that may include posters, programs and flyers. Groups can view these throughout various location including regional theatres, Sydney Theatre Company, Belvoir Street Theatre, Sydney Opera House and NIDA, newspapers and BOS Standards Packages 2001 & 2002. Groups will collect samples and/or photos of design products in their logbooks. Choosing the best play – (In this case the play has already been chosen for you) The best play is the one that: Appeals to the student Offers sufficient scope for creativity in the chosen design area. First reading – usually completed by Week 4 After the first reading of the play, groups brainstorm their initial response to the play. It is expected that students come to this stage having read the play and be prepared to share their ideas considering the elements of drama. Groups should consider: Main ideas Atmosphere Images Objects Style Characters Words Curriculum K–12 Directorate NSW Department of Education and Training 16 Implementing 7–10 drama syllabus Shapes and mood Setting Colours and symbols In one sentence groups must sum up the central ideas of the play. At this point groups start collecting visual material that relates to their ideas. Second reading – usually completed by week 7 This time groups will make a close study of the play, writing detailed notes relevant to the specific design area, Eg.Poster Promotion: Themes Images Symbols Dramatic moments Colours Moods Directorial Concept Decisions must be now made about the directorial framework in which the designer is working. Group discussion questions: What is the text about? Do I understand the play? What is to be the director’s approach to the text? What is to be emphasised? Is it to be a conventional or an innovative production? What type of Theatre Company or group is staging the production? Will it be a big or small budget production? Which performance space is to be used? Who will be the audience of the play? What effect does the director want to have on the audience? From these answers a directorial concept should emerge. MODEL OF A DIRECTORIAL CONCEPT Sources: 2002 NSW HSC Standards Packages – Drama Curriculum K–12 Directorate NSW Department of Education and Training 17 Implementing 7–10 drama syllabus Band 5/6 Sample Design Concept: Euripides’ The Trojan Women Euripides’ “The Trojan Women” deals with issues of slavery, violence against women, war and sexuality … These themes are universal and timeless… My design for Euripides’, The Trojan Women, is a contemporary design, with elements of the past, such as the statue. The statue represents the fall of Troy and the grieving of the women. I have purposely emphasised the red tear, which establishes that the statue is in some way capable of experiencing human emotions. This image also represents the result of the Trojan War, and the destruction caused to the Trojans. Images of blood and tears highlight the main themes of the play, tragedy, loss, suffering, war and eventual death. Other examples can be viewed on the standards package – the Band 4/5 is simplistic and useful for lower ability students. The exemplar is outstanding but the sophisticated use of visual metaphor and language may be difficult for some classes to comprehend. Research While research should have begun, this will be an intensive period of trial and error. What are the possibilities within the directorial limitations imposed? Experimentation needs to be integrated with research. Consider the following: Textures Colours Symbol Styles Arrangement Print Images. This research should be carried out while constantly referring to the play. Design Concept Statement By this stage groups should have decided on their design concept. The design concept is the visual metaphor for the play and should be an integrated. Curriculum K–12 Directorate NSW Department of Education and Training 18 Implementing 7–10 drama syllabus It will evoke a clear, immediate interpretation of the play. A design concept statement should be written in full describing the concept and the rationale for the artistic decisions. Execution of the project Groups need to ensure that they have the appropriate materials and resources to create the project (e.g. access to the CAMEL (Creative Arts Multimedia Editing Lab) room and digital camera Groups may need to seek technical advice from other sources. This advice must be recorded in the logbook. (For this assignment the College’s Digital Imaging Consultant at Tumbi Umbi TLSC provided additional support.) Presentation The presentation of the project should be clear, neat, artistic and to the best ability of the group. Curriculum K–12 Directorate NSW Department of Education and Training 19 Implementing 7–10 drama syllabus Poster Promotions Design Final Product 1 design concept for a poster and program cover Poster size: Minimum A4 - Maximum A3 Planning A distinct design concept is to be developed and this concept is to be reflected in the various promotional items. Think about the audience for your material. For instance, promotional material aimed at the readership of a tabloid newspaper is different from promotional material aimed at listeners of Arts Today on Radio National. Your audience must be carefully considered when designing in this area. Remember the concept must be used in a poster, program cover and layout and flyer. Collect samples of different promotional forms that are needed for the project. Analyse in the purpose of the material, the essential information, the visual presentation and the language. These samples can be obtained from theatre companies, local papers and the Internet. Concept development and execution After selecting the play, decide on an image that best communicates the directorial approach to the play and that is eye catching and effective. Develop the concept first. How will the poster communicate ideas through image, print style, colour and layout? Is it to be hand painted, photographed or scanned? Brainstorm possible images, symbols and colours. Experiment with a variety of print styles and sizes for the title. What is the style of lettering (font) conveying about the production? Ensure all essential information is included on the poster: the title, theatre group, and date of performance, performance space and ticketing. Don't let the overall impressions become cluttered. The title should be clear and appropriate priority should be given to the other information. Curriculum K–12 Directorate NSW Department of Education and Training 20 Implementing 7–10 drama syllabus Develop other visual material, maintaining a consistent design through the various forms. Presentation Clearly label each item Ensure that each item looks professional and camera ready. This involves typing of all written information, using a colour photocopier and mounting material on a board. Write out concept statement Extension Task - Individual Performance Final Product Individual performance piece 4 – 6 minutes’ duration Any style of dramatic performance – can be a mime, movement, mask work You must use the chosen play. Generating Ideas Brainstorm: possible themes, situations, characters, setting, performance styles and other related materials. Selecting: students to select a play and character/s that interests them. Researching: collect newspaper and magazine articles, poems, short story, stories, pictures, songs lyrics, advertisement that relate to the play and/or character. Trialling: trial some of the material by reading, dramatizing improvising dialogue, movement and theatrical styles. Curriculum K–12 Directorate NSW Department of Education and Training 21 Implementing 7–10 drama syllabus Shaping and analysing the material: Select, write, redraft, edit while focusing on the idea of a one-person performance. At this point a concept should begin to emerge from the material. The performance may be a work in progress at this stage that will eventually evolve into a full performance. Staging the material: consider the material in terms of a whole integrated theatrical performance. There needs to be a sense of a beginning, middle and end within the performance. It is not simply an audition piece. The following questions need to be considered: 1. What is engaging about the performance? How can the engaging elements be emphasized? 2. Is it clear what the performance is about? 3. What are the key moments? How do the staging and theatrical techniques heighten these moments? 4. How are setting mood, situation and character established? 5. Is there enough variety, i.e., light and shade? 6. Does the blocking keep the audience interested? 7. Are there any transitional moments? How do these add to the performance rather than detract from it? 8. How does the character develop within the piece? 9. Is the stage space used effectively, maintaining a clear actor-audience relationship? Creating a character Students should have developed reasonable skills and resources for creating and developing a character. The following strategies will help students create a character: Develop a character profile. Analyse the character's motivation and subtext. Work on the physical features of the character: stance, movement, gestures and facial expression. Develop the character's voice, focusing on key words, expression timing, etc Create a sense of the character's development from the start to finish. Incorporate ‘business’ (attributes and actions) that reflects the character and his or her emotional state. Include essential props and costumes ‘Hot-seat’ or use other belief-building exercises that involved the rest of the class. Curriculum K–12 Directorate NSW Department of Education and Training 22 Implementing 7–10 drama syllabus A note on adding production elements Students need to approach this area with caution. An over reliance on production effects can detract from an effective performance. The rule of thumb is that the focus should always remain on the performer. Production guidelines Setting: use only what is required on stage to suggest the setting, or what is actually used by the performer. Costumes: costumes should complement and enhance the character. Remember that performers in dark colours can be lost against a dark background. Sound: often provides an effective introduction to the mood and location. It may also give a performance a sense of completion or provide a heightened effect to a dramatic moment. If used ensure you use good quality recording. Lighting: should be kept simple and not used to solve staging problems. It is usually best to use the lights up at the start and lights down at the end. Avoid a blackout during an individual performance as it breaks the action and can harm the integrity of the performance. Rehearsing the performance The following steps can be used by students to bring the performance to its final stage: Do a technical run to clarify cues for the sound and lighting operator. Perform the whole piece without stopping, even if mistakes occur. Check your time at the end of the performance and evaluate with a friend the strengths and weaknesses of the performance. Reflect in your logbook, and plan modifications to your project Curriculum K–12 Directorate NSW Department of Education and Training 23 Implementing 7–10 drama syllabus QuickTime™ and a Planar RGB decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 24 Implementing 7–10 drama syllabus QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 25 Implementing 7–10 drama syllabus QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 26 Implementing 7–10 drama syllabus QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 27 Implementing 7–10 drama syllabus QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 28 Implementing 7–10 drama syllabus QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 29 Implementing 7–10 drama syllabus QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 30 Implementing 7–10 drama syllabus QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 31 Implementing 7–10 drama syllabus QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 32 Implementing 7–10 drama syllabus QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 33 Implementing 7–10 drama syllabus Curriculum K–12 Directorate NSW Department of Education and Training 34 Implementing 7–10 drama syllabus Important Notes about Marking Criterion at Tumbi Umbi Campus Tumbi Umbi is a 7–10 Campus and is part of the Tuggerah Lakes Secondary College on the Central Coast of NSW. The Creative Arts faculty made a decision in 2002 to adopt Stage 6 marking criteria across all courses in Years 9 and 10 electives in Music, Dance, Visual Arts and Drama. This decision was made on the basis that, although many of our students proceed to the senior campus to complete their studies, some of our talented students move on to a variety schools including Comprehensive, Performing Arts and Selective. It was on this premise that the faculty wanted to ensure that all creative arts students were equipped with and exposed to a variety of Stage 6 experiences including marking guidelines and criteria, performances, workshops, exhibitions and standards packages. In Drama, the students are given the Stage 6 Group Performance Marking Guidelines at the beginning of each year and carefully walked through the terminology that will be adopted throughout the two years of Stage 5 Drama at Tumbi Umbi Campus. Students, by the beginning of Year 10, become quite conversant with the terminology and are well aware of the increase in standards and expectations for the School Certificate and beyond. It is a policy in Drama at Tumbi Umbi that a student who receives a grade/outcome lower than “Competent” in any individual work has the opportunity to resubmit the task no later than a week after the task has been returned for remarking in an attempt to improve their result. Curriculum K–12 Directorate NSW Department of Education and Training 35 Implementing 7–10 drama syllabus YEAR 9 DRAMA Playbuilding from What is the matter with Mary Jane? GROUP PERFORMANCE MARKING CRITERIA The marking criteria for the describe the elements that are assessed and considered the holistic appraisal of the performance. Three criteria are applied to each individual’s performance within the group, as follows: 1. Structure and Dramatic Coherence Performance as part of an ensemble Effective use of dramatic elements and theatrical conventions Establishing and maintaining a clear intention and an appropriate relationship with the audience in the context of the performance space Demonstration of innovation and integrity in dramatic work Effective use of the space in the context of the performance style 2. Performance Skills Vocal dynamics – projection, clarity, tone, pitch, pace Movement dynamics – energy, spatial awareness, dynamics Timing – control of delivery, responses to cues, awareness of rhythms 3. Sustaining and Developing Role/Character Belief/Conviction/Energy Complexity/Dimension Interaction with other character/s and/or role/s Focus Curriculum K–12 Directorate NSW Department of Education and Training 36 Implementing 7–10 drama syllabus YEAR 9 DRAMA Playbuilding from What is the matter with Mary Jane? GROUP PERFORMANCE MARKING CRITERIA Marking Criteria Demonstrates a clear intention through sophisticated use of the elements of drama and performance conventions Demonstrates exemplary ability to work as part of an ensemble Demonstrates integrity and innovation in presenting a theatrically coherent performance which evokes a powerful audience response Demonstrates sophisticated use of space in the context of the performance style Demonstrates exemplary performance skills including vocal, movement and timing Demonstrates exemplary ability to realise and sustain defined role/s and or character/s. Effectively interacts with other role/s and/or character/s in the performance Demonstrates a clear intention through substantial ability to control the elements of drama and performance conventions Demonstrates substantial ability to work as part of an ensemble Presents a coherent and largely theatrically performance that effectively engages the audience in the context of the performance space Demonstrates an effective use of space in the context of the performance style Demonstrates substantial performance skills including vocal, movement and timing, although some skills may be more refined than others Demonstrates substantial ability to realise and sustain defined role/s and or character/s. Some aspects of sustaining and developing role/s and/or character/s may be more refined than others. Effectively interacts with other role/s and/or character/s in the performance Curriculum K–12 Directorate NSW Department of Education and Training Outcome Very Proficient Proficient 37 Implementing 7–10 drama syllabus Demonstrates adequate ability to work with the elements of drama and performance conventions Demonstrates adequate ability to work as part of an ensemble Demonstrates some intention and reasonably engages the audience in the context of the performance space Presents a generally coherent but often superficial performance that may contain some theatricality Demonstrates some awareness use of space in the context of the performance style Demonstrates adequate performance skills including vocal, movement and timing, although some skills may be more refined than others Demonstrates adequate ability to realise and sustain defined role/s and/ or character/s. Variations and inconsistencies in interactions with other role/s and/or character/s and levels within the criteria Demonstrates frequent inconsistencies in use of the elements of drama and performance conventions Demonstrates an inconsistent ability to work as part of an ensemble Displays a limited ability to engage the audience Presents a simplistic performance with limited coherence or little theatricality Demonstrates predictable or simple use of space Demonstrates limited performance skills including vocal, movement and timing which may be inappropriate to the style or form Demonstrates limited ability to realise and sustain defined role/s and/ or character/s. Limited interactions with other role/s and/or character/s in performance Demonstrates minimal use of the elements of drama and performance conventions Demonstrates little or no evidence of working as part of an ensemble Demonstrates little or no engagement of the audience Presents an incoherent performance Curriculum K–12 Directorate NSW Department of Education and Training Component Developing Elementary 38 Implementing 7–10 drama syllabus Demonstrates little or no understanding use of space Demonstrates minimal performance skills including vocal, movement and timing with little understanding of style or form Displays minimal or no ability to realise role/s and/or character/s. May plat themselves. Minimal participation or interaction with other role/s and/or character/s in the performance Curriculum K–12 Directorate NSW Department of Education and Training 39 Implementing 7–10 drama syllabus YEAR 9 DRAMA Playbuilding from What is the matter with Mary Jane? EXTENSION TASK INDIVIDUAL PERFORMANCE MARKING CRITERIA The marking criteria for the Individual performance describe the elements that are assessed and considered the holistic appraisal of the performance. Three criteria are applied to an individual’s performance as follows: 1. Structure and Dramatic Coherence Effective use of performance elements Establishing and maintaining a clear intention and an appropriate relationship with the audience in the context of the performance space Integrity, originality and clarity in analysis, interpretation and presentation of the play What is the matter with Mary Jane? Realisation of a coherent theatrical performance Effective use of the space in the context of the performance style 2. Performance Skills Vocal dynamics – projection, clarity, tone, pitch, pace Movement dynamics – control, energy, spatial awareness, dynamics Timing – control of delivery, responses to cues, awareness of rhythms 3. Sustaining and Developing Role/Character Belief/Conviction/Energy Complexity/Dimension Clarity in presentation of character/s and/or role/s Focus Curriculum K–12 Directorate NSW Department of Education and Training 40 Implementing 7–10 drama syllabus YEAR 9 DRAMA Playbuilding from What is the matter with Mary Jane? EXTENSION TASK INDIVIDUAL PERFORMANCE MARKING CRITERIA Marking Criteria Demonstrates outstanding manipulation of the performance elements Demonstrates ability to work at a sophisticated level to realise a coherent theatrical performance which evokes a powerful audience response Demonstrates integrity and clarity in analysis, interpretation and presentation of the chosen style/material Demonstrates sophisticated use of space appropriate to the style/material Demonstrates exemplary performance skills including vocal, movement and timing Demonstrates exemplary ability to realise and sustain defined role/s and or character/s. Demonstrates substantial ability to control the performance elements Demonstrates accomplished ability to effectively engage the audience Presents a coherent and largely theatrical presentation which demonstrates an effective interpretation and presentation of the chosen style/material Demonstrates effective use of space appropriate to the style/material Demonstrates substantial performance skills including vocal, movement and timing, although some skills may be more refined than others Demonstrates substantial ability to realise and sustain defined role/s and or character/s. Some aspects of sustaining and developing role/s and/or character/s may be more refined than others. Curriculum K–12 Directorate NSW Department of Education and Training Outcome Very Proficient Proficient 41 Implementing 7–10 drama syllabus Demonstrates adequate ability to use the performance elements and engage the audience Presents a generally coherent but superficial interpretation and presentation of the chosen style/material Demonstrates adequate use of space appropriate to the style/material Demonstrates adequate performance skills including vocal, movement and timing, although some skills may be more refined than others Demonstrates adequate ability to realise and sustain defined role/s and or character/s. Some aspects of sustaining and developing role/s and/or character/s may be more refined than others. Demonstrates limited ability to use the performance elements and engage the audience Presents a limited interpretation and presentation of the chosen style/material, often frequent inconsistencies in coherence Demonstrates predictable or simplistic use of space Demonstrates limited performance skills including vocal, movement and timing which may be inappropriate to the style or form Demonstrates limited ability to realise and sustain defined role/s and or character/s with clarity in presentation Demonstrates minimal use of the elements of drama with little or no engagement of the audience Presents an incoherent performance or non-theatrical performance Demonstrates little or no understanding use of space Demonstrates minimal performance skills including vocal, movement and timing with little understanding of style or form Displays minimal or no ability to realise role/s and/or character/s. May plat themselves. Minimal involvement or lack or clarity in presentation and role/s and/or character/s in the performance Curriculum K–12 Directorate NSW Department of Education and Training Component Developing Elementary 42 Implementing 7–10 drama syllabus YEAR 9 DRAMA Playbuilding from What is the matter with Mary Jane? GROUP POSTER PROMOTION MARKING CRITERIA The marking criteria for the Group Poster Promotion describe the elements that are assessed and considered the holistic appraisal of the task. Three criteria are applied to the promotional poster are as follows: 1. Design concept/vision Effective interpretation of the play (What is the matter of Mary Jane?) realised in the directorial concept/vision Integrity, originality and clarity in the design/vision Use of visual elements and promotional copy to communicate the concept/vision 2. Appropriateness Effective promotional material in conveying a dramatic interpretation of the production Understanding the purpose of the promotional material Effectiveness of the promotional material in communicating the profile of the theatre company production and its target audience 3. Execution Realisation of the design in concept/vision in the visual presentation Clarity and flair in the materia Effective presentation of the promotional poster Curriculum K–12 Directorate NSW Department of Education and Training 43 Implementing 7–10 drama syllabus YEAR 9 DRAMA Playbuilding from What is the matter with Mary Jane? GROUP POSTER PROMOTION MARKING CRITERIA Marking Criteria Demonstrates an outstanding directorial interpretation of the play realised with originality, clarity and integrity in the design concept/vision Presents a sophisticated use of visual elements and promotional poster to communicate the design concept/vision Demonstrates sophisticated understanding of the purpose of the promotional poster Demonstrates exemplary effectiveness in conveying a dramatic interpretation of the production and communicating the profile of the theatre company and target audience in the promotional poster Demonstrates exemplary ability to realise the design concept/vision in the artwork and presentation Demonstrates an effective directorial interpretation of the play realised through a design concept/vision Presents an accomplished use of visual elements and promotional poster to communicate the design concept/vision Demonstrates a substantial understanding of the purpose of the promotional poster Demonstrates effectiveness in conveying a dramatic interpretation of the production and communicating the profile of the theatre company and target audience in the promotional poster Demonstrates substantial ability to realise the design concept/vision in the artwork and presentation Curriculum K–12 Directorate NSW Department of Education and Training Outcome Very Proficient Proficient 44 Implementing 7–10 drama syllabus Demonstrates an adequate directorial interpretation of the play realised through a design concept/vision Presents an adequate use of visual elements and promotional poster to communicate the design concept/vision Demonstrates a working knowledge of the purpose of the promotional poster Demonstrates reasonable appropriateness in conveying a superficial dramatic interpretation of the production which conveys some information about the theatre company and target audience in the promotional poster Demonstrates an adequate ability to realise the design concept/vision in the artwork and presentation Demonstrates a very limited directorial interpretation of the play conveyed through an unsustained, simplistic or flawed design concept/vision Presents am inconsistent, incomplete or inappropriate use of visual elements and promotional poster to convey the design concept/vision Demonstrates a limited awareness of the promotional poster and its purpose Demonstrates a basic knowledge of the play in the promotional poster Demonstrates a limited and inconsistent ability to realise the design concept/vision in the artwork and presentation Demonstrates little or no directional interpretation of the play. The only partially realised design concept/vision. Presents poor use of visual elements and promotional poster that are superficial and often irrelevant Demonstrates only partial knowledge of the play and promotional poster, which is substantially incomplete and often irrelevant Demonstrates little or no understanding of the purpose of the promotional poster Demonstrates elementary or little ability to realise the design concept/vision in the artwork and visual presentation Curriculum K–12 Directorate NSW Department of Education and Training Component Developing Elementary 45 Implementing 7–10 drama syllabus YEAR 9 DRAMA Playbuilding from What is the matter with Mary Jane? DRAMATURGY MARKING CRITERIA Marking Criteria Demonstrates a sophisticated understanding and appreciation of the specific issues relevant to each task Interprets and explains comprehensively the issues addressed in each task Provides a comprehensive response to each task with wellsubstantiated evidence Presents an exemplary written monologue which includes outstanding stage directions and guidance for the actor Demonstrates a sound understanding and appreciation of the specific issues relevant to each task Interprets and explains the issues addressed in each task Provides a substantial response to each task with appropriate supporting evidence Presents a substantial written monologue which includes excellent stage directions and some guidance for the actor Demonstrates some understanding and appreciation of the specific issues relevant to each task Explains broadly the issues addressed in each task Provides an adequate response to each task with some supporting evidence Presents an adequate written monologue with some stage directions and guidance for the actor Curriculum K–12 Directorate NSW Department of Education and Training Outcome Very Proficient Proficient Competent 46 Implementing 7–10 drama syllabus Demonstrates limited understanding of the specific issues relevant to each task Provides a series of undeveloped points related to some of the issues addressed in each task Provides a basic response to each task with little supporting evidence Presents limited written monologue with simple stage directions and basic guidance for the actor Demonstrates minimal understanding of the specific issues relevant to each task Provides unrelated personal opinions and disconnected points which may not be related to each task Provides little or no relevant supporting evidence to each task Presents a superficial or no written monologue Developing Elementary QuickTime™ and a Photo - JPEG decompressor are needed to see this picture. Curriculum K–12 Directorate NSW Department of Education and Training 47 Implementing 7–10 drama syllabus YEAR 9 DRAMA Playbuilding from What is the matter with Mary Jane? Stage 5 Year 9 Drama Peer Assessment Evaluation Name: _______________________________________ Date: __________ Group Members: Title of piece: Brief description of the story or narrative, as you understood it: ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..…………………………………………….. Description or list of the characters/roles ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Curriculum K–12 Directorate NSW Department of Education and Training 48 Implementing 7–10 drama syllabus Evaluation of vocal skills used: (eg Volume, pitch, pace, tone, pause, accent emphasis) ………………………………………………………………………………………………………..…………………………………………………. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..…………………………………………….. Evaluation of physical skills used: (eg Movement, posture, gesture, facial expression, stillness, mannerism, use of space) ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..…………………………………………….. Did you feel that a sense of mood and atmosphere was created in the piece? ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Successful moments of tension/comedy/suspense/tragedy/climax: ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Evaluation of dramatic conventions and theatrical techniques: (eg Chorus, flashback, narration, physical theatre, slow motion synchronised movement) ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Curriculum K–12 Directorate NSW Department of Education and Training 49 Implementing 7–10 drama syllabus Evaluation of the overall impact the piece made on you: ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..…………………………………………….. Areas that you would suggest for development: ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Adapted from Clausen M (2004) Centre Stage 2nd Edition Heinemann - pgs 263-263 Appendix 4 Curriculum K–12 Directorate NSW Department of Education and Training 50 Implementing 7–10 drama syllabus Term Evaluation List some of skills and knowledge you had gained by completing this unit. ………………………………………………………………………………………………………..………………………………………………….. ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. List some of the activities you enjoyed throughout the unit. ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. List some of the activities you did not enjoyed and provide examples or information how could this be better presented or taught. ………………………………………………………………………………………………………..………………………………………………….. ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Identify two class members you believe have shown improvement this term and explain in what areas of drama. ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Curriculum K–12 Directorate NSW Department of Education and Training 51 Implementing 7–10 drama syllabus Highlight your strengths by completing this unit. ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Highlight your weaknesses and provide an explanation how you are going to address this in the next unit. ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Identify the strengths of this unit and explain why. ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Identify the weaknesses of this unit and explain why. ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………... Comment on my teaching this term. Be specific and critical, as all criticism will be addressed in the next unit to accommodate the needs and skill level of all students. Your honesty with an explanation on how I can do it better will be greatly appreciated. ………………………………………………………………………………………………………..………………………………………………….. ………………………………………………………………………………………………………....………………………………………………… ……………………………………………………....…………………………………………………………………………………………………… …....………………………………………………………………………………………………………..……………………………………………. Curriculum K–12 Directorate NSW Department of Education and Training 52 Implementing 7–10 drama syllabus Bibliography Books Clausen, M (2004) Centre Stage 2nd Edition Heinemann – Especially chapter 3 Crawford, J.L, Hurst, C, Lugering, M, Wimmer C (2003) Acting in Person and in Style in Australia McGraw –Hill Harmer, W (200) What is the matter with Mary Jane? Currency Press Curriculum Directorate Juggling Drama CDs BOS (2004) Assessment for Learning in a Standards-referenced Framework BOS (2002) 2002 NSW HSC Standards Packages – Drama Websites www.boardofstudies.nsw.edu.au Google search on issues of bulimia and anorexia reveal an abundant of information for students to use – note that some sites my contain material for adults only especially if your school’s and DET firewalls do not exclude theses sites during searches. Students may also encounter these sites when working on this project at home and it is important to highlight/alert these concerns with your students. Curriculum K–12 Directorate NSW Department of Education and Training 53
