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