Karen Yager and Melissa Cliff
Richmond River High School
NSW Department of Education and Training November 2004
Page 1 of 21
Curriculum K-12 Directorate
http://www.curriculumsupport.education.nsw.gov.au
Concept
“The smell of grease paint”
Building on year 7 drama skills and
knowledge through close analysis of a
play. Focus is on speaking, critical
responding and composing, and
performance.
Stage 4
Year 8
Duration 5 weeks
Cross curriculum content
Outcomes
Literacy
Difference and diversity
A student:
1.responds to and composes texts for
understanding, interpretation, critical
analysis and pleasure.
2. uses a range of processes for
responding to and composing texts.
5. makes informed language choices to
shape meaning with accuracy, clarity
and coherence.
11. uses, reflects on and assesses
individual and collaborative skills for
learning.
Language modes
Reading, writing, speaking, listening,
viewing and representing
Texts
Close study of a play such as: Honey
Spot, Two Weeks with the Queen or
Hating Alison Ashley
Rationale
This drama unit is designed to revisit and extend the knowledge and understanding of the students through a close study of a
play. A close study of a play invites a critical and detailed study of characterisation, the play’s concerns, dramatic techniques
and the staging of the play. Students will be required to compose a critical response to these aspects, developing their
exposition and personal response skills. The other main focus is the development of the students’ speaking skills. Through
performance of monologues and dramatic performances, students will learn to develop and exploit their oratorical skills. The
CD-ROM StageStruck is used as a main resource.
The unit begins with a class reading of the play. Even though this can be slow, it ensures that all students have read the play
and allows teachers and students to stop and closely analyse aspects of the play as they read. After the initial reading, the real
fun can begin. Individual and group work follows with performance of key scenes, monologues and other challenging tasks
relevant to drama. It would be advantageous of students could view a live performance. It is not important if the performance is
not the play they are studying, as the experience of live theatre is far more significant for their understanding of drama and
performance. Allowing students to explore roles that they are interested in, in the world of theatre is another aspect of this unit.
Students can choose to be actors, set designers, makeup artists, costume designers, directors or back stage people.
NSW Department of Education and Training November 2004
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Syllabus
content
1.1
1.2
1.5
1.7
Learning content and activities
Students learn to:
 respond to imaginative, factual and critical texts, including the required
range of texts, through wide and close listening, reading and viewing
 respond to and compose texts intended to inform, persuade and
entertain, including humorous texts
 interpret, question and challenge information and ideas in texts through
close study
 respond to and compose texts beyond the literal level
1.8

1.9
1.10


2.1

2.3

2.4

2.6

2.7

graphically represent aspects of texts such as the storyline of a novel or
film, the structure of a poem, the set of a play, and links in a webpage
demonstrate understanding of the complexity of meaning in texts
describe and explain qualities of language in their own and others’ texts
that contribute to the enjoyment that can be experienced in responding
and composing
use a range of listening, reading and viewing strategies, including
skimming, scanning, predicting and speculating, reading and viewing in
depth and re-reading and re-viewing, according to the purpose and
complexity of the texts
use and adapt the processes of planning, drafting, rehearsing,
responding to feedback, editing, and publishing to compose texts over
time
use processes of planning, including investigating, interviewing,
selecting, recording and organising ideas, images and information for
specific purposes in composing
respond to their own and others’ compositions by considering ideas,
images, information, linguistic and visual forms and features, tone, style,
and type and structure of text, with reference to their appropriateness
for the text’s purpose, audience and context
discuss and explain the processes of responding and composing, and
identify the personal pleasures and difficulties experienced
NSW Department of Education and Training November 2004
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Quality teaching
Deep understanding
Deep understanding
Higher-order thinking
Deep knowledge /higherorder thinking
Student
direction/engagement
Higher-order thinking
Deep understanding
Student direction
Deep understanding
Connectedness
5.2
5.4
11.3
11.9
1.11
1.14
1.18
1.20
2.9
2.13
11.15
11.20

make oral presentations that demonstrate a personal point of view,
including speeches and drama performances
 compose personal texts in literary forms such as narrative, poetry,
speeches and scripts
 ask questions, listen and negotiate to clarify an extended group task
with teacher and peers
 perform an allocated role responsibly in a group and assess the
success of collaborative processes
Students learn about:
 the ideas, information, perspectives and points of view presented in
imaginative, factual and critical texts
 their emerging sense of personal style and taste in composition and
response
 inference, figurative language and alternative readings as strategies for
responding to and composing texts beyond the literal level
 the complexity of meaning in texts
 techniques for planning and rehearsing including brainstorming,
mindmapping, storyboarding, role-play and improvisation
 alternative ways of expressing ideas


roles and responsibilities of individuals in groups
reflection strategies such as learning logs, journals, letters to teachers
and peers, guided discussion
NSW Department of Education and Training November 2004
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Student direction
Student direction
Engagement
Student direction
Deep knowledge
Connectedness
Higher-order thinking
Deep knowledge
Deep knowledge
Higher-order thinking –
student direction
Week 1: The opening act
Content
1.11
1.1
1.2
1.5
1.9
1.10
1.11
1.18
1.20
2.1
Learning and teaching activities
Spelling – look, cover and write – revisit drama terms.
Students select 15-20 challenging words to begin their
drama glossary after discussing meaning in groups.
Improvisation
Depending on the main issue in the play being
examined, such as coping with loss or bullying, place
the class in small groups and give them a short
scenario such as: “A group of students is bullying a
younger student in the playground.” The students
have ten minutes to allocate roles, discuss
characterisation, dialogue, action and movement and
create their role play. Students present their scenarios
dramatically. Follow this with a class discussion about:
1. the issue, the actions of the players and their
personal reaction to the issue
2. how conflict is essential to drama
3. dramatic techniques used by different groups
(and others that could be used)
4. elements of drama such as movement on
stage, acting and relationships, creating mood,
tension etc.
Glossary of dramatic terms revisited. Check if any
word is unfamiliar and discuss meanings in groups.
Close reading of the play:
Teacher to model a range of note-making strategies
such as mindmapping, main idea – supporting ideas,
listing key words. Teacher to revisit the play’s central
issue and tell part of the story of the play to engage
students. Begin reading the play and allocate roles to
those students who volunteer. Stop at significant
moments, discuss and, using a variety of strategies
such as group brainstorm, mindmapping, acting out
brief sections, students make notes on:
1. Characters: traits, motivations, dialogue and
actions
2. Conflict: what causes it and the consequences
3. The playwright’s perspective of the issue
4. Main issue: how it is conveyed
5. Language features: tone, word choice,
figurative devices, syntax, modality, etc
6. Dramatic techniques: contrast, suspense,
foreshadowing, etc
7. Audience reaction: how the students feel as
they read the play.
Homework:
Research the main issue of the play through the
internet and print texts and prepare a brief report for
the class about your discoveries.
E.g. research bullying at: <www.nobully.org.nz>
Quality teaching
Metalanguage
Background
knowledge: prior
knowledge of
drama, conflict
and dramatic
techniques
Knowledge
integration: links
to the Creative
Arts K-6 Syllabus
Metalanguage
Narrative:
engage through
a story of the
play
Deep
understanding:
detailed analysis
of the play
Deep knowledge
Connectedness
NSW Department of Education and Training November 2004
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Week 1: Drama terms
Select 15 or 20 challenging drama words to begin your glossary.
Word
Look
Cover
Write
Total correct:
NSW Department of Education and Training November 2004
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Week 2: Act 2 – suspend disbelief
Content:
1.1
1.2
1.5
1.9
1.10
1.11
1.18
1.20
2.1
1.5
1.7
1.9
1.11
1.20
2.2
2.4
Learning and teaching activities
Spelling and vocabulary – look, cover and write.
Select 15 – 20 verbs and adverbs from the play
and use ten in your own sentences about the
play and your response to it so far. Share and
discuss your sentence writing with a partner.
Close reading of the play:
Quality teaching
Metalanguage
Deep
understanding
Continue close reading, discussion and notes in
preparation for critical response, a monologue by
one of the characters and group performance of a Deep
knowledge
key scene. We should complete the reading by
the end of the week and use the last lesson the
week to start on the assessment task. Students
continue to add to notes about the play (character
details, setting, mood, plot).
Deep
Assessment tasks: Critical response
understanding
Students will be required to compose a critical
response: an analysis of one of the characters in
Higher-order
the play
The response is due at the end of week 4 and the thinking: the
two tasks are
draft is due at the end of week 3. Remind
challenging and
students to carefully read what is expected. We
require
will be making notes in class to prepare for the
students to
response and there will be class time this week
synthesise their
spent on the response. Students are asked to
knowledge of
hand in their draft before the due date so their
the play
final copy is of a high standard. If time permits,
students could workshop their expositions in pairs
or groups using a teacher-generated set of critical
reading and peer editing guidelines and questions
(see scaffolds and assessment sheet).
Deep
Extension:
understanding
Extend your research into the play’s main issue
and compose a feature article for the local
Connectedness
newspaper, e.g:
for The Terrible Fate of Humpty Dumpty:
Bullying is causing major concern in all schools
throughout the world. The local newspaper would Higher-order
thinking
probably publish a feature article with interviews
with students, staff and counsellors
for Two Weeks with the Queen: coping
with cancer is a concern for many families,
especially when it involves a young person.
Read articles about people who have coped with
cancer such as Lance Armstrong the Tour de
France champion cyclist.
Students find examples of feature articles to use
as models for their own responses.
NSW Department of Education and Training November 2004
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Assessment task 1: Character analysis
Outcomes:
1. A student responds to and composes texts for understanding, interpretation,
critical analysis and pleasure.
2. A student uses a range of processes for responding to and composing texts.
Language modes: reading and writing
Nature of task: A character analysis
Select one of the characters from the play we are studying in class and, in a piece of
writing, explain how you would play the part of this character if you were an actor.
In your response, refer to your reading of this character’s:
 personality and appearance
 voice, movements, costume and makeup
 relationships with other characters
 role in the play – refer to a key scene
 reception by an audience
Requirements:





detailed references to the play
key quotes from the play
your personal reading of the character and how he or she should be portrayed
a draft must be submitted before the end of week 3
a well structured, polished response
Date Due: End of week 4
NSW Department of Education and Training November 2004
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Assessment task 1: Character analysis scaffold
This is a suggested scaffold that you can use or modify or ignore and create your
own to suit the task. Remember the key elements to be covered are your
interpretation, or reading of the characters:
 personality and appearance
 voice, movements, costume and makeup
 relationships with other characters
 role in the play – refer to a key scene
 reception by an audience.
Paragraph 1: Briefly introduce the character you will be playing and outline your
interpretation or reading of this character.
Paragraph 2: Describe in detail your interpretation of what type of person the
character is and his or her role in the play. Include some quotations from the play and
comment on the quotations.
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Paragraph 3: Describe the age, appearance, voice, movements, costume and
makeup of the character. Include some quotations from the play. And comment on
the quotations.
Paragraph 4: Discuss the character’s actions and refer to a key scene that features
this character. Describe how you would play parts of this scene. Include some
quotations from the play and comment on them.
NSW Department of Education and Training November 2004
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Paragraph 5: Describe the character’s relationship with other characters. What tone
you would use with certain characters and how you would deliver your lines when
you are talking with them. Include some quotations from the play, with accompanying
comments.
Paragraph 6: Discuss how you intend an audience to respond to your portrayal of
this character.
Paragraph 7: Conclude by expressing your feelings about playing this character.
NSW Department of Education and Training November 2004
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Week 2: Spelling – verbs and adverbs
Select 15 or 20 words verbs and adverbs from the play and our notes.
Word
Look
Cover
Write
Total correct:
NSW Department of Education and Training November 2004
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Content:
1.11
2.9
1.1
2.1
1.11
1.9
5.2
5.4
Week 3: Stage struck
Learning and teaching activities
Spelling & vocabulary – look, cover and write.
Find 15 –20 challenging words from the
StageStruck CD-ROM and add any new terms
to our drama glossary
Assessment 1:
Students complete the character analysis and
submit a draft at the end of this week. If time,
provide writing workshop time for the writing
process.
StageStruck CD-ROM:
In pairs, students navigate through this detailed
and informative CD-ROM. They examine the
role of a director, staging a play, acting,
costumes, make-up and stage design. As
students will be performing a monologue and a
scene from the play, they need to make relevant
notes from the CD-ROM.
Monologues:
As students are required to deliver a monologue
to the class as one of the characters in the play,
the class will view a variety of actors performing
a monologue so students have an idea of what
is expected. Students should be making notes
as they view the extracts on the features of a
monologue. Note film ratings – see DET
Memorandum number DN/02/00113 dated
28/01/1988.
 Kenneth Branagh as Iago in
Shakespeare’s play Othello
 Malvolio in Shakespeare’s Twelfth Night
 Malcom from Malcom in the Middle
 The Wayne Manifesto (ABC TV)
Focus and make notes on:
 facial expressions
 gestures
 delivery of words: pitch, volume, pace
and intonation
 word choice
 language features
 dramatic techniques.
Assessment task 2: Monologues
Students elect a character from the play they
could become. They decide what the character
will be reflecting on and find key quotes and
ideas from the play. Remind them to choose an
appropriate topic for the monologue and think
carefully about what motivated the character to
Quality teaching
Metalanguage
High
expectations
Knowledge
integration:
Deep
understanding
Deep
knowledge
Student
direction:
students
choose the
character they
connect with
NSW Department of Education and Training November 2004
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deliver a monologue (see assessment sheet).
Read the monologues provided as models
before you begin at <www.actingforkids.com>.
NSW Department of Education and Training November 2004
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Assessment task 2: Monologues
Outcomes:
1. A student responds to and composes texts for understanding, interpretation,
critical analysis and pleasure.
5. Makes informed language choices to shape meaning with accuracy, clarity and
coherence.
Language modes: speaking and viewing and representing
The task:
A monologue is a short dramatic speech that reveals the inner thoughts of a
character. Choose the character in the play we are studying that you could easily
become and deliver a two to three minute monologue as that character. As this is a
dramatic performance, think about the monologues we have read and viewed and
consider the following when you are writing the script:
 appropriate the character’s words from the play
 note his or her personality, relationships with other characters and behaviour,
and try to capture what these reveal about the character and what he or she
could be contemplating in a monologue
 use emotive language as you are trying to convey their thoughts and emotions
 decide when the monologue could have occurred in the play such as just
before the curtain falls the character reflects on what has happened or directly
after a dramatic conflict the character considers his or her role in the conflict or
the consequences
 include pauses and stage directions so that when you come to learn the script
you remember how to perform it.
When you are delivering the monologue:
 use your voice and let it be heard! Stress certain words, modulate your voice
and convey a range of emotions.
 use facial expressions and body language to reinforce the emotions.
 it is a viewing and representing task as well as a speaking task. So become
the character – wear a costume and use props.
Requirements:



submit your draft to the teacher before your performance
learn your lines
you will have two to three minutes for the delivery.
Date due: To be performed at the start of week 4
NSW Department of Education and Training November 2004
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Week 3: Spelling – StageStruck
Select 15 or 20 challenging words from StageStruck CD-ROM.
Word
Look
Cover
Write
Total correct:
NSW Department of Education and Training November 2004
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Curriculum K-12 Directorate
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Week 4 - 5: Learning your lines
Content:
1.9, 5.2
5.4
1.8
1.14
1.20
2.4
2.9
2.13
5.2
11.3
11.9
11.15
Learning and teaching activities
Spelling and vocabulary – look, cover and write.
Find 15-20 dramatic words from our notes and
the play and discuss with a partner.
Quality teaching
Metalanguage
Assessment task 2: Monologues
To be performed at the start of the week.
Assessment task 3a and 3b:
Group performance of a scene and viva voce
Form a group of six or more, select a brief scene
from the play and allocate the following roles:





Student
direction:
students select
scene and roles
High
expectations:
Actors and understudies: decide how
tight deadline
you will perform the role and record your
impressions of the character and how you and challenging
task
intend to play the character in your
Dreaming Tracks journal. Learn your
Knowledge
lines.
Director: decide how you want the scene integration:
to be played, direct the actors how to play links to other
key learning
their roles and record your directorial
vision and justifications in your Dreaming areas such as
Creative Arts
Tracks learning journal.
Costumes and makeup people: decide
Inclusivity: all
on the costumes and makeup of the
students valued
characters and record your decisions
including drawings and/or photographs in and a variety of
learning styles
your Dreaming Tracks journal. Include
explanations for the costumes and make- and interests
catered for by
up you have chosen.
the task
Back stage people and set designers:
select the props needed, design the set
Social support:
and record your decisions and sketches
collaborative
of the set designs in your Dreaming
team work
Tracks journal. Include justifications for
essential for
your choices.
success of
Producer and promoters: design the
performance
program, tickets and an advertisement for
the performance. Include copies and
justifications for the designs in your
Dreaming Tracks journal.
You will have two weeks to rehearse and
complete your set tasks. Ensure that you select
a brief scene, as the schedule is tight.
(See sheet for viva voce and assessment
guidelines.)
NSW Department of Education and Training November 2004
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Week 4: Spelling – revisiting the glossary
Word
Select 15 or 20 drama words you found challenging.
Look
Cover
Write
Total correct:
NSW Department of Education and Training November 2004
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Assessment task 3b: Viva voce
Outcomes:
2. A student uses a range of processes for responding to and composing texts.
11. A student uses, reflects on and assesses individual and collaborative skills for
learning.
Language mode: speaking
Nature of task:
Discuss and explain the processes of responding and composing, and identify
personal pleasures and difficulties experienced in a viva voce. A viva voce is an
interview where you be asked questions on the following:
 Your role in the group performance
 What you did in that role and the decisions behind your performance, such as:
- how you played a character and why you chose to interpret the
character this way
- your directorial vision and your justifications for directing the play the
way you did
- describe the costumes and makeup of the characters and justify your
decisions. Show your drawings and/or photographs
- describe the props, set design and justify your reasons. Show your
sketches of the set design
- provide examples of the program, tickets and an advertisement for the
performance and explain how you arrives at these designs.
 Personal pleasures and difficulties experienced.
Requirements:
 A copy of your explanations or reflections in your Dreaming Tracks learning
journal.
 You will be asked three questions based on the above.
Assessment:
The panel will consist of two of your peers who have been elected by the class and
your teacher. You will be assessed on the quality of your responses.
Date due: During week 5
NSW Department of Education and Training November 2004
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Assessment task 3a: Group performance – marking sheet
Names of
group
members
(including
self):
Exercise
allocated to
group
member:
Effort and
Attitude:
Quality of
completed
task:
/10
/10
/10
/10
/10
/10
/10
/10
/10
/10
/10
/10
General
Observations:
1.
2.
3.
4.
5.
NSW Department of Education and Training November 2004
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Student and teacher resources
CD-ROM:
StageStruck Nida
http://www.nida.edu.au/venues_services/learning_resources/StageStruck/index.html
Plays:
Calcutt. D, Dracula, Oxford University Press (evil and courage)
Calcutt. D, The Terrible Fate of Humpty Dumpty (bullying)
Davies. J The Honey Spot, Currency Press (racism and friendship)
Marsden. J, So Much to Tell You, Lothian Books (difference/diversity and coping with
problems)
Morris. M, Blabbermouth, Currency Press (friendship and difference/diversity)
Morris. M
Two Weeks with the Queen: The Play (Coping with problems)
Currency Press
Tulloch. R, Hating Alison Ashley, Penguin Books (friendship and growing up)
Burton. B, Making Drama a Drama course for Junior Secondary Students
Peerson Education, Australia, 1995
Gaffigan. C (Ed), By Kids, for Kids, 1994 (monologues)
Howie. J, Basics in Communication & Drama, Moreton Bay Publishing, 1987
Tourelle.L & McNamara, A Practical Approach to Drama Performance, Heinemann,
1998
Web sites:
Monologues: Free Monologues “Girl Problems” (Teen Monologue, Male Drama)
www.actingforkids.com>
www.perspicacity.com/elactheatre/workshops/
www.theatrehistory.com/plays/mnologues.html
Bullying for The Terrible Fate of Humpty Dumpty:
Stop Being Bullied
www.faithlinks.org (statistics and links to other sites)
Suffer in Silence
www.dfes.gov.uk/bullying (video and simple explanations)
What’s Bullying?
www.nobully.org.nz (simple definitions)
NSW Department of Education and Training November 2004
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