Implementing 7–10 drama syllabus
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CREATIVE MOVEMENT IN DRAMA
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Curriculum K–12 Directorate
NSW Department of Education and Training
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Implementing
the Drama 7-10
syllabus
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.
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
Peter Kirby
Curriculum K-12, Primary Visual Arts advisor
Colleen Roche
Curriculum K-12, Creative Arts (Drama) consultant
Curriculum K–12 Directorate
NSW Department of Education and Training
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Implementing 7–10 drama syllabus
Table of Contents
1. Preamble
2. Elements of drama/Focus/Unit outcomes
3. Unit outline
4. A Teaching Program
5. Supplementary Materials for Teaching
Program – Laban method/ Movement/
Workshops
6. Tasks – assessable and non assessable
7. Bibliography
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NSW Department of Education and Training
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Implementing 7–10 drama syllabus
PREAMBLE
Movement is an essential element in drama and creative movement can be used to
create interesting and challenging work for students. The intention of this unit is to
challenge students by familiarising them with their preferred ways of movement and
introducing them to different ways of moving.
Using Laban effort actions, students will discover and explore the full range of
movement allowing this unit to be a springboard into playbuilding or units of work,
which may include the study of other practitioners such as Artaud, Grotowsky or
Meyerhold or forms such as Commedia dell’arte.
The three areas of the syllabus, Making, Performing and Appreciating, are addressed
in this unit and the activities have been sequenced for a group, which does not have
confidence in movement. The unit can of course be re-arranged to suit a more capable
group simply by reversing the order of the group and individual tasks which will allow
the unit to extend into playbuilding. The unit may be completed in 5 weeks or may be
implemented over a longer period of time if necessary.
As part of the Stage 5 Essential Content the unit has opportunities for students to use
technology, self assessment and peer assessment. The unit of work is focused on the
development of deep understanding and substantive communication.
When implementing this unit ensure the safety of your students at all times:
1. No chewing gum or lollies
2. All bags and shoes at the side of the room
3. If working on a wooden floor, either bare feet or shoes and socks to avoid
slipping
4. Warm up
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NSW Department of Education and Training
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Implementing 7–10 drama syllabus
ELEMENTS OF DRAMA in Stage 5 Creative Movement in
drama
This unit of work essentially covers all the elements of drama, however the emphasis,
as an introductory unit, is on rhythm, moment, movement, symbol, dramatic
meaning and structure.
FOCUS
This unit of work will introduce the students to Laban movement techniques, build
confidence in the use of physical abilities and create awareness of their own
physicality. Students will be able to identify their movement comfort zones and explore
others in groups and individually.
UNIT OUTCOMES
Making
5.1.1 manipulates the elements of drama to create belief, clarity and tension in
character, role, situation and action.
5.1.2 contributes, selects, develops and structures ideas in improvisation and
playbuilding
5.1.3 devises, interprets and enacts drama using scripted and unscripted material or
text
5.1.4 explores, structures and refines ideas using dramatic forms, performance styles,
and dramatic techniques, theatrical conventions and technologies.
Performing
5.2.1 applies acting and performance techniques expressively and collaboratively to
communicate dramatic meaning
5.2.2 selects and uses performance spaces, theatre conventions and production
elements appropriate to purpose and audience
Appreciating
5.3.1 responds to, reflects on, and evaluates elements of drama, dramatic forms,
performance styles, dramatic conventions and theatrical conventions
5.3.3 analyses and evaluates the contribution of individuals and groups to processes
and performances in drama using relevant drama concepts and terminology
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NSW Department of Education and Training
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Implementing 7–10 drama syllabus
UNIT OUTLINE
Week Focus
Outcomes
1
Movement
language
Types of
movement
Laban analysis
2
Development of
group skills
Making
5.1.1
Performing
5.2.1
Appreciating
5.3.1
Making
5.1.1, 5.1.2
Performing
5.2.1, 5.2.2
Appreciating
5.3.1
3
Playbuilding
Making
Group rehearsal 5.1.1, 5.1.2,
and performance 5.1.3
Performing
5.2.1, 5.2.2
Appreciating
5.3.1, 5.3.2
Individual skills
Making
development
5.1.1, 5.1.2,
5.1.3
Playbuilding and Performing
rehearsal
5.2.1, 5.2.2
Appreciating
5.3.1, 5.3.2
Individual
Performing
presentation
5.2.1, 5.2.2
4
5
Appreciating
5.3.1, 5.3.3
Curriculum K–12 Directorate
NSW Department of Education and Training
Suggested
Strategies
Practical workshops
Worksheets
Assessment
Practical workshops
Group work
Planning of
performance
Log book
Rehearsing
performance
Performance task 1
Performance
Teacher and peer
evaluation
Log book
Practical workshops
Log book
Planning of individual
performance and
rehearsal process
begins
Rehearsal process
Presentation of
performance
Start logbook
Performance task 2
including
technology
component
Log book
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Implementing 7–10 drama syllabus
A TEACHING PROGRAM
Focus
WEEK 1
Introduction
Making
5.1.1
Performing
5.2.2
Appreciating
5.3.1
Students learn to
*develop physical skills
appropriate to creative
movement
*recognise and use the
language of Laban
*recognise and use
Laban effort actions
*recognise their own
particular movement
preferences
*explore different uses
of the space , rhythm
and movement
WEEKS 2 & 3
Development
of the group
performance
Making
5.1.1, 5.1.2,
5.2.3
*negotiate
collaborative methods
of work
*explore the
application of
movement techniques
and concept to a given
subject
Curriculum K–12 Directorate
NSW Department of Education and Training
Students learning experiences
* discuss the reasons for warming
up and safe practises eg no shoes
or socks, appropriate clothes, no
gum, all items to the side of the
room
*neutral position and neutral
walking around the space without
contact or discussion
*Warm ups – stretches and running
games eg donkey tag, stuck in the
mud (use slow motion as an option
to add to this game), running and
stamping exercises (The Running
and Stamping Book or Centre
Stage)
*Laban movement effort actions –
give sheet (see supplementary
material) or use tables from
Creating Drama (2nd edition) or A
Practical Approach to Drama
Performance
*Workshop 1-experiments with
movement and location in space
introducing appropriate language
(see supplementary material)
*record observations in logbook at
the end of each lesson
*Workshop 2-experiments with
movement and location in space
introducing appropriate language
(see supplementary material)
*Workshop 3 (see supplementary
material)
Registration
*Continue with warm ups for each
lesson adding games such as
Bigger to exaggerate size
*hand out Assessment Task 1 and
explain
*arrange groups (if the class is not
confident you may organise them to
work in friendship groups )
*as a class brainstorm emotions,
topics and themes, ask the groups
to choose one and create a 10
second movement exploration of
that subject
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Implementing 7–10 drama syllabus
Performing
5.2.1, 5.2.2,
5.2.3
Appreciating
5.3.1, 5.3.3
*engage in the making
of and rehearsal of a
performance piece
*develop sound
methods of
appreciation and
direction through
observing work and
making appropriate
changes
*communicate ideas
through movement in a
group context to an
audience
WEEKS 4 & 5
Development
of the
individual
performance
Making
5.1.1, 5.1.2,
5.1.3
Performing
5.2.1, 5.2.2
Appreciating
5.3.1, 5.3.3
*identify personal
gestures, movement
preferences and
mannerisms
*engage in the making
of a performance
based on their
personal mannerisms
and hobbies
*communicate to an
audience aspects of
their personality and
lives using movement
during performance
*analyse and reflect on
their own work and the
work of their peers
Curriculum K–12 Directorate
NSW Department of Education and Training
*rehearse
*teach self direction of movement
piece-each student steps out,
watches the rest of the group
perform then gives feedback reenters group and another steps out
*present to class
*discuss each group’s work in
relation to the outcomes of
assessment task
*repeat above process with another
subject-encourage students to
choose a topic that is completely
different to the previous one
*Groups select subject for
assessment task and begin process
of making and rehearsing with
teacher support
*allow rehearsal time of 3-5 hours in
class time
*Performance of Assessment Task
1
*Extension opportunity for unit (see
supplementary material)
*continue with warm ups at the
beginning of each lesson
*instruct students to spread
themselves around the room, in
their own space, group
discussion/physical exploration of
gestures and mannerism use &
meaning (What is..? Show me..
Why do we use …?)
*Workshop 4 (see supplementary
material)
*give Homework Task 1
*perform and discuss homework
task
*give Assessment Task 2 “ME”
(includes written task) (note
Alternate Task 2, which is suitable
for whole group or pairs lacking
confidence)
*perform and discuss Assessment
Task 2
*Extension Task – have several
students perform their works at one
time with the rest of the group
observing – discuss applications of
this type of movement work in the
playbuilding process
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Implementing 7–10 drama syllabus
SUPPLEMENTARY MATERIALS
About Rudolf Laban and Movement
Rudolf Laban (1879-1958) analysed movement in a manner, which is applicable to
drama, dance and other movement forms as an invaluable aid in the development of
performance skills. He developed kinetography, which is a written method of recording
movement.
Movement is considered to have four essential components each with a continuum
from one extreme to the other:
SPACE (flexible or direct)
TIME (rhythm – regular/sustained or irregular/sudden and pace – fast or slow)
WEIGHT (light/fine or heavy/firm)
FLOW (continuous/free –disjointed/bound)
Further to the four qualities of movement are the eight effort actions:
1.
2.
3.
4.
5.
6.
7.
8.
THRUST
DAB
PRESS
SLASH
WRING
FLICK
GLIDE
FLOAT
(firm, sudden, direct)
(fine, sudden, direct)
(firm, sustained, direct)
(firm, sudden, flexible)
(firm, sustained, flexible)
(fine, sudden, flexible)
(fine, sustained, direct)
(fine, sustained, flexible)
See the sheet on the next page for further details
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NSW Department of Education and Training
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Implementing 7–10 drama syllabus
MOVEMENT ANALYSIS – A SUMMARY OF MOVEMENT CONCEPTS
FOUR THEMES
BODY (what)
Activity: Whole body actions and
stillness
EFFORT (how)
SPACE (where)
Personal and General
4 Motion Factors
Travelling
Turning
Elevation (jumping leaping))
Stillness
Rising – sinking
Opening – closing
Advancing – retreating
Firm
Fine
Sudden
Sustained
Direct
Flexible
Bound
free
Weight
Time
Space
Flow
Body Parts
Basic Effort Actions
THRUST
Used
Emphasized
Leading
Gesturing
Firm, Sudden, Direct
DAB
PRESS
SLASH
Fine, sudden,
direct
Firm, sustained,
direct
Firm, sudden,
flexible
Firm, sustained,
flexible
Fine, sudden,
flexible
Fine, sustained,
direct
W RING
FLICK
GLIDE
Body Shape
Wide (door and table)
Narrow (sagittal)
Twisted (works all planes)
Curved (parabolas, circles and parts
thereof)
Symmetrical – asymmetrical
Body Flow
Simultaneous
Successive (follow on but connected)
Curriculum K–12 Directorate
NSW Department of Education and Training
Fine, sustained, flexible
FLOAT
Extensions
Small (near)
Large (far)
Levels
High
Medium
Low
Direction
High – deep
Right – left
Forward – backward
Air Pattern
Straight
Angular
Curved
Twisted
Floor Pattern (formation or
pathway)
Straight
Angular
Curved
Twisted
Concepts
Plane 2D, door plane (width and
height), sagittal plane/wheel
walking etc, table plane (horizontal
forward and backward)
Point – No. Dimension
Line – 1 Dimension
Volume – 3 Dimensions
10
RELATIONSHIP (with whom or what)
Of body parts to other body parts.
Of body to Objects.
(including percussion equipment)
Between people : pairs, trios, groups.
Situations
Spatial
Relationship
s
{
Leading and
following
Mirroring
Copying
Conversation
Meeting
{
Parting
{
Splitting
{
(force resistance)
{ Linking
{ Passing
{ Above
{ Below
{ Near
{ Far
{ Beside
{ around
Implementing 7–10 drama syllabus
MOVEMENT WORKSHOPS:
WORKSHOP 1
AIM to introduce students to the metalanguage of Laban and
movement concepts
“Workshop 4: Laban’s System“ from Bruce Burton’s Creating Drama Second Edition
(p 52)
or
Read through the movement concepts sheet with the students and explore the
concepts physically with the students, sheet-in-hand.
Discuss applications of effort actions in developing a character.
WORKSHOP 2
AIM to create intense focus, discipline in movement and
awareness of the group relationship as a whole
EXERCISE 1: SILENT NEGOTIATION

From the normal Drama circle ask students to form a succession of different
shapes without using any language or traffic directions, simply observe and
place themselves in relation to others according to the shape given eg an
equilateral triangle, a capital T, A C, a rectangle, an S etc.
EXERCISE 2: MIRRORING EXERCISE
 In pairs students spread out around the room; person A mirrors person B for 2
minutes, person B mirrors person A for 2 minutes, then both A and B lead. The
change in leadership should not be noticeable.
 Instruct the students to use different levels, activate the whole body and move
off the spot. Movements should be continuous although this does not preclude
stillness.
EXERCISE 3: FLOCKING – WHOLE GROUP MOVEMENT



Organise students in a diamond pattern (as below) evenly spaced with enough
room to move their arms freely, all facing in the one direction.
Allow several students to stand out to observe.
Using slow music, such as meditation style/ambient, ask students to follow the
student at the leading point, students should be instructed to keep the
movement even and slow (similar to tai chi) as it is not a race nor is this exercise
to trick others. Encourage students to use different levels and backward
movements.
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NSW Department of Education and Training
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Implementing 7–10 drama syllabus

The leader changes as, say for example 1 bodily turns toward 2, then 2 leads. At
this point substitute the finished leader with an observer and then move others
from inside the diamond to the leadership points. Try to do this with as little
disruption as possible to the group movement.
1
*
*
*
2 *
*
*
*
*
*
*
*
*
*3
*
*
*
4

When all students have had a turn at being at a leading point finish the exercise
and discuss. At this point begin to identify the language of Laban eg continuous
flow, direct pathways, as students answer leading questions such as
‘What sort of movements were difficult/easy to follow?’
‘When you were observing, what looked least/most effective?’
Note: Thanks to practicum students from CSU Mitchell for this exercise.
WORKSHOP 3
EXERCISE 1
AIM: to develop students’ spatial awareness of the working space,
their relationship to others in the space and to challenge them by
‘removing’ one of their senses




Ask students to place themselves in a clump in the middle of the room, all facing
to the front of the room. They need to leave enough space to move their arms
freely.
Split the group so as to have half the students observing for use of space/
rhythm/ dramatic meaning.
Select one of the corners of the room and identify it as A. Establish the sight line
you wish the students to have. Ask the students to point to the corner using their
whole arm and hand. Repeat this with all other points in the room, identifying the
points with a letter. Make point B diagonally opposite to A.
Now ask the students to close their eyes and direct them to turn and point at a
selected point (eg A) then open their eyes and adjust their arm to correctly
identify the position of the point. Repeat with other points. Check the positions
are correctly identified a second time or until all students are able to correctly
identify each corner.
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NSW Department of Education and Training
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Implementing 7–10 drama syllabus


Begin again from the centre however this time ask the students to close their
eyes and walk slowly toward the identified point (they must walk very slowly so
as to avoid collisions, if you can see a collision is imminent ask the students to
stop.), ask them to stop and check alignment with the point. Again, ask students
to turn and walk toward another point, halt and check continue.
Extension activity- add extra points, establish with location exercise. Incorporate
this activity as a warm-up activity.
N.B. Thanks to Sidetrack Theatre Workshops for this exercise
EXERCISE 2
AIM: to establish a ‘movement memory’ in the students and develop
a simple movement sequence










Ask the students to spread themselves around the room in their own space.
All stand facing the front in neutral position then to walk around the space in a
neutral fashion covering the ground in as many different patterns with their feet
as possible.
When they are asked to halt they are to assume a position in which their body
comes in contact with the ground at three points. Call this A.
Ask the students to look above them to the side behind them and to check who
is close to them and remember that place.
Now ask the students to move on again and to then return to the A position.
They are to check their position and that of others around.
Move on and create a second position, B, in a different place, with 4 contact
points with the floor.
Establish the location.
Move off. Return to position B. Check location.
Return to point A.
Continue this process establishing 2 more points using ideas such as making
the first letters of your first and last name (C and D), with the whole of your body.
EXERCISE 3
AIM: to develop a guided exploration of direct and indirect pathways,
weight, effort actions and relationships


Select music that is unusual eg ‘Clap Hands’ from Tom Waits Rain Dogs and
play on a continuous loop for the exercise.
Instruct students to spread out around the room and build the movement
exercise. Add each movement, one at a time. Continue to change between all as
follows:
1. move through the space leading with the hand, allowing the whole body to
follow
2. allow the hand to move the body to the floor into a roll
3. walk at a slow pace
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NSW Department of Education and Training
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Implementing 7–10 drama syllabus
4. as you pass another person ‘stick’ to them shoulder to shoulder and move
turning in the direction to which you came and separate quickly from them
continuing on your own pathway
5. run (not too fast)

Have half of the group stand out and watch and then continue to add the
following one at a time:
6. when you meet someone at a run do a ‘dodge’ and move on
7. join someone else at a walk, walk behind them for a while
8. stop and freeze totally for a count of 5
9. find a frozen person and mould them into a sculpture when you have finished
freeze in front of the sculpture you have made the sculpture comes to life
moulds you then moves off hold the freeze for 5 seconds
10. place your arm under the arm of someone else who is leading with their arm
and travel with them
11. add in points A,B,C,D from the previous exercise throughout, holding each
for a few seconds

Video and analyse the movement using Laban effort actions to describe the
movements.(see Movement Analysis sheet page 9)
N.B. Thanks to other movement workshops!
WORKSHOP 4
EXERCISE 1
AIM: To introduce the concepts of abstraction, repetition and motif



1
2.
3.
4.
5.
6.
Spread the class around the room.
Build the following into a sequence, which you should allow the students to
record at intervals as you go to help them remember the work.
At regular intervals allow half the students to step out and view the rest of the
group.
a) Each student decides on a gesture and performs it eg a wave.
b) Now use another part of the body to make that gesture eg use the leg to wave
(abstraction).
c) Use the whole body to make the gesture. This may simply be the movement
quality of the gesture (abstraction).
a) Use the original gesture at normal speed.
b) Repeat, using super slow motion.
c) Repeat original at super speed 3 times.
a) Add changes of direction eg after 1c) and 2a).
b) Choose one of the above gestured moments to move the body from the
starting point eg by allowing the movent to swing into a leap or jump.
Repeat above process with a personal mannerism.
Spell out your name using the whole body and different levels (eg whole body on
the floor)
Add travels, turns and stillness throughout the sequence as it builds.
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Implementing 7–10 drama syllabus


Students can incorporate this work into their assessment task along with the
homework task to create a ‘ME’ piece.
NB for teachers and students : Repetition of the abstracted personal mannerism
or any other movement moment throughout the piece can establish a motif.
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ASSESSMENT GUIDELINES /CRITERIA
CREATIVE MOVEMENT (GROUP)
PRACTICAL ASSESSMENT TASK 1
In groups of 3 to 6 create a movement piece of approximately 3 minutes duration,
which involves:
 different pathways (direct and indirect)
 different effort actions (eg dab, flick, glide, thrust etc and weights)
 different levels
 different relationships (front to back, side to side, front to front etc)
 different speeds and rhythms (time)
 use an emotion, topic or theme to create a clear dramatic intention (Note this in
Workshops 1, 2 and 3)
The movement piece must communicate all aspects of the chosen topic or theme (eg
love, conformity, hate, fear etc) to the audience.
DUE: ___________________________for presentation to the class.
You will be assessed on your ability to
 communicate your subject matter in a coherent fashion showing clear dramatic
intent
 work within the group to structure and communicate your ideas
 utilise movement in a variety of ways to communicate your ideas
Outcomes assessed:
Making
5.1.1, 5.1.2
Performing
5.2.1, 5.2.2
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MOVEMENT
Criteria
PEER ASSESSMENT MARKING SHEET
Progr S1
S2
ess3 -4
5-6
ing
1-2
Used different pathways
GROUP:
H1
H2
7-8
9
Very
High
10
Used different effort actions
Used different levels
Used different relationships
Used different dynamics
Communicated clear intention to the
audience using the above criteria
Total /60
MOVEMENT
Criteria
TEACHER ASSESSMENT MARKING SHEET
S2
H1
Progr S1
3-4
5-6
7-8
essing
1-2
Used different pathways
GROUP:
H2 Very
9
High
10
Used different effort actions
Used different levels
Used different relationships
Used different dynamics
Communicated clear intention to the
audience using the above criteria
Total /60
NOTES:
STUDENT 1………………
…………………………….
…………………………….
…………………………….
STUDENT 2………………
……………………………
……………………………
……………………………
Curriculum K–12 Directorate
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STUDENT 3……………
………………………….
………………………….
………………………….
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Implementing 7–10 drama syllabus
STUDENT 4………………
…………………………….
…………………………….
…………………………….
STUDENT 5………………
……………………………
……………………………
……………………………
Curriculum K–12 Directorate
NSW Department of Education and Training
STUDENT 6……………
………………………….
………………………….
………………………….
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Implementing 7–10 drama syllabus
CREATIVE MOVEMENT
PRACTICAL ASSESSMENT TASK 2
(INCLUDES TECHNOLOGY COMPONENT)
INDIVIDUAL ASSESSMENT “ME”
1
Create a two minute movement piece which explores your own mannerism, habits
hobbies, sports and daily life, encapsulating the essence of “ME”. In this movement
piece you need to use:
 different pathways and directions, effort actions, levels, speeds, rhythms and
body parts
 repetition
 abstraction
 suitable transitions which flow from one movement sequence to the next
 a recurring motif
 stillness
2
The movement piece must communicate several aspects of your life to the
audience.
3
You must also document your intentions in the form of a written paper (of no less
than 500 words), which describes how you have used Laban effort actions to create
your piece.
In this document you should include 5 digital photographs of important moments in
your piece including your reasoning for highlighting those moments.
DUE: __________________________for presentation to the class.
You will be assessed on your ability to
 communicate the essence of yourself in a coherent fashion showing a clear
dramatic intent
 work individually to structure and communicate your ideas
 utilize movement in a variety of ways to communicate your ideas
Outcomes assessed:
Making (in the written component)
5.1.1, 5.1.2, 5.1.3
Performing
5.2.1, 5.2.2
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Implementing 7–10 drama syllabus
INDIVIDUAL MOVEMENT ASSESSMENT PEER MARKING SHEET
PERFORMANCE Student Name……………………………………………………
Criteria
Progressi S1 S2
H1
H2 Very
ng
3-4 5-6
7- 8
9
High
1-2
10
Used different pathways
directions, effort actions etc
Used repetition
Used abstraction
Suitable transactions
Used recurring motif
Used stillness
Communicated clear intention
to the audience
Total /70
INDIVIDUAL MOVEMENT ASSESSMENT TEACHER MARKING SHEET
PERFORMANCE Student Name……………………………………………………
Criteria
Progressi S1
S2
H1
H2
Very
ng
3-4
5-6
7- 8 9
High
1-2
10
Used different pathways
directions, effort actions etc
Used repetition
Used abstraction
Suitable transactions
Used recurring motif
Used stillness
Communicated clear intention
to the audience
Able to work individually to
structure a coherent
performance
Total /80
NOTES:
Curriculum K–12 Directorate
NSW Department of Education and Training
20
Implementing 7–10 drama syllabus
CREATIVE MOVEMENT PRACTICAL ASSESSMENT TASK 2
TEACHER ASSESSMENT SHEET
WRITTEN COMPONENT (includes TECHNOLOGY)
Student Name……………………………………………
Criteria
Progressing S1
1-2
3-4
S2
5-6
H1
7-8
H2
9
Very
High
10
Clearly articulates intentions
of the piece
Uses Laban terminology
Uses digital imagery to
clearly
identify at least 5 important
moments of the performance
Clearly articulates the
importance of those
moments.
Total /40
NOTES:
N.B.
 To convert this assessment task to a pairs task simply have the students
complete one minute each of a “ME” piece and then combine the two.
 The students will need to learn parts of each other’s pieces and combine the two
pieces, not simply having one following the other, but applying the principles of
simple choreography to create an “US” piece.
 The class this unit was trialled with a combined 100 and 200 hour class. Many
students, whilst responding enthusiastically to the task during discussion, were
insistent that they wanted to work in pairs without that option being suggested.
Curriculum K–12 Directorate
NSW Department of Education and Training
21
Implementing 7–10 drama syllabus
CREATIVE MOVEMENT HOMEWORK TASK
(IN PREPARATION FOR ASSESSMENT 2)
This task is intended for you to be very specific about a particular period of time in your
daily life to closely examine the movement and communicate that routine in a clear
movement study to an audience.





DATE
Tonight prepare a detailed movement/mime study of one of your weekly or daily
routines eg. brushing your teeth, getting breakfast, training for your sport.
Do not use any physical props i.e. don’t bring in your coffee cup!
You should be as specific and precise as possible in all your movements and we
should be able to see your emotional state/attitude.
Your study should be one minute in length and have a clear beginning, middle
and end.
Prepare for performance in the next lesson.
DUE: _____________________________
JOURNAL TASK


Choose a partner and describe their task in your journal at the end of the day,
then complete the following evaluation of their work.
Share your evaluation with your partner. Room for notes has been left in the
observation column.
OBSERVATION
ALWAYS SOMETIMES NEVER
Was the task clear and easy to understand?
Were all actions clear and precise?
Was the performer focussed on the task?
Curriculum K–12 Directorate
NSW Department of Education and Training
22
Implementing 7–10 drama syllabus
MARKING GUIDELINES
Students will be assessed in all assessments in the following levels:
Very High, High 2, High 1, Satisfactory 2, Satisfactory 1, Progressing
10
VERY HIGH
Exemplary response to the task criteria showing flair and
integrity in the interpretation of material and excellence in the understanding
of the concepts of movement during performance.
9
HIGH 2
Substantial response to criteria showing some flair and
highly developed interpretation of the material and criteria.
7-8
HIGH 1
Substantial response to criteria showing insight in the
interpretation of the subject matter and criteria.
5-6
SATISFACTORY 2 Adequate response to criteria showing a reasonable
attempt at interpreting the criteria.
3-4
SATISFACTORY 1 Adequate response to criteria; lacking in depth of
analysis of subject matter.
1-2
PROGRESSING
Limited or incomplete response to criteria.
Total Marks
General Comments
Curriculum K–12 Directorate
NSW Department of Education and Training
23
Implementing 7–10 drama syllabus
Marking Guidelines-Task 2
Students will be assessed as Very High, High 2, High 1, Satisfactory 2,
Satisfactory 1, Progressing on:
 Skills – movement skills
 Dramatic interpretation of subject– structure of piece, sense of
dramatic tension, actor / audience relationship, engagement of audience
 Commitment to individual performance
Students in this range are able to:
10 VERY HIGH
 use skills at a highly sophisticated level
 demonstrate exemplary focus and actor/audience relationship
 fully develop dramatic tension and focus within the structure
 exhibit flair and imagination in the interpretation of the subject matter
which is highly refined and crafted
9 HIGH 2
 use skills at a sophisticated level at times
 demonstrate outstanding focus and actor/audience relationship
 contribute to the creation of dramatic tension within the developed
structure
 show moments of flair and imagination in interpretation of subject matter
7-8 HIGH1
 use appropriate physical skills at a substantial level
 demonstrate outstanding focus and maintain a strong actor/audience
relationship with varying levels of control
 contribute to the creation of dramatic tension within the structure
 show moments of flair and imagination in interpretation of subject matter
5-6 SATISFACTORY
 use appropriate physical skills at an adequate level
 demonstrate reasonable focus and a reasonable sense of the
actor/audience relationship
 show an adequate contribution to the creation of dramatic tension and
some awareness of dramatic structure
 show adequate imagination in interpretation of subject matter
3-4 SATISFACTORY
 use physical skills at an adequate level
 demonstrate reasonable focus and some sense of the actor/audience
relationship
 show an adequate contribution to the creation of dramatic tension and
some awareness of dramatic structure
 show some imagination in interpretation of subject matter
1-2 PROGRESSING
 use physical skills at a limited or simple level
 demonstrates inconsistent focus and sense of the actor/audience
relationship
 show inconsistent contribution to tension and limited sense of structure
Curriculum K–12 Directorate
NSW Department of Education and Training
24
Implementing 7–10 drama syllabus

show little awareness of the subject matter of the piece
Curriculum K–12 Directorate
NSW Department of Education and Training
25
Implementing 7–10 drama syllabus
ASSESSMENT CRITERIA FOR THE TECHNOLOGY COMPONENT
10 VERY HIGH
Describes the movement piece and intentions clearly.
Uses the language of Laban in extensive analysis, including the photographed
moments.
Reflects upon the process and shows insight.
9 HIGH 2
Describes the movement piece and the intentions clearly.
Shows substantial ability to use analysis and the language, including the photographed
moments.
Shows some insight and reflection.
7-8 HIGH 1
Describes the movement piece and intentions clearly.
Uses Laban movement analysis, including the photographed moments.
May show some reflection and some insight.
5-6 SATISFACTORY 2
Describes the movement piece adequately with an attempt to describe the intentions.
Shows some use of Laban analysis and attempts to articulate the importance of the
photographed moments.
May show some reflection or some insight.
3-4 SATISFACTORY 1
Describes the movement piece adequately.
Some attempt to use Laban analysis and includes photographs but shows no links to
the text.
May show some reflection or some insight.
1-2 PROGRESSING
Describes the movement piece briefly.
May attempt to use Laban analysis and includes some photographs.
May show some reflection.
Curriculum K–12 Directorate
NSW Department of Education and Training
26
Implementing 7–10 drama syllabus
Peer Evaluation Sheet
Peer Evaluation Sheet
As you watch one of the groups or individual performance consider the
following questions and later write your responses:
Name of student/s…………………………………………………………………
……………………………………………………………………………………...
……………………………………………………………………………………...
1. Was the performance engaging? Why or why not?
2. Was the performance well-structured? Why or why not?
3. Did the performer/s use their movement skills well? Give examples.
4. Were/Was the performer/s well-focused and contributing to the
performance?
Circle evaluation of performance:
VERY HIGH
SATISFACTORY1
HIGH2
SATISFACTORY2
HIGH 1
PROGRESSING
What are your reasons for this evaluation?
Curriculum K–12 Directorate
NSW Department of Education and Training
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Implementing 7–10 drama syllabus
BIBLIOGRAPHY
Clausen, Matthew Centre Stage Heinemann 2000
Burton, Bruce Creating Drama (Second Edition) Pearson Longman 2004
Tourelle, Louise and McNamarra, Marygai Performance Heinemann 1998
Cameron, Neil The Running and Stamping Book Currency Press 1995
ACKNOWLEDGEMENTS
Staff of UWS Nepean B.A.(Performing Arts) from 1988 to 1990
sidetrack theatre, Marrickville
Students of CSU Mitchell (Theatre Media)
The many other wonderful performers and teachers who have helped inspire my drama
students by introducing me to exercises and ideas along the way
Year 10 drama students at Orange High
Curriculum K–12 Directorate
NSW Department of Education and Training
28