Drama
Senior Syllabus 2013
Queensland Studies Authority
ISBN:
Print version:
978-1-921802-33-1
Electronic version: 978-1-921802-34-8
Drama Senior Syllabus 2013
© The State of Queensland (Queensland Studies Authority) 2013
Queensland Studies Authority
154 Melbourne Street, South Brisbane
PO Box 307 Spring Hill QLD 4004 Australia
Phone: (07) 3864 0299
Fax:
(07) 3221 2553
Email: office@qsa.qld.edu.au
Website: www.qsa.qld.edu.au
Contents
1
Rationale ................................................................................. 1
2
Dimensions and objectives ................................................... 2
2.1 Dimension 1: Forming ................................................................................ 2
2.2 Dimension 2: Presenting ............................................................................ 2
2.3 Dimension 3: Responding .......................................................................... 3
3
Course organisation .............................................................. 4
3.1 Course overview ........................................................................................ 4
3.2 Advice, guidelines and resources .............................................................. 8
4
Assessment .......................................................................... 11
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
Principles of exit assessment ................................................................... 11
Planning an assessment program............................................................ 13
Special provisions .................................................................................... 14
Authentication of student work ................................................................. 14
Assessment techniques ........................................................................... 14
Verification folio requirements .................................................................. 30
Exit standards .......................................................................................... 30
Determining exit levels of achievement.................................................... 31
5
Glossary ................................................................................ 34
1 Rationale
Drama is a unique art form that re-presents and re-enacts experiences, ideas, stories and
emotions. Drama is one of the oldest forms of artistic expression and continues to be significant
in all cultures and societies. Drama is created and performed in diverse spaces, including
theatres, to achieve a wide range of purposes. It is usually shared live, but can also be created,
mediated and shared through digital media and platforms. Engaging with drama in all its
manifestations provides opportunities to experience, understand and communicate different
perspectives on the world.
In the subject Drama, students have opportunities to learn about a range of forms and styles of
the dramatic art form and gain understandings of human experience in different cultures, times
and places. Drama connects students to creative, technical and other cognitive processes and
provides opportunities for them to imagine and explore beliefs, feelings, behaviours and
relationships across many situations and contexts.
Engaging in drama promotes imagination, critical and creative thinking, problem solving, cultural
engagement and communication, and provides opportunities to share ideas with others through
informal and formal performances. Students engage in learning experiences that integrate oral,
kinaesthetic and visual communication to create aesthetic and artistic meaning.
A course of study in Drama can establish a basis for further education and employment in the
fields of theatre and the broader arts industry, and in education. The knowledge, understanding
and skills built in Drama connect strongly with careers in which it is important to understand
different social and cultural perspectives on a variety of subjects and issues, and to communicate
meaning in imaginative, aesthetic and artistic ways.
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2 Dimensions and objectives
The dimensions are the salient properties or characteristics of distinctive learning for this subject.
The dimensions are described through their objectives and it is these that schools are required to
teach and that students should have the opportunity to learn. The objectives describe what
students should know and be able to do by the end of the course of study.
Progress in a particular dimension may depend on the qualities and skills developed in other
dimensions. Learning through each of the dimensions must increase in complexity to allow for
greater independence of the learner over a four-semester course of study.
Schools must assess how well students have achieved the objectives. The standards have a direct
relationship with the objectives, and are described in the same dimensions as the objectives.
The dimensions for a course of study in this subject are:
• Dimension 1: Forming
• Dimension 2: Presenting
• Dimension 3: Responding.
2.1
Dimension 1: Forming
The dimension Forming is characterised by students making creative dramatic works.
When forming, students create, shape and manage drama through the application, manipulation
and structuring of the dramatic languages 1.
2.1.1 Objectives
By the conclusion of the course of study, students should:
• manage elements of drama to create dramatic action
• use conventions of forms and styles, and skills of drama to shape dramatic action
• synthesise dramatic languages, purposes and contexts to create dramatic action and
meaning.
When students manage elements of drama, they visualise how these elements can be used in
their dramatic work and build knowledge and understanding of ways to interrelate a variety of
ideas in their work.
When students use conventions of forms and styles, and skills of drama, they visualise how these
aspects of the dramatic languages can be used in their dramatic work and build knowledge,
understanding and skills of ways to interrelate a variety of ideas to create dramatic action.
When students synthesise the dramatic languages, they bring together their knowledge and
understanding of purposes, contexts, elements of drama, and conventions of forms and styles,
and their skills of drama, to create dramatic action and communicate meaning for audiences.
2.2
Dimension 2: Presenting
The dimension Presenting is characterised by students planning and rehearsing performances to
an audience.
When presenting, students manipulate the dramatic languages to realise dramatic action and
communicate dramatic meaning to an audience. Work in the Presenting dimension requires
1
2
The dramatic languages consist of elements of drama, skills of drama, and conventions of forms and styles (see Section 3.1.1).
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students to demonstrate their understanding of the purpose of drama and elements of drama in a
variety of contexts, forms and/or styles. This understanding is realised through applying acting
and performance skills.
2.2.1 Objectives
By the conclusion of the course of study, students should:
• interpret purposes, contexts and texts to communicate dramatic meaning through performance
• manipulate elements of drama through conventions of forms and styles to realise style in
performance
• demonstrate skills of drama to communicate dramatic action and meaning for audiences.
When students interpret purpose, context and text, they perform dramatic texts in particular ways
to communicate intended meaning to audiences.
When students manipulate elements of drama, they purposefully work with elements of drama
through the relevant conventions of forms and styles. Through this process, their performances
achieve the characteristics of the identified styles.
When students demonstrate skills of drama, they remember their part in dramatic action and
integrate and transform ideas into performance. In doing so, they use voice and movement to
communicate dramatic action and meaning to audiences.
2.3
Dimension 3: Responding
The dimension Responding is characterised by students interpreting, analysing, reflecting and
evaluating dramatic action from a position outside of, or after, the drama.
When responding, students demonstrate their skills in interpretation, analysis and evaluation of
dramatic action and meaning to communicate a position. They also examine how the dramatic
languages are employed in professional, independent or non–school-based productions and
performances. This objective can be realised in written, oral and multimodal communication.
2.3.1 Objectives
By the conclusion of the course of study, students should:
• analyse use of the dramatic languages to facilitate dramatic action and meaning
• evaluate, with supporting evidence, the effectiveness of the dramatic action in communicating
meaning to audiences
• synthesise positions about dramatic action and meaning through language conventions and
drama terminology.
When students analyse the use of the dramatic languages, they identify and examine the
characteristics of live or recorded live performances that facilitate dramatic action and meaning.
When students evaluate the effectiveness of dramatic action, they make judgments about how
effectively dramatic action communicates meaning to audiences. They communicate their
analyses and evaluations in extended written and/or spoken text, providing evidence to support
their evaluations.
When students synthesise positions about dramatic action and meaning they draw together their
analyses and evaluations. They use appropriate language conventions and drama terminology to
communicate their position to audiences.
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3 Course organisation
3.1
Course overview
A course of study in Drama provides opportunities for students to build their knowledge,
understanding and skills across the dramatic languages to create, perform and respond to drama
situated in a variety of contexts to achieve different purposes.
The minimum number of hours of timetabled school time, including assessment, for a course of
study developed from this syllabus is 55 hours per semester. A course of study will usually be
completed over four semesters (220 hours).
When planning a course of study, schools should take into account the needs and interests of
students, and the culture and resources of the school and its community.
A four-semester course of study includes:
• balanced opportunities for teaching and learning the objectives for the dimensions of Forming,
Presenting and Responding (see Section 2)
• opportunities for students to learn the core subject matter (see Section 3.1.1)
- different purposes, contexts and texts
- a range of dramatic forms and styles, including at least two from each identified category
- the dramatic languages and the interconnections among them.
The interrelationships among the aspects of the core subject matter for Drama are characterised
in Figure 1.
Figure 1: Core subject matter of Drama
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3.1.1 Core subject matter
Purpose, context and text
Teaching and learning in Drama always has a purpose, is located within a context, and uses and
creates text. Purpose, context and text work together to create dramatic action and meaning.
Schools provide students with opportunities to learn the dramatic languages within and across a
range of purposes, contexts and texts representing a range of cultural and sociological
perspectives. These include Aboriginal, Torres Strait Islander and other Australian perspectives,
and broader global perspectives. In Drama, students are asked to define and work with dramatic
purpose to create dramatic action and meaning.
Purpose
Purpose refers to the intent of the creator/s or interpreter/s of the dramatic action and meaning. In
Drama, teaching and learning may include a combination of a range of dramatic purposes. This
range of purposes may include:
• to challenge
• to chronicle/document
• to educate
• to empower
• to inform
• to celebrate
• to entertain.
Context
Context refers to the real and/or imagined factors, beliefs and values that influence dramatic
action and dramatic meaning. These contexts may include:
• dramatic
• historical
• political
• philosophical
• cultural
• environmental
• personal
• sociological
• technological
• geographical.
Text
Throughout a course of study in Drama, teaching and learning provides students with
opportunities to use and create different types of texts. Texts in Drama are developed to achieve
different purposes, are drawn from a variety of contexts, and embody the dramatic languages.
Examples of texts that students use in Drama include:
• performances, e.g. live performances, recorded live performances
• playscripts, e.g. published, unpublished
• student-devised texts, e.g. scenario
• stimulus texts, e.g. pre-texts, stories, poetry, songs, newspaper articles, interviews.
Examples of texts that students create in Drama include:
• performances
• improvisations
• playscripts
• devised concepts
• directorial folios
• dramatic treatments.
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Selecting texts
When selecting texts for study in Drama, teachers consider the needs and interests of individuals
and class groups to determine which texts will best meet their students' learning needs.
Teachers encourage students to value and appreciate a diverse range of drama forms, styles,
practices and experiences. Throughout the course of study, teachers provide opportunities for all
students to consider Aboriginal and Torres Strait Islander perspectives by, for example, engaging
with drama created by Aboriginal Australians and Torres Strait Islander Australians, and the
culture/s in which such drama is embedded.
Teachers have an ethical responsibility to deal with the subject matter of Drama in ways that are
age-appropriate, and that respect their students’ values, and those of their families and
community. To meet this responsibility, teachers give careful consideration to the selection of
texts for study and the ways selected texts may be perceived, interpreted and treated in class.
Teachers can work collaboratively with the school community to ensure the subject matter of
performances and texts studied in the Drama classroom suits students’ needs.
These considerations influence:
• selection of performances, texts, and resources for teaching and learning
• planning for and implementation of teaching and learning.
Further information about selecting appropriate material for study is provided in the A–Z of Senior
Moderation handbook (Protocol 2.1 Appropriate material for submissions of student work)
<www.qsa.qld.edu.au/1426.html>.
Dramatic forms and styles
Students must have opportunities to work dramatic languages within and across a range of forms,
styles, texts and contexts selected from a diversity of dramatic traditions. Students learn about
and work with a variety of dramatic traditions, including those from different cultural and social
inheritances, and those created in recent times. When relevant, students also have opportunities
to learn about the relationships across these traditions.
For the purposes of this syllabus, these forms and styles have been organised according to their
key characteristics and are described in two categories:
1.
forms and styles characterised by inherited traditions, defined conventions and structures
2.
forms and styles characterised by currency of practice, hybridity and/or drama in applied
contexts.
A course of study must include:
• at least two forms and/or styles from each category
• Realism, a style characterised by inherited traditions, defined conventions and structures.
Examples of forms and styles for each category are provided in Table 1. A course of study may
include forms and styles other than those provided in Table 1 and/or use the suggestions in
Table 1 to develop the course of study.
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Table 1: Dramatic forms and styles for designing a course of study
Category 1
•
•
•
•
•
Realism (required study)
Absurdism
Epic Theatre
Elizabethan Theatre
Greek Theatre
Category 2
•
•
•
•
•
•
•
Examples of forms and styles characterised by inherited traditions,
defined conventions and structures
•
•
•
•
•
Roman Theatre
Asian theatre forms 2
Commedia Dell’Arte
Comedy of Manners
Medieval Drama
Examples of forms and styles characterised by currency of practice,
hybridity and/or drama in applied contexts
Applied Theatre
Theatre of the Oppressed
Postmodern Theatre
Physical Theatre
Contemporary Aboriginal and Torres Strait
Islander theatre forms
One-Person Show
Visual Theatre
•
•
•
•
•
•
•
•
Object Theatre
Cinematic Theatre
Documentary Drama
Verbatim Theatre
Contemporary Political Theatre
Australian Gothic
New Circus
Process Drama
When planning teaching and learning, the forms and styles in each category can be treated
discretely or in combination. Some ways to combine forms and styles across the two
categories include:
• Realism and Postmodern Theatre
• Realism and Verbatim Theatre
• Elizabethan Theatre and Postmodern Theatre
• Greek Theatre and Physical Theatre
• Commedia Dell’Arte and Contemporary Political Theatre.
Dramatic languages
In Drama, a course of study interconnects the dramatic languages in texts and contexts to
achieve purposes.
The dramatic languages consist of:
• elements of drama
• skills of drama
• conventions of forms and styles.
The dramatic languages are the foundations and working materials of drama. The dramatic
languages are interconnected and embedded in contexts across the four-semester course of
study. Throughout the course of study students learn to select, manage, manipulate, analyse and
evaluate the dramatic languages in a range of contexts for different purposes. Students use this
knowledge, understandings and skills to respond to and make dramatic action and meaning.
2
Examples of Asian theatre forms include Noh and Kabuki; Butoh and Bunraku; Wayang Golek and Wayang Kulit.
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A range of dramatic languages must be provided across the course of study and within each year
of the course. Teaching and learning needs a strong focus that identifies the specific elements of
drama, skills of drama and conventions of forms and styles to be explicitly taught in relation to
context and purpose.
Students understand, manage, manipulate, analyse and evaluate the dramatic languages within
the dimensions of Forming, Presenting and Responding.
Elements of drama
Elements of drama are discrete but interrelated. Dramatic action and meaning are created when
these elements are integrated and applied to a specific context.
Elements of drama can include but are not restricted to the following:
• character
• contrast
• dramatic focus
• language
• mood
• movement
• place
• relationship
• role
• situation
• space
• symbol
• tension
• time.
Skills of drama
Skills of drama are interrelated and underpin the knowledge and processes needed to create
dramatic action and meaning.
Skills of drama are provided below, organised according to the dimensions to which they are
most typically applied.
Forming
Presenting
Responding
• devising
• acting (movement, voice)
• critiquing
• directing
• applying stagecraft
• applying stagecraft
• working as an ensemble
• scriptwriting
• improvising
Conventions of forms and styles
Conventions of forms and styles are applied to produce dramatic action and meaning. Form and
style are interrelated and often overlap.
Conventions characterise particular forms and styles of drama. The selection and combination of
conventions create form and style.
Form refers to the way dramatic action is structured, organised and shaped.
Style refers to the way in which dramatic action is expressed, or performed. Styles have particular
characteristics which can be identified, used and manipulated to create, shape and evaluate
drama. Most styles are placed within the structure of a form.
3.2
Advice, guidelines and resources
The following advice, guidelines and resources support the implementation of the syllabus.
Where indicated further information may be obtained from the Drama subject page of the
QSA website <www.qsa.qld.edu.au/20325.html>.
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3.2.1 Aboriginal and Torres Strait Islander perspectives 3
The Queensland Government has a vision that Aboriginal and Torres Strait Islander
Queenslanders have their cultures affirmed, heritage sustained and the same prospects for
health, prosperity and quality of life as other Queenslanders. The QSA is committed to helping
achieve this vision and encourages teachers to include Aboriginal and Torres Strait Islander
perspectives in the curriculum.
The Queensland Studies Authority (QSA) recognises Aboriginal and Torres Strait Islander
peoples, their traditions, histories and experiences from before European settlement and
colonisation through to the present time. To strengthen students’ appreciation and understanding
of the first peoples of the land, opportunities exist in the syllabus to encourage engagement with
Aboriginal and Torres Strait Islander:
• frameworks of knowledge and ways of learning
• contexts in which Aboriginal and Torres Strait Islander peoples live
• contributions to Australian society and cultures.
In Drama there are various ways to develop Aboriginal and Torres Strait Islander perspectives in
teaching and learning. For example, drama by Aboriginal people and Torres Strait Islander
people that explores their experiences, ideas and stories in diverse contexts provides rich
teaching and learning opportunities in Drama.
Subject-specific resources are available on the Drama subject page. In addition, guidelines about
Aboriginal and Torres Strait Islander perspectives and resources for teaching are available on the
QSA website <www.qsa.qld.edu.au/577.html>.
3.2.2 Composite classes
This syllabus enables teachers to develop a course of study that caters for a variety of ways to
organise learning, such as combined Years 11 and 12 classes, combined campuses, or modes of
delivery involving periods of student-managed study. This resource provides guidelines about
composite classes.
3.2.3 Embedding educational equity in the course of study
Equity means fair treatment of all. In developing work programs from this syllabus, schools need
to provide opportunities for all students to demonstrate what they know and what they can do. All
students, therefore, should have equitable access to educational programs and human and
material resources.
In addition to the subject-specific resources available on the Drama subject page, guidelines
about educational equity and resources for devising an inclusive work program are available on
the QSA website <www.qsa.qld.edu.au/10188.html>.
3
The Queensland Government has a vision that Aboriginal and Torres Strait Islander Queenslanders have their cultures affirmed,
heritage sustained and the same prospects for health, prosperity and quality of life as other Queenslanders. The QSA is
committed to helping achieve this vision and encourages teachers to include Aboriginal and Torres Strait Islander perspectives
in the curriculum.
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3.2.4 Language education in Drama
It is the responsibility of teachers to develop and monitor students’ abilities to use the forms of
language appropriate to their own subject areas. This involves providing opportunities for the
development of students’ abilities in:
• selection and sequencing of information required in various forms (such as reports, essays,
interviews and seminar presentations)
• use of technical terms and their definitions
• use of correct grammar, spelling, punctuation and layout
• use of appropriate verbal and non-verbal features in spoken/signed and multimodal texts
including spoken/signed language.
3.2.5 Learning experiences and sample resources
This resource provides guidelines for learning experiences and sample resources, which may
include unit/s of work.
3.2.6 Reference materials
This resource provides links to reference materials, text and reference books, websites,
newspaper reports, periodicals, electronic media and learning technology, and organisations and
community resources for the subject.
3.2.7 Work program requirements
A work program is the school’s plan of how the course of study will be delivered and assessed,
based on the school’s interpretation of the syllabus. It allows for the special characteristics of the
individual school and its students. Work program requirements are available on the Drama
subject page of the QSA website <www.qsa.qld.edu.au/20325.html>. Instructions for online
submission of work programs are available from
<https://www.qsa.qld.edu.au/wponline/login.qsa>.
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4 Assessment
Assessment is an integral part of the teaching and learning process. For Years 11 and 12 it is the
purposeful, systematic and ongoing collection of information about student learning outlined in the
senior syllabuses.
In Queensland, assessment is standards based. The standards for each subject are described in
dimensions, which identify the valued features of the subject about which evidence of student
learning is collected and assessed. The standards describe the characteristics of student work.
The major purposes of assessment in senior Authority subjects are to:
• promote, assist and improve learning
• inform programs of teaching and learning
• advise students about their own progress to help them achieve as well as they are able
• give information to parents, carers and teachers about the progress and achievements of
individual students to help them achieve as well as they are able
• provide comparable levels of achievement in each Authority subject which may contribute
credit towards a Queensland Certificate of Education
• provide base data for tertiary entrance purposes
• provide information about how well groups of students are achieving for school authorities and
the State Minister responsible for Education.
4.1
Principles of exit assessment
All the principles of exit assessment must be used when planning an assessment program and
must be applied when making decisions about exit levels of achievement.
A standards-based assessment program for the four-semester course of study requires
application of the following interdependent principles:
• information is gathered through a process of continuous assessment, i.e. continuous
assessment
• balance of assessment is a balance over the course of study and not necessarily a balance
over a semester or between semesters, i.e. balance
• exit levels of achievement are devised from student achievement in all areas identified in the
syllabus as being mandatory, i.e. mandatory aspects of the syllabus
• assessment of a student’s achievement is in the significant aspects of the course of study
identified in the syllabus and the school’s work program, i.e. significant aspects of the course
of study
• selective updating of a student’s achievement is undertaken over the course of study, i.e.
selective updating
• exit assessment is devised to provide the fullest and latest information on a student’s
achievement in the course of study, i.e. fullest and latest information.
4.1.1 Continuous assessment
Judgments about student achievement made at exit from a course of study must be based on an
assessment program of continuous assessment.
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Continuous assessment involves gathering information on student achievement using
assessment instruments administered at suitable intervals over the developmental four-semester
course of study.
In continuous assessment, all assessment instruments have a formative purpose — to improve
teaching and student learning and achievement.
When students exit the course of study, teachers make a summative judgment about their levels
of achievement in accordance with the standards matrix.
The process of continuous assessment provides the framework in which the other five principles
of exit assessment operate: balance, mandatory aspects of the syllabus, significant aspects of the
course of study, selective updating, and fullest and latest information.
4.1.2 Balance
Judgments about student achievement made at exit from a course of study must be based on a
balance of assessments over the course of study.
Balance of assessment is a balance over the course of study and not a balance within a semester
or between semesters.
Balance of assessment means judgments about students’ achievements of the dimensions and
objectives are made a number of times using a variety of assessment techniques and a range of
assessment conditions over the developmental four-semester course of study.
4.1.3 Mandatory aspects of the syllabus
Judgments about student achievement made at exit from a course of study must be based on
mandatory aspects of the syllabus.
The mandatory aspects are:
• the dimensions Forming, Presenting and Responding
• the dramatic languages — elements of drama, skills of drama, and conventions of forms and
styles.
To ensure that the judgment of student achievement at exit from a four-semester course of study
is based on the mandatory aspects, the exit standards for the dimensions stated in the standards
matrix must be used (see Section 4.8.2, Awarding exit levels of achievement).
4.1.4 Significant aspects of the course of study
Judgments about student achievement made at exit from a course of study must be based on
significant aspects of the course of study.
Significant aspects are those areas described in the school’s work program that have been
selected from the choices permitted by the syllabus to meet local needs.
The significant aspects must be consistent with the objectives of the syllabus and complement
the developmental nature of learning in the course of study over four semesters.
4.1.5 Selective updating
Judgments about student achievement made at exit from a course of study must be selectively
updated throughout the course of study.
Selective updating is related to the developmental nature of the course of study and works in
conjunction with the principle of fullest and latest information.
As subject matter is treated at increasing levels of complexity, assessment information gathered
at earlier stages of the course of study may no longer be representative of student achievement.
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Therefore, the information should be selectively and continually updated (and not averaged) to
accurately represent student achievement.
Schools may apply the principle of selective updating to the whole subject-group or to individual
students.
Whole subject-group
A school develops an assessment program so that, in accordance with the developmental nature
of the course of study, later assessment information based on the same groups of objectives
replaces earlier assessment information.
Individual student
A school determines the assessment folio for verification or exit (post-verification). The student’s
assessment folio must be representative of the student’s achievements over the course of study.
The assessment folio does not have to be the same for all students; however, the folio must
conform to the syllabus requirements and the school’s approved work program.
Selective updating must not involve students reworking and resubmitting previously graded
responses to assessment instruments.
4.1.6 Fullest and latest information
Judgments about student achievement made at exit from a course of study must be based on the
fullest and latest information available.
• Fullest refers to information about student achievement gathered across the range of
objectives.
• Latest refers to information about student achievement gathered from the most recent period
in which achievement of the objectives is assessed.
As the assessment program is developmental, fullest and latest information will most likely come
from Year 12 for those students who complete four semesters of the course of study.
The fullest and latest assessment information on mandatory and significant aspects of the course
of study is recorded on a student profile.
4.2
Planning an assessment program
To achieve the purposes of assessment listed at the beginning of this section, schools must
consider the following when planning a standards-based assessment program:
• dimensions and objectives (see Section 2)
• course organisation (see Section 3)
• principles of exit assessment (see Section 4.1)
• variety in assessment techniques and conditions over the four-semester course of study
(see Section 4.5)
• verification folio requirements, i.e. the range and mix of assessment instruments necessary to
reach valid judgments of students’ standards of achievement (see Section 4.6)
• post-verification assessment (see Section 4.6.1)
• exit standards (see Section 4.7).
In keeping with the principle of continuous assessment, students should have opportunities to
become familiar with the assessment techniques that will be used to make summative judgments.
Further information can be found on the Drama subject page of the QSA website
<www.qsa.qld.edu.au/20325.html>.
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4.3
Special provisions
Guidance about the nature and appropriateness of special provisions for particular students are
described in QSA’s Policy on Special Provisions for School-based Assessments in Authority and
Authority-registered Subjects (2009), <www.qsa.qld.edu.au/2132.html>.
This statement provides guidance on responsibilities, principles and strategies that schools may
need to consider in their school settings. Reasonable adjustments to students with specific
educational needs must be planned and negotiated as early as possible so that students can be
provided with appropriate support in order to commence, participate and complete course of
study requirements. The special provisions might involve alternative teaching approaches,
assessment plans and learning experiences.
4.4
Authentication of student work
It is essential that judgments of student achievement be made on genuine student assessment
responses. Teachers should ensure that students’ work is their own, particularly where students
have access to electronic resources or when they are preparing collaborative tasks.
The QSA’s A–Z of Senior Moderation contains a strategy on authenticating student work
<www.qsa.qld.edu.au/10773.html>. This provides information about various methods teachers
can use to monitor that students’ work is their own. Particular methods outlined include:
• teachers seeing plans and drafts of student work
• student production and maintenance of evidence for the development of responses
• student acknowledgment of resources used.
Teachers must ensure students use consistent accepted conventions of in-text citation and
referencing, where appropriate.
Further advice on drafting of student assessment responses is available on the Drama subject
page of the QSA website <www.qsa.qld.edu.au/20325.html>.
4.5
Assessment techniques
The assessment techniques relevant to this syllabus are identified in Figure 2, and described in
detail in Sections 4.5.4, 4.5.5 and 4.5.6.
Figure 2: Drama assessment techniques
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Schools design assessment instruments from the assessment techniques relevant to this
syllabus. For each assessment instrument, schools develop an instrument-specific
standards matrix by selecting the syllabus standards descriptors for the dimension/s to be
assessed. The matrix is used as a tool for making judgments about the quality of students’
responses to the instrument and is informed by the syllabus standards descriptors. Assessment is
designed to allow students to demonstrate the range of standards (see Section 4.8.2, Awarding
exit levels of achievement). Teachers give students an instrument-specific standards matrix for
each assessment instrument.
Where students undertake assessment in a group or team, instruments must be designed so that
teachers can validly assess the work of individual students and not apply a judgment of the group
product and processes to all individuals.
The assessment instruments students respond to in a Year 11 assessment program should
support those included in Year 12.
The conditions of assessment, possible modes for assessment and supporting evidence are
identified and described below.
4.5.1 Conditions of assessment
Over a four-semester course of study, students are required to complete assessment under a
range of conditions (see Section 4.1.2, Balance).
Conditions may vary according to assessment. Conditions should be stated clearly on
assessment instruments and may include:
• indicating individual or group
• whether supervised or unsupervised
• stating time allowed (with perusal time as needed)
• stating length of response required
• using seen or unseen questions.
Conditions are provided for assessment instruments for each of the assessment techniques:
• techniques assessing the Forming dimension (see Conditions for assessment instruments
assessing the Forming dimension on page 20)
• technique assessing the Presenting dimension (see Conditions for assessment instruments
assessing the Presenting dimension on page 27)
• techniques assessing the Responding dimension (see Conditions for assessment instruments
assessing the Responding dimension on page 29).
4.5.2 Modes of assessment
Assessment techniques may be presented in a variety of modes, e.g. written, spoken/signed and
multimodal. An assessment response is communicated to an audience for a particular purpose
which may influence the type of text, language features and other textual features used in the
response. Purposes may include interpreting, creating, performing, analysing, evaluating, and
communicating.
Referencing conventions are used in all assessment responses, as relevant.
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4.5.3 Evidence to support judgments about student achievement
Schools must provide evidence to support judgments about student achievement for monitoring,
verification and exit purposes. Schools collect different types of evidence from student responses
across the course of study:
• student responses collected in a sample folio (also known as direct evidence)
• teacher annotations in support of judgments collected in a sample folio (supporting
documentation)
• standards showing how the characteristics of student work were matched to the standards to
make judgments about student achievement
• teacher judgments about a cohort using evidence from an individual/indicative response (also
known as submission-based evidence) which include:
- evidence related to the achievement of the syllabus dimensions and standards descriptors
that is part of a submission but is not part of sample folios
- recorded evidence of sample responses at A, B or C standards not in a folio.
Student folios must include sufficient evidence to demonstrate the match of syllabus standards
with student responses. When assessment instruments require that student responses be
delivered as a performance, a practical or non-written response, it may be necessary to provide a
range of evidence in student folios to demonstrate the match of syllabus standards with the
student responses.
Audiovisual evidence to support judgments
It is a requirement that schools’ judgments about the application of standards to student
responses delivered in class be supported by recorded audiovisual evidence. The evidence
provided must be sufficiently clear to illustrate the quality of the student response and be clearly
labelled for ease of identification. Evidence provided must be collected from students in the
current Year 12 cohort.
The evidence of practical student responses delivered in class will illustrate the typical A, B and C
standards, as relevant to the assessment instruments in the verification folio, for responses to:
• one practical Forming assessment instrument
• one Presenting assessment instrument demonstrating the delivery of a published playscript
and using the skills of voice and movement.
For both Forming and Presenting, these must be responses to the same assessment instrument.
If the range of A, B and C standard responses is not available in the current cohort, then schools
must supply evidence demonstrating the closest comparable standards. The evidence provided
must, where possible, relate to student responses at C standard or higher.
Schools may also provide audiovisual evidence in student folios of responses to practical and
non-practical Forming assessment instruments and spoken/signed and multimodal Responding
assessment instruments.
Evidence must be accompanied by a copy of the assessment instrument and the standards
matrix showing how the qualities of student work were matched to the standards to make
judgments about student achievement.
The evidence does not need to illustrate the work of the individual students whose folios are
included in the verification submission, nor does it need to be from students who have achieved a
VHA, HA or SA overall. Schools must retain audiovisual evidence of assessment responses for
all students in the cohort.
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4.5.4 Techniques assessing the Forming dimension
Techniques assessing the Forming dimension: Practical and Non-practical
Purpose
Techniques assessing the Forming dimension are characterised by students making creative dramatic works.
These techniques assess the creation of dramatic action and meaning and will be the outcome of working with
and synthesising the dramatic languages to create dramatic action and meaning.
Practical and non-practical techniques are used to assess the Forming dimension. These techniques provide
opportunities for assessment instruments that require responses by individual students and small groups of
students (see Conditions for assessment instruments assessing the Forming dimension on page 20).
Description of practical and non-practical techniques
Practical technique
The practical technique for assessing the Forming dimension requires practical use of a skill of drama
to create and demonstrate dramatic action and meaning. The skills of drama relevant to practical
responses are devising, directing and improvising.
Practical assessment instruments to assess the Forming dimension include:
• demonstrating — a devised concept
• directing — a published playscript excerpt
• improvising — intervention in a text; process drama.
Non-practical technique
The non-practical technique for assessing the Forming dimension requires use of a skill of drama to
create dramatic action and meaning. The skills of drama relevant to non-practical responses are
scriptwriting, directing and devising a dramatic treatment and a dramatic concept.
Modes include written, spoken/signed and multimodal.
Written responses require students to communicate a written assessment response to an audience for a
particular purpose.
Spoken responses require students to present a spoken assessment response to a live or virtual
audience (i.e. through the use of technology) for a particular purpose.
Multimodal responses use a combination of at least two modes to communicate an assessment response
to a live or virtual audience for a particular purpose.
Each of the selected modes contributes significantly to the multimodal response.
Different technologies may be used in the creation or presentation of the response. Replication of a
written document into an electronic or digital format does not constitute a multimodal response.
When making judgments about multimodal responses, teachers apply the standards to the entire
response, that is, to all modes used to communicate the response.
Non-practical assessment instruments to assess the Forming dimension are:
• scriptwriting — writing a playscript
• directing — directorial concept of a published playscript or excerpt
• devising — dramatic treatment that re-visions or extends a published text (or excerpt)
• devising — original dramatic concept devised by the student based on stimulus material/s.
Further guidance
In preparation for assessment instruments assessing the Forming dimension, teaching and learning must
include opportunities for students to learn how to shape and create dramatic action and meaning for
identified purposes, in selected contexts, dramatic forms and/or styles.
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Techniques assessing the Forming dimension: Practical and Non-practical
Practical responses — Evidence and supporting documentation for student folios
Further to the evidence to be included in school submissions, described in Section 4.5.3, Audiovisual
evidence to support judgments, for practical responses schools also need to include in student folios
evidence and supporting documentation as described below.
Demonstrating — a devised concept
Supporting documentation for student folios must
include succinct notes indicating choices about
management and shaping of the dramatic
languages in relation to purpose, context and
meaning.
Examples of evidence and supporting
documentation that may be provided in student
folios:
• audiovisual recording of the student
demonstrating the devised concept
Note: The teacher may provide students with a
• if relevant, materials used to support the
template to support the organisation of notes. Some
conceptualisation and creation of dramatic
of these notes may be written by the student after
action and meaning
demonstrating their response to reflect decisions
• teacher notes describing choices the student
made during the demonstration.
made about management and shaping of the
dramatic languages in relation to purpose,
context and meaning.
Directing — a published playscript excerpt
Supporting documentation for student folios must
include the playscript used as the basis for student
directorial input, with annotations indicating choices
about management and shaping of the dramatic
languages in relation to purpose, context and
meaning.
Examples of evidence and supporting
documentation that may be provided in student
folios:
• audiovisual recording of the student directorial
input
• if relevant, materials used to explain background
Note: Some of these annotations may be written by
to the conceptualisation and creation of dramatic
the student after demonstrating their response to
action and meaning
reflect decisions made during the demonstration.
• teacher notes describing choices the student
made about management and shaping of the
dramatic languages in relation to purpose,
context and meaning.
Improvising — intervention in a text; process drama
Supporting documentation for student folios must
include a succinct explanation of their choices
about management and shaping of the dramatic
languages in relation to purpose, context and
meaning.
Examples of evidence and supporting
documentation that may be provided in student
folios:
• audiovisual recording of the improvisation
• succinct outline of student’s role and dramatic
Note: The explanation is written by the student after
action
their improvisation.
• student responses to reflective questions
devised by the teacher and provided after the
task
• teacher notes describing choices the student
made about management and shaping of the
dramatic languages in relation to purpose,
context and meaning.
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Techniques assessing the Forming dimension: Practical and Non-practical
Non-practical responses — Evidence and supporting documentation for student folios
For written non-practical responses schools include in student folios the response submitted by the
student.
Other types of evidence and supporting documentation to be included in student folios are described below.
Scriptwriting — writing a playscript
Evidence and supporting documentation for student Note: The teacher may provide students with a
folios must include:
template to support the organisation of notes.
• the playscript created by the student
• succinct notes indicating choices about
management and shaping of the dramatic
languages in relation to purpose, context and
meaning.
Directing — directorial concept of a published playscript or excerpt
Evidence and supporting documentation for student Note: For spoken/signed and multimodal responses
folios must include the published playscript used as schools may provide an audiovisual recording of the
the basis for student directorial concept, with
student response.
annotations indicating choices about management
and shaping of the dramatic languages in relation to
purpose, context and meaning.
For written responses, the directorial concept
created by the student must also be included in the
student folio.
Devising — dramatic treatment that re-visions or extends a published text (or excerpt)
Evidence and supporting documentation for student
folios must include the published text used as the
basis for the dramatic treatment.
If a published playscript is used, it must be
annotated to show choices about management and
shaping of the dramatic languages, and further
notes in relation to purpose, context and meaning.
For written responses, the dramatic treatment
created by the student must also be included in the
student folio.
Devising — original dramatic concept devised by the student based on stimulus material/s
Evidence and supporting documentation for student Note: For spoken/signed and multimodal responses
folios must include an outline of the devised
schools may provide an audiovisual recording of the
concept with annotations showing choices about
student response.
management and shaping of the dramatic
languages in relation to purpose, context and
meaning.
For written responses, the dramatic concept
created by the student must be included in the
student folio.
For spoken/signed and multimodal responses,
notes and other materials indicating choices about
management and shaping of the dramatic
languages in relation to purpose, context and
meaning must be included in the student folio.
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Conditions for assessment instruments assessing the Forming dimension
Possible
assessment
instruments
Individual
or group
response
Stimulus material
11
Individual
only
12
Individual
only
Year
Preparation time —
class/home
Teacher consultation, drafting
and rehearsal
Sourced and provided
by student or teacher
At least two weeks’ preparation
time in and outside of class time
for devisor
If the devisor requires student
actors to support their
demonstration, the teacher:
• selects the student actors
immediately before the devisor
demonstrates their response
• allows 10–15 minutes
immediately before the devisor
demonstrates their response
for the devisor to explain
concept to student actors and
for actors to read through text.
Teacher consultation during
preparation time
3–4 minutes for
demonstrating the devised
concept
Sourced and provided
by student or teacher
At least two weeks’ preparation
time in and outside of class time
for devisor
If the deviser requires student
actors to support their
demonstration, the teacher:
• selects the student actors
immediately before the devisor
demonstrates their response
• allows 10–15 minutes
immediately before the devisor
demonstrates their response
for devisor to explain concept
to student actors and for actors
to read through text.
Teacher consultation during
preparation time
4–6 minutes for
demonstrating the devised
concept
Response length
Practical responses
Demonstrating —
a devised
concept
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Queensland Studies Authority
Possible
assessment
instruments
Directing —
a published
playscript excerpt
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|
Year
Individual
or group
response
Stimulus material
Preparation time —
class/home
Teacher consultation, drafting
and rehearsal
Response length
11
Individual
only
A range of published
playscripts or excerpts,
each taking no more
than two minutes to
present
At least two weeks’ preparation
time in and outside of class time
for director
Immediately before the director
demonstrates their response, the
teacher:
• selects student actors
• allows 10–15 minutes for
student actors to read
playscript.
Teacher consultation during
preparation time
4–6 minutes directorial input
12
Individual
only
A range of published
playscripts or excerpts,
each taking no more
than two minutes to
present
At least two weeks’ preparation
time in and outside of class time
for director
Immediately before the director
demonstrates their response, the
teacher:
• selects student actors
• allows 10–15 minutes for
student actors to read
playscript.
Teacher consultation during
preparation time
6–8 minutes directorial input
Drama Senior Syllabus 2013
Queensland Studies Authority
Possible
assessment
instruments
Improvising —
intervention in a
text; process
drama
Year
Individual
or group
response
11
Individual
11
12
12
Preparation time —
class/home
Teacher consultation, drafting
and rehearsal
Response length
Context or text familiar
to students
At least two weeks’ notice of task
Not applicable
2 minutes
Group
maximum of
four
students in
each group
Context or text familiar
to students
At least two weeks’ notice of task
Not applicable
3–6 minutes of dramatic
action (every student
actively contributing)
Individual
Context or text familiar
to students
At least two weeks’ notice of task
Not applicable
3 minutes
Not applicable
4–6 minutes of dramatic
action (every student
actively contributing)
Stimulus material
Immediately before assessment:
• intervention provided
• 0–2 minutes planning time
Immediately before assessment:
• intervention provided
• 0–3 minutes discussion and
planning time
Immediately before assessment:
• intervention provided
• 0–2 minutes planning time
Group
maximum of
four
students in
each group
Context or text familiar
to students
11
Individual
only
Not applicable
2–4 weeks
The development process may
include workshopping concepts,
ideas and/or draft text with peers.
Teacher consultation and
feedback on two drafts during
preparation time
800–1000 words or
equivalent of 2–3 minutes of
dramatic action, if enacted
12
Individual
only
Not applicable
2–4 weeks
The development process may
include workshopping concepts,
ideas and/or draft text with peers.
Teacher consultation and
feedback on one draft during
preparation time
1000–1200 words or
equivalent of 3–4 minutes of
dramatic action, if enacted
At least two weeks’ notice of task
Immediately before assessment:
• intervention provided
• 0–3 minutes discussion and
planning time
Non-practical responses
Scriptwriting —
writing a
playscript
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Queensland Studies Authority
Possible
assessment
instruments
Directing —
directorial
concept of a
published
playscript or
excerpt
Year
11
12
Devising —
dramatic
treatment …
11
12
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Drama Senior Syllabus 2013
Individual
or group
response
Stimulus material
Individual
only
Published playscript/s
or excerpt/s
Individual
only
Individual
only
Individual
only
Published playscript/s
or excerpt/s
Published playscript/s
or excerpt/s
Published playscript/s
or excerpt/s
Preparation time —
class/home
Teacher consultation, drafting
and rehearsal
3–4 weeks
Teacher consultation and
feedback on two drafts during
preparation time
Note: For spoken/signed and
multimodal responses students
may rehearse delivery of their
directorial concept.
3–4 weeks
3–4 weeks
3–4 weeks
Teacher consultation and
feedback on one draft during
preparation time
Note: For spoken/signed and
multimodal responses students
may rehearse delivery of their
directorial concept.
Teacher consultation and
feedback on two drafts during
preparation time
Note: For spoken/signed and
multimodal responses students
may rehearse delivery of their
dramatic treatment.
Teacher consultation and
feedback on one draft during
preparation time
Note: For spoken/signed and
multimodal responses students
may rehearse delivery of their
dramatic treatment.
Response length
Written: 800–1000 words
Spoken/signed: 3–4 minutes
Multimodal: 3–5 minutes
Playscript provided, plus
annotations, appendixes
and referencing, when
appropriate
Written: 1000–1200 words
Spoken/signed: 4–5 minutes
Multimodal: 5–7 minutes
Playscript provided, plus
annotations, appendixes
and referencing, when
appropriate
Written: 800–1000 words
Spoken/signed: 3–4 minutes
Multimodal: 3–5 minutes
Annotated sketches,
appendixes and referencing
provided, when appropriate
Written: 1000–1200 words
Spoken/signed: 4–5 minutes
Multimodal: 5–7 minutes
Annotated sketches,
appendixes and referencing
provided, when appropriate
Queensland Studies Authority
Possible
assessment
instruments
Devising —
original dramatic
concept …
Year
11
12
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Individual
or group
response
Stimulus material
Individual
only
Various stimulus texts
and other materials
Individual
only
Various stimulus texts
and other materials
Preparation time —
class/home
Teacher consultation, drafting
and rehearsal
3–4 weeks
Teacher consultation and
feedback on two drafts during
preparation time
Note: For spoken/signed and
multimodal responses students
may rehearse delivery of their
dramatic concept.
3–4 weeks
Teacher consultation and
feedback on one draft during
preparation time
Note: For spoken/signed and
multimodal responses students
may rehearse delivery of their
dramatic concept.
Response length
Written: 800–1000 words
Spoken/signed: 3–4 minutes
Multimodal: 3–5 minutes
Annotated sketches,
appendixes and referencing
provided, when appropriate
Written: 1000–1200 words
Spoken/signed: 4–5 minutes
Multimodal: 5–7 minutes
Annotated sketches,
appendixes and referencing
provided, when appropriate
Queensland Studies Authority
4.5.5 Technique assessing the Presenting dimension
Technique assessing the Presenting dimension: Performance
Purpose
The technique assessing the Presenting dimension assesses choices about manipulating elements of
drama and demonstration of the skills of drama to interpret purposes, contexts and texts, and
communicate dramatic action and meaning in performance.
The technique provides opportunities for assessment instruments that require responses by individual
students and small groups of students (see Conditions for assessment instruments assessing the
Presenting dimension on page 27).
Description of Performance
This technique is characterised by planned and rehearsed live and/or recorded performances for audiences.
Assessment instruments that can be developed to assess the Presenting dimension are stage and screen
acting.
Assessment instruments must provide equitable opportunities for students to demonstrate their learning
in the Presenting dimension as described in the standards. The size of groups for performances allows
for judgments to be made about an individual student’s achievement.
Stage acting
Stage acting assessment instruments provide opportunities for students to perform published or studentdevised playscripts as individuals or in small groups for live audiences.
Screen acting
Screen acting assessment instruments provide opportunities for students to perform published or studentdevised playscripts as individuals or in small groups for audiences viewing the recorded performance.
Further guidance
The focus of Presenting assessment instruments is presentation of dramatic action and meaning for an
audience. In preparation for Performance assessment instruments, teaching and learning must include
rehearsal techniques and application of stagecraft.
Performance of student-devised playscripts provides opportunities for students to perform playscripts
devised by the student or a group of students. For assessment instruments in this technique, judgments
must be based on the standards descriptors for the Presenting dimension only.
The student-devised playscript performed in this instrument could be the student’s own response to an
assessment instrument for the Forming dimension that required students to have written a script or
devised an original concept. If students are to use the playscript devised for their own response to an
earlier assessment instrument for the Forming dimension, it is essential that the:
• response has already been demonstrated (practical technique) or submitted/delivered (non-practical
technique)
• teacher has already made a judgment about the devising response, using the standards descriptors
for the Forming dimension
• teacher has provided the student with feedback about the quality of their devising response.
Before implementing the Presenting assessment instrument, teachers must:
• ensure the student-devised playscript provides opportunities for the student to demonstrate the
standards A–E for Presenting
• complete teaching and learning specific to the objectives for the Presenting dimension.
By completing this process before students perform their own devised work for assessment purposes, the
teacher ensures students understand the suitability of their own devised drama for performance and have
opportunities to make necessary changes.
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Technique assessing the Presenting dimension: Performance
Evidence and supporting documentation for student folios
In addition to the evidence described in Section 4.5.3, Evidence to support judgments about student
achievement, student folios also require evidence and supporting documentation as described below.
Stage acting
Supporting documentation for student folios must
include the playscript with student’s role highlighted.
Examples of evidence and supporting
documentation that may be provided in student
folios:
• audiovisual recording of the performance
• playscript with annotations about manipulation
and demonstration of the dramatic languages in
performances
• teacher notes describing student manipulation
and demonstration of the dramatic languages in
performances.
Screen acting
Supporting documentation for student folios must
include the playscript with student’s role highlighted.
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Examples of evidence and supporting
documentation that may be provided in student
folios:
• audiovisual recording of performance; response
is recorded using one take in a single
continuous shot
• playscript with annotations about manipulation
and demonstration of the dramatic languages in
performances
• teacher notes describing student manipulation
and demonstration of the dramatic languages in
performances.
Conditions for assessment instruments assessing the Presenting dimension
Possible
assessment
instruments
Year
Individual
or group
response
Stage acting
11
Individual
11
Group
12
Individual
12
Group
3–5 minutes per student
11
Individual
2–3 minutes
Response recorded using one
take in a single continuous shot
11
Group
1—2 minutes per student
Response recorded using one
take in a single continuous shot
Screen acting
Stimulus material
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Individual
12
Group
Drama Senior Syllabus 2013
Teacher consultation,
drafting and rehearsal
Response length
3–4 minutes
Sourced and provided by
student or teacher
Sourced and provided by
student or teacher
12
Preparation time —
class/home
Teacher consultation and
At least two weeks’ preparation
rehearsal permitted during
time in and outside of class time
preparation time
Teacher consultation and
At least two weeks’ preparation
rehearsal permitted during
time in and outside of class time
preparation time
2–3 minutes per student
4–6 minutes
3–4 minutes
Response recorded using one
take in a single continuous shot
2–3 minutes per student
Response recorded using one
take in a single continuous shot
Queensland Studies Authority
4.5.6 Techniques assessing the Responding dimension
Techniques assessing the Responding dimension: Extended response and
Examination — extended response test
Purpose
The technique assessing the Responding dimension assesses communication of a position about the
effectiveness of dramatic performances. The position is derived from analysis and evaluation of how
effectively the dramatic languages 4 were manipulated to create dramatic action using forms and styles in
selected contexts for particular purposes. Research is not the focus of this technique.
The technique provides opportunities for assessment instruments that require responses by individual
students (see Conditions for assessment instruments assessing the Responding dimension on page 29).
Description of Extended response and Examination — extended response test
Extended response
Written extended response
Written responses require students to communicate a written assessment response to an audience for a
particular purpose.
Assessment instruments that can be developed for written extended responses include essays and
articles for an informed audience.
Spoken/signed and multimodal responses
Spoken/signed responses require students to present a spoken/signed assessment response to a live or
virtual audience, that is, through the use of technology.
Multimodal responses use a combination of at least two modes to communicate an assessment response
to a live or virtual audience.
Each of the selected modes contributes significantly to the multimodal response.
Different technologies may be used in the creation or presentation of the response. Replication of a
written document into an electronic or digital format does not constitute a multimodal response.
When making judgments about multimodal responses, teachers apply the standards to the entire
response, that is, to all modes used to communicate the response.
Assessment instruments that can be developed for spoken/signed and multimodal responses include
seminar and viva voce.
Examination — extended response test
Written extended responses can also be completed under supervised conditions. Students respond to a
live performance or a recorded live performance, and a seen or unseen question or statement.
Evidence and documentation for student folios
Evidence and supporting documentation for student
folios must include:
• written responses submitted by the student
• other relevant information, such as questions
asked by the teacher in a viva voce.
4
28
Note: For spoken/signed and multimodal
responses:
• schools may provide an audiovisual recording of
the student response
• student notes and other materials relevant to the
response are included.
Elements of drama, skills of drama, and conventions of forms and styles.
|Drama Senior Syllabus 2013
Conditions for assessment instruments assessing the Responding dimension
Possible
assessment
instruments
Extended
response
Year
Individual or
group
response
11
Individual only
12
Examination —
extended
response test
11
Individual only
Individual only
Stimulus material
Live or recorded live
performance
Live or recorded live
performance
Live or recorded live
performance
Preparation time —
class/home
Teacher consultation, drafting and
rehearsal
Response length and
examination duration
At least two weeks’
preparation time in and
outside of class time
Teacher consultation and feedback on
two drafts during preparation time.
Written: 800–1000 words
At least two weeks’
preparation time in and
outside of class time
Performance viewed prior
to examination
For spoken/signed and multimodal
responses students may rehearse the
delivery of the response.
Teacher consultation and feedback on
one draft during preparation time.
For spoken/signed and multimodal
responses students may rehearse the
delivery of the response.
For seen question, teacher consultation
during preparation time
Spoken/signed: 3–4 minutes
Multimodal: 3–5 minutes
For a viva voce, time for
questions is added to the
guideline above at the
teacher’s discretion.
Written: 1000–1200 words
Spoken/signed: 4–5 minutes
Multimodal: 5–7 minutes
For a viva voce, time for
questions is added to the
guideline above at the
teacher’s discretion.
Response length:
400–600 words
Duration: 1–1.5 hours
12
Individual only
Live or recorded live
performance
Performance viewed prior
to examination
For seen question, teacher consultation
during preparation time
Response length:
600–800 words
Duration: 1.5–2 hours
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4.6
Verification folio requirements
A verification folio is a collection of a student’s responses to assessment instruments on which
the interim level of achievement is based. For students who are to exit after four semesters, each
folio should contain the range of assessments for making summative judgments as stated below.
Students’ verification folios for Drama are to contain a minimum of five and a maximum of six
assessment instruments and the relevant student responses. Each folio must include:
• evidence of student work from Year 12 only
• evidence that two of the dimensions have been assessed twice
• evidence that the remaining dimension has been assessed once or twice
• a minimum of two and a maximum of three written/non-practical responses to assessment
instruments
• at least one response to an individual practical Forming assessment instrument (see
Section 4.5.4)
• at least one response to Presenting assessment instrument/s requiring
- a group performance
- performance of a published playscript, demonstrating the delivery of text, and using the
skills of voice and movement (see Section 4.5.5)
• at least one response to Responding assessment instrument/s (see Section 4.5.6)
- one of these must be a written extended response.
All folios of responses to assessment instruments must also include:
• for each student response, the original assessment instrument and the standards matrix
showing how the standards were used to make judgments about student achievement
• evidence to support judgments about student achievement
• a student profile completed to date indicating judgment about each dimension and proposed
level of achievement.
For information about preparing monitoring and verification submissions, schools should refer to
QSA’s Moderation handbook for Authority subjects, <www.qsa.qld.edu.au/10773.html>.
4.6.1 Post-verification assessment
In addition to the contents of the verification folio, there must be one subsequent summative
assessment in the exit folio completed after verification. For this syllabus, students are to respond
to an assessment instrument after verification that:
• assesses the dimension that has been assessed only once, if the verification folio includes
responses to only five assessment instruments
• assesses any one of the dimensions, if the verification folio includes responses to six
assessment instruments.
4.7
Exit standards
The purpose of standards is to make judgments about students’ levels of achievement at exit
from a course of study. The standards are described in the same dimensions as the objectives of
the syllabus. The standards describe how well students have achieved the objectives and are
stated in the standards matrix.
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The following dimensions must be used:
Dimension 1: Forming
Dimension 2: Presenting
Dimension 3: Responding.
Each dimension must be assessed twice in each year of the course, and each dimension is to
make an equal contribution to the determination of exit levels of achievement.
4.8
Determining exit levels of achievement
When students exit the course of study, the school is required to award each student an exit level
of achievement from one of the five levels:
• Very High Achievement (VHA)
• High Achievement (HA)
• Sound Achievement (SA)
• Limited Achievement (LA)
• Very Limited Achievement (VLA).
All the principles of exit assessment must be applied when making decisions about exit levels of
achievement.
Exit levels of achievement are summative judgments made when students exit the course of
study. For most students this will be after four semesters. For these students, judgments are
based on exit folios providing evidence of achievement in relation to all objectives of the syllabus
and standards.
For students who exit before completing four semesters, judgments are made based on the
evidence of achievement to that stage of the course of study and the principles of exit assessment.
4.8.1 Determining a standard
The standard awarded is an on-balance judgment about how the qualities of the student’s
responses match the standards descriptors in each dimension. This means that it is not
necessary for the student responses to have been matched to every descriptor for a particular
standard in each dimension.
4.8.2 Awarding exit levels of achievement
When standards have been determined in each of the dimensions for this subject, Table 2 below
is used to award exit levels of achievement, where A represents the highest standard and
E the lowest. The table indicates the minimum combination of standards across the dimensions
for each level.
Table 2: Awarding exit levels of achievement
VHA
Standard A in any two dimensions and no less than a B in the remaining dimension
HA
Standard B in any two dimensions and no less than a C in the remaining dimension
SA
Standard C in any two dimensions and no less than a D in the remaining dimension
LA
At least Standard D in any two dimensions and an E in the remaining dimension
VLA
Standard E in the three dimensions
Further information is available in the QSA’s Moderation handbook for Authority subjects,
<www.qsa.qld.edu.au/10773.html>.
Queensland Studies Authority
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4.8.3 Standards matrix
Forming
Standard A
Presenting
|
Standard C
Standard D
Standard E
The student work has the
following characteristics:
The student work has the
following characteristics:
The student work has the
following characteristics:
The student work has the
following characteristics:
The student work has the
following characteristics:
•
perceptive and skilful
management of elements of
drama to create dramatic
action
•
skilful management of
elements of drama to create
dramatic action
•
management of elements of
drama to create dramatic
action
•
partial management of
aspects of elements of drama
to make dramatic action
•
partial use of aspects of
elements of drama to make
dramatic action
•
perceptive and skilful use of a •
range of conventions of forms
and styles, and skills of drama
to shape dramatic action
skilful use of a range of
conventions of forms and
styles, and skills of drama to
shape dramatic action
•
use of a range of conventions
of forms and styles, and skills
of drama to shape dramatic
action
•
partial use of conventions of
forms and styles, and skills of
drama to make dramatic
action
•
partial use of aspects of
conventions of forms and
styles, and skills of drama to
make dramatic action
•
insightful and skilful synthesis
of the dramatic languages,
purposes and contexts to
create dramatic action and
meaning.
synthesis of the dramatic
languages, purposes and
contexts to create dramatic
action and meaning.
•
partial use of purposes and
contexts to make dramatic
action and superficial
meaning.
•
partial use of aspects of
purposes and contexts to
make dramatic action.
The student work has the
following characteristics:
32
Standard B
•
The student work has the
following characteristics:
The student work has the
following characteristics:
The student work has the
following characteristics:
The student work has the
following characteristics:
effective interpretation of
purposes, contexts and texts
to clearly communicate
dramatic meaning through
performance
•
•
interpretation of purposes,
contexts and texts to
communicate dramatic
meaning through performance
•
basic interpretation of
purposes and texts to partially
communicate dramatic
meaning through performance
•
effective manipulation of
elements of drama through
conventions of forms and
styles to clearly realise style
in performance
•
•
manipulation of elements of
drama through conventions of
forms and styles to realise
style in performance
use of elements of drama
through conventions to
demonstrate aspects of style
in performance
•
superficial use of elements of
drama in performance
•
effective and well-rehearsed
demonstration of skills of
drama to communicate
engaging dramatic action and
meaning for audiences.
•
demonstration of skills of
drama to communicate
dramatic action and
meaning for audiences.
•
demonstration of basic skills
of drama to partially
communicate dramatic action
and meaning for audiences.
•
demonstration of aspects of
skills of drama to partially
communicate dramatic action.
•
•
insightful interpretation of
purposes, contexts and texts
to skilfully and sensitively
communicate dramatic
meaning through performance
•
perceptive manipulation of
elements of drama through
conventions of forms and
styles to skilfully realise style
in performance
•
insightful and polished
demonstration of skills of
drama to communicate
convincing and engaging
dramatic action and meaning
for audiences.
Drama Senior Syllabus 2013
skilful synthesis of the
•
dramatic languages, purposes
and contexts to create
dramatic action and meaning.
use of texts to communicate a
partial performance
Queensland Studies Authority
Responding
Standard A
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Standard B
Standard C
Standard D
Standard E
The student work has the
following characteristics:
The student work has the
following characteristics:
The student work has the
following characteristics:
The student work has the
following characteristics:
The student work has the
following characteristics:
•
discriminating analysis of use
of the dramatic languages to
facilitate dramatic action and
meaning
•
informed analysis of use of
the dramatic languages to
facilitate dramatic action and
meaning
•
analysis of use of the
dramatic languages to
facilitate dramatic action and
meaning
•
partial analysis of use of the
dramatic languages in
dramatic action and meaning
•
explanation of aspects of the
dramatic languages used in
dramatic action
•
perceptive and thorough
evaluation with discriminating
supporting evidence of
effectiveness of the dramatic
action in communicating
meaning to audiences
•
informed evaluation with
convincing supporting
evidence of effectiveness of
the dramatic action in
communicating meaning to
audiences
•
evaluation with supporting
evidence of effectiveness of
the dramatic action in
communicating meaning to
audiences
•
partial evaluation with
evidence of how dramatic
action communicates aspects
of meaning to audiences
•
explanation of aspects of the
dramatic action
•
discerning synthesis of
positions about dramatic
action and meaning through
use of relevant language
conventions and drama
terminology.
•
effective synthesis of
positions about dramatic
action and meaning through
use of relevant language
conventions and drama
terminology.
•
synthesis of positions about
dramatic action and meaning
through use of language
conventions and drama
terminology.
•
communication of positions
about aspects of dramatic
action and meaning through
use of basic language
conventions and drama
terminology.
•
communication of opinions
using basic language
conventions.
Drama
Senior Syllabus 2013
Queensland Studies Authority
5 Glossary
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Term
Explanation
acting
acting is a skill of drama. It is the process and skills used to embody
performance and communicate with an audience. The principal tools of
the actor are voice and movement. The skills and processes differ
according to dramatic style.
analyse
dissect to ascertain and examine constituent parts and/or their
relationships
aspect
particular parts or features
assessment instrument
An assessment instrument is a tool developed by the school for
assessing students in a subject at a specific time and used to frame an
assessment task.
assessment task
An assessment task is work undertaken by a student in response to an
assessment instrument, and is described on a criteria sheet. The
standard of response is assessed in relation to specific criteria.
assessment technique
An assessment technique is an overarching strategy for assessing
student work. Under it can sit a variety of assessment instruments.
audience
An audience can be an individual, a small group or a larger group. The
size of an audience is influenced by the purpose of the assessment
instrument. In Drama, it may be appropriate for the teacher to be the
audience when a student presents or delivers their response to an
assessment instrument.
basic
underdeveloped, simple and straightforward
character
an element of drama. The performer takes on the persona, physicality,
vocal qualities and given circumstances of the character. The character’s
relationships with other characters are defined by their particular history,
motivations, desires and ways of seeing the world, e.g. Hamlet, Hedda
Gabler, Willie Loman. Character is most often rehearsed and polished
performance.
clear
easy to understand; fully intelligible; free from obscurity
communicate
succeed in conveying information
contrast
an element of drama. Contrast is characterised by variation and the
breaking of patterns in dramatic action.
conventions of forms
and styles
accepted techniques that characterise dramatic forms and styles
convincing
persuasive because of clear, definite and strong argument and
presentation; leaving no doubt
create
bring into being; produce; develop or build from one's own thought or
imagination
Drama Senior Syllabus 2013
Term
Explanation
critiquing
a skill of drama. Critiquing is evaluating the effectiveness of dramatic
action (live or recorded theatre) through the framework of the dramatic
languages.
demonstrate
give a practical exhibition; to clearly and deliberately show
devising
a skill of drama. Devising is the process of planning, trialling, structuring,
refining and creating dramatic action using dramatic languages.
directing
a skill of drama. Directing is the process of creating, shaping and
managing dramatic action to realise a dramatic vision. The director
interprets, listens, observes, articulates and negotiates with the creative
team to create dramatic action.
discerning
showing good judgment to make thoughtful choices
discriminating
able to recognise or draw fine distinctions; showing careful judgment or
fine taste
drama terminology
the system of terms belonging to the field of drama
dramatic action
the basic medium of all drama; the concrete physical expression of the
dramatic languages, purposes and contexts. Dramatic action may be
totally spontaneous and improvised, or planned and rehearsed. The
playscript provides direction for building the dramatic action.
dramatic concept
a possible assessment instrument for techniques assessing the Forming
dimension. A dramatic concept is an original concept devised by the
student communicated as a broad outline, detailed worked sample or
demonstration. A dramatic concept is not a script or a polished
performance.
dramatic focus
an element of drama. Dramatic focus refers to the framing of dramatic
action; inside, outside or the edge of action.
dramatic form
the way the dramatic action is structured, organised and shaped
dramatic meaning
the meaning/s or message/s communicated by manipulating the dramatic
languages to create dramatic action. The creator/s may have a meaning
they are attempting to communicate and audiences may receive multiple
meanings according to their own interpretation of the playscript or
performance.
dramatic style
the way in which dramatic action is expressed, or performed. Dramatic
styles have particular characteristics which can be identified, used and
manipulated to create, shape and evaluate drama.
dramatic treatment
a possible assessment instrument for techniques assessing the Forming
dimension. A dramatic treatment is a reworking or vision for the staging of
an existing work. The treatment will make specific reference to and
incorporate the original playscript.
effective
meets the assigned purpose
elements of drama
the building blocks of dramatic form and style, which include role, situation,
tension, focus, language, movement, symbol, mood and contrast
engaging
attracting and holding audience attention
Queensland Studies Authority
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36
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Term
Explanation
evaluate
assign merit according to criteria
evidence
information drawn from a drama or performance that supports a position
explain
present a meaning with clarity, precision, completeness, and with due
regard to the order of statements in the explanation
facilitate
progress or bring about development in dramatic action and meaning
familiar
texts, materials, skills, contexts or purposes that have been the focus of
learning experiences
focus
concentration of attention on what an actor is doing, feeling and sensing;
the direction of the actor’s or audience’s attention to a specific point,
person or object
form
see dramatic form
hybridity
dramatic action that is created using conventions from multiple styles or
forms, such as Cinematic Theatre
improvisation
a skill of drama. Improvisation is the creation of dramatic action with little
or no preparation. Improvisation uses the skills of making, accepting,
extending and advancing offers.
improvising
see improvisation
informed
having relevant knowledge; being conversant with the topic
insightful
understanding relationships in complex situations; informed by
observation and deduction
interpret
make meaning of a dramatic text as:
• a creator of dramatic action and meaning
• a performer of dramatic action and meaning
• the audience critiquing dramatic action and meaning
language
an element of drama. Language refers to the way that ideas and feelings
are expressed dramatically. Language encompasses the selection of
words, delivery of language through voice and the use of body language
to express meaning.
language conventions
accepted language practices developed over time and generally used
and understood, for example use of punctuation
live performance
drama performance presented to a live audience
management
direction or control in action or use
mediated performance
performance that uses another medium such as film or virtual
technologies to transfer live performance. Live theatrical performance is
immediate, which positions it as a binary opposite to mediated
performance.
mood
an element of drama. The atmosphere created through the dramatic
action.
Drama Senior Syllabus 2013
Term
Explanation
movement
an element of drama. Movement describes the use of the body to
communicate meaning.
opinion
a personal view or attitude
partial
attempted; incomplete evidence provided
perceptively
recognises nuanced qualities of the drama, performance or performancemaking situation. These observations may not be obvious on immediate
examination.
performance
a planned and rehearsed sequence of actions, embodied through acting
using movement and voice, which communicates meaning to an
audience
place
an element of drama. Place describes the location and setting of the
dramatic action, including the way they are communicated through
staging.
playscript
the text of a dramatic work
position
a thesis stated in response or in relation to a question or provocation
about a drama or performance
pre-text
a textual source or stimulus that initiates the creation of a drama text.
Pre-texts may establish context, purpose and actions, as well as aspects
of elements of drama, such as roles, situation and mood.
published playscript
a playscript that has been published by a recognised publishing agency
realise
actualise; bring an idea or plan into reality or fruition
Realism
a style of drama crafted to create believable representations of life. Roles
and characters in Realism drama draw on real-life or life-like motivations.
recorded live
performance
Audiovisual recordings of live drama performances are appropriate for
study in Drama. Recorded live performance does not include film texts.
See also live performance.
referencing styles
accepted ways to acknowledge works drawn upon in student work
relationship
an element of drama. Relationship refers to the interaction between
people, people and ideas, and people and environment in dramatic
action.
role
an element of drama. The performer adopts the values, attitudes, status
and motivations of the role. They act and react to the given
circumstances of the drama, and their relationships with others are
defined by the values, attitudes and behaviours particular to the type or
status they represent, e.g. student, parent, business person. Role is often
spontaneous and not a polished performance.
scriptwriting
a skill of drama. The recording of dramatic action in writing, as script.
Scripts are written in theatrical script format using the appropriate
conventions and layout.
Queensland Studies Authority
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Term
Explanation
situation
an element of drama. Situation refers to the state of affairs and/or
physical, emotional and social environment in which dramatic action
unfolds.
skilful
made or done well, showing a lot of ability; possessing or displaying
accomplishment or skill, especially something that requires special ability
or training.
space
an element of drama. Space describes the use of space in the creation of
dramatic action, staging and positioning of the audience to performers.
Space also encompasses the levels, shape, proxemics, use of
architecture and groupings to communicate through dramatic action.
stagecraft
applying stagecraft is a skill of drama. It involves manipulating the
features of the staging space, including space, objects and performers’
movement, to create meaning. Stagecraft specifically includes
conventions of blocking, avoiding masking other actors, maintaining
sightlines, taking cues, demonstrating an understanding of stage layout
and direction, managing stage properties. Stagecraft conventions will
differ according to the dramatic style.
style
see dramatic style
superficial
apparent and sometimes trivial, lacking in depth of understanding
symbol
an element of drama. Symbols may be objects, sound, actions and
images used as signs, which are ascribed with significance or meaning.
synthesise
combine elements (information/ideas/components) into a coherent whole
tension
an element of drama. Tension is the driving force of drama by engaging
audience and creating anticipation and excitement. There are four types
of tension: mystery, relationship, surprise and task.
terminology
see drama terminology
thorough
demonstrating depth and breadth, inclusive of relevant detail
time
an element of drama. Time refers to the time or period in which dramatic
action is set and the management of tempo, pace and rhythm in dramatic
action.
use
to operate or put into effect
working as an ensemble
a skill of drama. A group of actors working collaboratively.
Drama Senior Syllabus 2013
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154 Melbourne Street, South Brisbane
PO Box 307 Spring Hill
QLD 4004 Australia
T +61 7 3864 0299
F +61 7 3221 2553
www.qsa.qld.edu.au