2001 HSC Specimen Paper · Official Notice for Drama in the November 2000 Board Bulletin. These sample marking guidelines are based on these amendments to the Drama syllabus. Sample

2001 HSC Specimen Paper

Drama

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2001 Higher School Certificate Specimen Examination Paper

DramaIntroduction

This booklet contains the specimen examination paper for the 2001 Higher SchoolCertificate examination in Drama. A mapping grid is also included, showing how eachquestion in the examination relates to the syllabus outcomes and content, and to theperformance bands.

The specimen paper shows the format of the New HSC examination. It has been printedon A4 paper and side-stapled to make it convenient for use in schools. Actualexamination papers will be produced as A4 booklets. All New HSC papers will beprinted on white paper.

The 2001 HSC specimen papers have been produced in accordance with the Board�’sPrinciples for Setting HSC Examinations in a Standards-Referenced Framework,published in Board Bulletin Volume 8 Number 9 (Nov/Dec 99). Questions are closelyrelated to the outcomes of the course, and the paper as a whole is structured to allow forappropriate differentiation of student performance at all levels on the performance scale.

The papers have been designed so that students have a clear understanding of what theyare required to do in each question and in working through the paper. Instructions havebeen standardised, and the demands of the questions have been made explicit. Keywords in questions, such as �‘discuss�’, �‘analyse�’, and �‘explain�’, have been usedconsistently in accordance with the glossary published in the Board�’s AssessmentSupport Document.

This specimen paper is an example of the type of examination that could be preparedwithin the examination specifications in the Drama syllabus. Examinations will bebased on the syllabus, and will test a representative sample of syllabus outcomes.Therefore, the range and balance of outcomes tested in HSC examinations in 2001 andsubsequent years may differ from those addressed in the specimen paper.

The mapping grid is an important feature of the development of the examination. It aidsin ensuring that the examination as a whole samples a range of content and outcomes,and allows all students the opportunity to demonstrate their level of achievement.Where courses have components in the examination other than written papers, the gridindicates the wider range of outcomes that are assessed by including these othercomponents.

There are a number of points to note in considering the Drama specimen paper:

• A rubric indicating general criteria for judging performance has been placed at thebeginning of each section of the paper to clearly indicate the factors that will beused to assess responses to the question(s). These criteria are in addition to criteriaspecific to each question.

• Where there is a compulsory text set for study in a topic, questions may specificallyrequire students to respond to particular aspects of the compulsory text, as well as toaspects of the additional text(s) set for study.

• In Question 3 students may be required to refer to specific plays in their response.

DramaHSC Specimen Examination Mapping Grid

For each item in the examination, the grid shows the marks allocated, the syllabus content and syllabusoutcomes it relates to, and the bands on the performance scale it is targeting. The range of bands shownindicates the performance candidates may be able to demonstrate in their responses. That is, if an item isshown as targeting Bands 3 �– 5, it indicates that candidates who demonstrate performance equivalent tothe Band 3 descriptions should be able to score some marks on the item, while those who perform at Band5 or above could reasonably be expected to gain high marks. In the case of one-mark items, candidateswho demonstrate performance at or above the bands shown generally could be expected to answer theitem correctly.

Question Marks Content Syllabus outcomes Targetedperformance

bands

Written Examination:

1 20 Australian Drama and Theatre(Core Study) �–Bush and City in Australian Drama orContemporary Australian Theatre

H1.3, H3.1, H3.2, H3.3 2 �– 6

2 20 Studies in Drama and Theatre �–Theatre of the Absurd

H1.3, H3.1, H3.2, H3.3 2 �– 6

3 20 Studies in Drama and Theatre �–Medieval English Cycle Plays

H1.3, H3.1, H3.2, H3.3 2 �– 6

4 20 Studies in Drama and Theatre �–Dario Fo

H1.3, H3.1, H3.2, H3.3 2 �– 6

5 20 Studies in Drama and Theatre �–Environmental, Street and EventTheatre

H1.3, H3.1, H3.2, H3.3 2 �– 6

6 20 Studies in Drama and Theatre �–Meyerhold

H1.3, H3.1, H3.2, H3.3 2 �– 6

7 20 Studies in Drama and Theatre �–American Drama

H1.3, H3.1, H3.2, H3.3 2 �– 6

8 20 Studies in Drama and Theatre �–Seventeenth Century Comedy

H1.3, H3.1, H3.2, H3.3 2 �– 6

Practical Examination Core Component:

30 Group Performance H1.1, H1.2, H1.4, H1.7,H1.8, H1.9, H2.1, H2.2,H2.3, H3.2, H3.3, H3.5

2 �– 6

Individual Project (Optional):

30 Critical Analysis (Director�’s Folio) H1.3, H1.5, H1.7,H2.2, H3.1, H3.2, H3.3

2 �– 6


30 Critical Analysis (Portfolio of TheatreCriticism)

H1.3, H1.7, H3.1,H3.2, H3.3

2 �– 6


30 Critical Analysis (Applied ResearchProject)

H1.3, H1.7, H3.1,H3.2, H3.3

2 �– 6


30 Design (Costume) H1.3, H1.5, H1.7,H2.2, H3.1, H3.2, H3.3

2 �– 6


30 Design (Lighting) H1.3, H1.5, H1.7, H2.2,H3.2, H3.3

2 �– 6

Question Marks Content Syllabus outcomes Targetedperformance

bandsIndividual Project (Optional):

30 Design (Promotion and Program) H1.3, H1.5, H1.7,H2.2, H3.1, H3.2, H3.3

2 �– 6


30 Design (Set) H1.3, H1.5, H1.7,H3.2, H3.3

2 �– 6


30 Individual Performance H1.1, H1.2, H1.3,H1.5, H1.7, H2.1,H2.2, H2.3, H3.1,H3.2, H3.3, H3.5

2 �– 6


30 Scriptwriting H1.3, H1.5, H1.7,H2.2, H2.3, H3.2, H3.3

2 �– 6


30 Video Drama H1.3, H1.5, H1.7,H2.2, H2.3, H3.2, H3.3

2 �– 6

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Sample marking guidelines forpractical tasks and submitted works in Drama

The following sample marking guidelines have been developed for the practical andsubmitted works components of the HSC Examination in Drama. In conjunction withthe previously published sample marking guidelines for selected questions from the2001 HSC Specimen Examination paper, they indicate the approach that would be takento marking student responses for the entire examination.

For these components of the examination, the following are included:1. A description of the task, derived from the syllabus2. The syllabus outcomes that are assessed by the task3. The criteria, derived from the outcomes, that are used to assess the task4. The marking guidelines for each component of the task

The marking guidelines describe the full range of performance typically demonstratedby students. Descriptions are given for ranges of marks, representing performances atdifferent levels of achievement. In marking a response, the marker initially assigns it toone of these levels, and the judgement is then refined to decide on the mark to beawarded. Markers use a variety of strategies, including sample responses, to assist themin this process.

For the HSC examinations in 2001 and beyond, marking guidelines for all parts of theexamination will be developed by the examination committee. The development ofmarking guidelines will be guided by the Board’s Principles for Developing MarkingGuidelines in a Standards-Referenced Framework, published in Board BulletinVolume 9 Number 3 (May 2000).

The assessment criteria described on pages 30–44 of the syllabus have been amended.These amendments, which provide a more detailed description of how the GroupPerformance and Individual Projects will be marked, have been documented in theOfficial Notice for Drama in the November 2000 Board Bulletin.

These sample marking guidelines are based on these amendments to the Dramasyllabus.

Sample marking guidelines – Drama

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HSC examination overviewFor each student, the HSC examination for Drama consists of a written examinationworth a total of 40 marks, a compulsory group performance worth 30 marks, and anindividual project worth 30 marks, drawn from one of the following the areas:• Critical analysis• Design• Performance• Scriptwriting• Video drama.

The Group Performance (30 marks)The task will consist of each student collaborating with a group in devising a piece oforiginal theatre based on a theme or concept, issue, idea or image taken from the GroupPerformance list.

ContentEach student learns to collaborate with a group to devise and perform in a piece oforiginal theatre. They learn how to work cooperatively in creating dramatic works,presenting their own opinions confidently and listening to the ideas of others. Theydevelop their Group Performance using a variety of play-building techniques andapproaches. They learn to structure their work using dramatic elements and theatricalconventions. They learn how to edit and refine their work through rehearsal, evaluationand editing. In their performance they use expressive skills that are appropriate to thechosen style or form. They learn how to realise and sustain a role and how to establish arelationship with the audience.

As a starting point for the Group Performance, students must choose one topic from alist of topics or ideas which is published separately in Drama Stage 6 CoursePrescriptions, Higher School Certificate 2001 and 2002 (reproduced on page 5 of thisdocument). The list may be changed in total or in part every two years, and is availableon the Board of Studies Website.

In order to assist the development of the idea or topic chosen for the GroupPerformance, students may choose to use materials that may include art works such aspaintings, sculptures and photographs; stories such as legends, myths and sciencefiction; music such as classical, contemporary and indigenous; documents such asreports, autobiographies, oral history, interviews and documentaries.

Students chart the process of the development of their performance in a logbook. Theylearn how to reflect upon, record, interpret, synthesise, research, and describe theprocess undertaken, as well as problems encountered and strategies used to findsolutions.

This performance depends on and extends knowledge, skills and experiences gained bystudents in the Preliminary course, and will be further informed by knowledge andexperiences from their studies of Australian Drama and Theatre, and Studies in Dramaand Theatre in the HSC course.


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The Performance will be a piece of original theatre that:- is a complete theatrical statement demonstrating a sense of dramatic shape and

structure- provides opportunity for each student to demonstrate his or her performance skills- is performed by no fewer than three and no more than six students- is 8–12 minutes in duration.

It is in the students’ best interest to work within the specified time frame. Performancesunder time will be penalised and those significantly over time will be stopped by theexaminers. This may lead to serious disadvantage.

The development of the Group Performance will be assessed by the teacher as part ofthe school assessment. The teacher will be required to act as a supervisor and facilitator,using a variety of strategies, including advice, assistance and negotiation. However, atno time should the teacher, or any other adviser, including outside tutors, assume therole of director. Work on the Group Performances should commence after the Easterbreak of the HSC year.

Logbook for Group PerformanceAs part of the Group Performance, each student is required to present a logbook ofhis/her involvement in, and reflections on, the development of the performance.Examiners have the right to consult the logbook to assist them in their deliberations.However it will not be used as part of the external examination mark.

As a personal record of the student’s involvement in the production process, thelogbook may be assessed as part of the school assessment mark for the GroupPerformance. Teachers should date and sign logbooks, but assessment marks andcomments should be recorded separately.

The logbook should provide:- a record of initial ideas shared- a record of research and reading undertaken and how this contributed to the process- an ongoing description and analysis of problems encountered and strategies used in

finding solutions- a record of constructive advice and comments received from audiences such as

fellow students, parents and friends, teacher and assessors of works-in-progress- comments on aspects of staging, lighting and design, where applicable- a record of the final product.

Conditions applying to the Group Performance• Group Performance will be examined by visiting examiners from the Board of

Studies towards the end of Term 3 of the HSC year. The teacher may be present aspart of the audience, but will not be a member of the Examination Panel nor performany technical operations during the Group Performances.

• For reasons of confidentiality, students are not allowed to see other students’examinations.

• All students involved in a Group Performance will be studying for the HigherSchool Certificate Drama examination. Where a school has fewer than threestudents attempting the examination or a member of the group is incapacitated byillness or misadventure, other students of the school (not attempting the HigherSchool Certificate examination) may be used to achieve the required numbers.


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These students should not be involved in the development of the GroupPerformance.

• A supervised audience of no more than 30 students from the school should bepresent. The audience should be aware of appropriate audience conventions andshould be chosen by negotiation between the teacher and the examined studentsprior to the examination. Students who are HSC candidates in any subject are notpermitted to form part of the audience. Members of the public should not comprisethe audience.

• The examination area should be an indoor school venue such as a small to mediumsize room. The area should be conducive to performance, ie free of noise orinterruption. Sectioning-off the performance area will assist to reduce interruptions.

• A brief interaction will take place between the examiners and the students at theconclusion of each Group Performance. This will be a standardised interaction forthe purpose of confirming the examiners’ impressions of the Group Performance.Interactions may take place in the performance space or in a room nearby. It isimperative that there be no interruptions to this process. Following studentinteractions, examiners require time to confer. Confidentiality during this time mustbe respected.

• Examiner requirements when marking include the need for desks and sufficient lightfor writing during performances:- Desks should be placed together in an area where examiners can see and hear

effectively- Audience members should not be placed directly near examiners- There will be two examiners present who will at times be joined by a senior

examiner.• Logbooks for each student must be given to examiners in program order for Group

Performances.• Recording devices must not be used during examinations.• Student identification occurs prior to each Group Performance. Students are asked to

line up in the order of photographs on the group photo sheets. Examiners recorddescriptions of students prior to the performance commencing. Students wearing thesame costumes should attach something, eg a colour band etc, to assist identificationby examiners during the performance.

• Inappropriate items in performances such as weapons, naked flames, implementswhich may endanger performers, audience members or examiners may not be used.Nudity is also inappropriate. Examiners will stop performances should anyinappropriate items appear.

• Production effects such as costumes, sets, lighting, video, film, sound and technicalsupport should be minimal and limited to those essential to the work’s meaning. Asavailable facilities and technical equipment vary in schools, external examiners willnot award extra marks to any presentation dependant on technical and/or specialeffects.

• Operation of technical equipment such as lighting can only be carried out by otherstudents in the school who are not HSC students. Teachers, or members of thepublic, should not operate technical equipment. A stage crew of students who arenot HSC students may be used to set and remove props.

• Time limits must be adhered to. Students should be given several opportunities toperform their work prior to the examination to ensure the work runs within the timestipulation (Group Performance 8–12 minutes). Examiners will stop performancesthat go overtime. Under-time performances will not meet the criteria and will bedisadvantaged.


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Topic List — Group PerformanceONE topic to be selected by each group from the following:1. Against the Tide2. Banquet3. Chaos theory4. Popular Delusions and the Madness of Crowds5. Blue6. Drifting7. Reinventing the question8. Advanced systems

Please note that this topic list for Group Performance is current for the 2001–2002 HSCexaminations only. Any amendments to requirements will be notified in the BoardBulletin Official Notices.

Marking of the Group PerformanceFor the Group Performance, a mark out of 10 is awarded for each of the three criterialisted, giving a total mark out of 30.

Criteria for examining the Group Performance• Performance skills appropriate to the style or form• Sustaining and developing role/character• Structure and dramatic coherence

Assessment Criterion 1: Performance skills appropriate to the style or form(10 marks)- Vocal: projection, clarity, tone, pitch, pace, dynamics- Movement: control, energy, spatial awareness, dynamics- Timing: control of delivery, responses to cues, awareness of rhythms.


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Outcomes assessed: H1.1, H1.2, H1.3, H2.1, H2.2MARKING GUIDELINES

Criteria Marks

• Demonstrates exemplary performance skills including vocal, movementand timing appropriate to the style or form 9 – 10

• Demonstrates highly developed performance skills including vocal,movement and timing appropriate to the style or form, although someskills may be more refined than others

7 – 8

• Demonstrates adequate performance skills including vocal, movementand timing which may vary in their level of delivery in relation tocontrol of vocal projection, clarity, tone, pitch, pace, dynamics; control,energy, spatial awareness and dynamics in movement; control ofdelivery, responses to cues and awareness of rhythms in timing

5 – 6

• Demonstrates limited performance skills including vocal, movement andtiming which may be inappropriate to the style or form 3 – 4

• Displays minimal performance skills with little understanding of style orform 1 – 2

Assessment Criterion 2: Sustaining and developing role/character (10 marks)- Belief/Conviction/Energy- Complexity/Dimension- Interaction with other characters or roles- Focus.


Criteria Marks

• Demonstrates exemplary ability to realise and sustain subtly definedrole(s) or character(s). Effectively interacts with other role(s) orcharacter(s) in the performance

9 – 10

• Demonstrates highly developed ability to realise and sustain role(s) orcharacter(s). Some aspects of sustaining and developing role(s) orcharacter(s) may be more refined than others. Effectively interacts withother role(s) or character(s) in the performance

7 – 8

• Demonstrates adequate ability to realise and sustain role(s) orcharacter(s). Variations may occur in levels of belief/conviction/energy,complexity/dimension and focus. There are often inconsistencies ininteractions with other role(s) or character(s) in the performance

5 – 6

• Demonstrates limited ability to realise and sustain role(s) or character(s).Limited interactions with other role(s) or character(s) in the performance 3 – 4

• Displays little ability to realise role(s) or character(s). May playthemselves. Minimal participation or interaction with other role(s) orcharacter(s) in the performance

1 – 2


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Assessment Criterion 3: Structure and dramatic coherence (10 marks)- Performance as part of an ensemble- Effective use of dramatic elements and theatrical conventions- Establishing and maintaining a clear intention and an appropriate relationship with

the audience in the context of the performance space- Demonstration of innovation, flair and integrity in the dramatic work- Effective use of the space in the context of the performance style.

Outcomes assessed: H1.2, H1.3, H1.4, H1.5, H1.7 H2.2, H3.3MARKING GUIDELINES

Criteria Marks

• Demonstrates outstanding manipulation of the elements of drama andtheatrical conventions

• Demonstrates exemplary ability to work at a sophisticated level as partof an ensemble to present an engaging group performance, whichdisplays a very clear intention. Evokes a powerful audience response inthe context of the performance space

• Demonstrates flair, integrity and innovation in presenting an exemplarygroup performance

• Demonstrates intelligent use of space in the context of the performancestyle

9 – 10

• Demonstrates highly developed ability to control the elements of dramaand theatrical conventions

• Demonstrates accomplished ability to work as part of an ensemble topresent an effective group performance, which demonstrates a clearintention and effectively engages the audience in the context of theperformance space

• Presents a coherent, high-quality group performance

• Demonstrates effective use of space in the context of the performancestyle

7 – 8

• Demonstrates ability to work with the elements of drama and theatricalconventions, with some inconsistencies in the level of control

• Demonstrates some ability to work as part of an ensemble to present agroup performance, which demonstrates some intention and reasonablyengages the audience in the context of the performance space

• Presents a reasonably coherent but superficial group performance

• Demonstrates some awareness of the use of space in the context of theperformance style

5 – 6


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Criteria Marks

• Demonstrates frequent inconsistencies in control of the elements ofdrama and theatrical conventions

• Demonstrates an inconsistent ability to work as part of an ensemble,displays an unclear intention and a limited ability to engage the audiencein the context of the performance space

• Presents a performance with little coherence or may present a literalinterpretation of the topic

• Demonstrates predictable or simple use of space and a basicunderstanding of the stylistic demands of the material

3 – 4

• Demonstrates minimal control of the elements of drama and theatricalconventions

• Demonstrates little evidence of working as part of an ensemble, may notdisplay an intention and does not engage the audience in the context ofthe performance space

• Presents an incoherent performance which explores the topic in a verylimited manner

• Demonstrates very limited understanding of the use of space and of thestylistic demands of the material

1 – 2

The Individual Project (30 marks)Students must undertake a project drawn from one of the following areas:• Critical Analysis• Design• Performance• Scriptwriting• Video Drama

ContentIn the Individual Project students learn how to initiate and present a project in an area ofinterest developed during study in the Preliminary course. They use the knowledge,skills and experiences acquired in the Preliminary course to select an area in which tospecialise. Students then learn how to develop concepts and use innovation. They learnhow to describe their intentions and the approach they intend to take in realising theproject. They learn how to use skills appropriate to the area in which they are working,whether it is based on critical reviews of performances, dramaturgy, direction, design,performance, scriptwriting or drama on video. They learn how to manipulate theatricalelements and conventions to achieve their aims.

In preparing their Individual Project, students learn how to plan, evaluate and structuretheir work into a refined presentation that meets the criteria of each project.

Students chart the process of their project in a logbook. They learn how to reflect upon,record, interpret and synthesise research, edit preliminary sketches or drafts, adapt workto specifications of time or length, and to submit work in a prescribed form.


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The content for the Individual Projects in Critical Analysis (Director’s Folio) andDesign (Set, Costume, Lighting, Publicity) will be based on one of the texts in a listpublished in the Drama Stage 6 Course Prescriptions document, which may change intotal or in part every two years.

Individual ProjectThe Individual Project will be negotiated between the student and the teacher at thebeginning of the HSC course. It may be formalised by the writing of a contract thatcould be retained until the formal certification is completed prior to the examination.Schools will be notified each year of the exact date, usually in late July, beyond whichIndividual Project options cannot be changed. Changes to students’ Individual Projectoptions must be notified in writing, countersigned by the school principal, prior to thisdate. Changes after this date will not be accepted.

Individual projects that involve submitted works must be submitted to the Boardtowards the end of Term 3. Schools will be advised of specific dates. Performances areexamined by visiting examiners at the same time as the Group Performances, towardsthe end of Term 3. Schools will be advised of specific dates.

The process of development of the Individual Project will be assessed by teachers aspart of the school assessment. While much of the work will be completed outside classtime, the teacher must assume both a supervisory and an advisory role.

When choosing their Individual Project, students must ensure that they do not choose atopic or text that they are studying in Drama or in any other of their HSC courses. Forexample, they may not use extracts from a text being studied in English for theIndividual Project: Performance, or a playwright being studied in Ancient History forthe Individual Project: Critical Analysis (Applied Research Report).

Teachers should ensure that students do not submit the same project for any other HSCsubject.

It is in the student’s best interest to work within the parameters of the Individual Projectchosen. Specifications are detailed on the pages relevant to each Individual Project.

RationaleFor each Individual Project, students are required to present a 300-word rationaleclearly explaining the intention of the project and the approach that has been taken. Therationale is considered a part of the project. While not marked externally, it will bereferred to by examiners in the marking process to confirm the intent of the studentwork.

For the Individual Projects: Critical Analysis (Director’s Folio), Design, and VideoDrama, the rationale will be an explanation of the directorial concept, which provides acoherent vision of the play or video drama.

In the other project areas, Critical Analysis (Portfolio of Theatre Criticism) and CriticalAnalysis (Applied Research Report), Performance and Scriptwriting, the rationale willbe an explanation of the overall intention of the work. This includes the approach takenand the reasons leading to eventual decisions.


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In the submitted Individual Projects, the rationale should be a separate item (ie not inthe logbook). For Individual Project: Performance, the rationale must be on the finalpage of the logbook.

Logbook for Individual ProjectThe logbook is a documentation of the process of the Individual Project and shouldprovide:- a clear statement of intention, agreed to by the student and the teacher, in the form

of a contract- the motivations for selecting the project- the ideas and approaches used- evidence of research and selection of resources- support material used, including sketches, clippings, photographs and other sources- decisions made and solutions to problems- the extent to which original intentions were achieved- drafts and redrafts with explanations for any changes in direction, evaluations and

constructive advice from advisers or audiences- personal reflections and evaluations.

The logbook must be submitted with the Individual Project. Examiners may use it forverification, but the logbook will not be used as part of the external examination mark.However, it may be used as part of the school assessment. Teachers should date andsign logbooks, but assessment marks and comments should be recorded separately.

Marking of Individual ProjectsFor all individual projects, a mark out of 10 is awarded for each of the three criterialisted, giving a total mark out of 30.

Individual Project: Critical AnalysisThis project must be completed in one of the following areas:(i) Director’s Folio(ii) Portfolio of Theatre Criticism(iii) Applied Research Project.

(i) Individual Project: Critical Analysis (Director’s Folio)This project comprises a folio of work based on one of the texts listed on the currentDesign/Critical Analysis (Director’s Folio) Text List, published on page 11 of DramaStage 6 Course Prescriptions, Higher School Certificate 2001 and 2002. The list maybe changed in total or in part every two years, and is available on the Board of StudiesWebsite.The project must include:• a 300-word rationale in the form of a director’s concept/vision (see page 32 of the

syllabus)• a comprehensive discussion of the director’s concept/vision integrating the dramatic

and theatrical elements• descriptions and explanations of key theatrical elements, features, effects or images

which contribute to dramatic meaning• an analysis of the text and discussion of the research that has influenced the ideas

for the production


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• an outline of the design concepts for set, costumes and lighting• a discussion of the approach to working with actors in rehearsal• a statement about the intended experience for the audience.Annotated scripts are not a requirement of this project.The submitted folio should be 3500 words in length. Students should work within theparameters of this project. Materials significantly under length will be penalised andmaterial that exceeds the stipulated length will be disregarded.

Criteria for examining Individual Project: Critical Analysis (Director’s Folio)• Production concept/vision• Analysis and synthesis of research• Production experience

Assessment Criterion 1: Production concept/vision (10 marks)- Originality, clarity and practicality of the director's concept/vision- Effective communication of the director's concept/vision- Effective use of key theatrical elements, features, effects or images which contribute

to dramatic meaning- Integration and unity of dramatic and theatrical elements.

Outcomes assessed: H1.3, H1.5, H1.7, H3.2MARKING GUIDELINES

Criteria Marks• Presents an exemplary and appropriate director’s concept/vision

demonstrating originality, flair, clarity and practicality

• Demonstrates exemplary ability to communicate the director’sconcept/vision using key theatrical elements, features, effects or imageswhich contribute to dramatic meaning

• Demonstrates outstanding integration and unity of dramatic andtheatrical elements

9 – 10

• Presents highly developed and appropriate director’s concept/visiondemonstrating some creativity and practicality, presented in a clear andinformed way

• Demonstrates accomplished ability to communicate the director’sconcept/vision, with variation in the use of key theatrical elements,features, effects or images, which contribute to dramatic meaning

• Demonstrates effective integration with variation in the degree of unityof dramatic and theatrical elements

7 – 8

• Presents an adequate director’s concept/vision demonstrating someclarity and practicality which may vary in appropriateness

• Demonstrates ability to communicate the director’s concept/vision usingsome key theatrical elements, features, effects or images whichcontribute to dramatic meaning

• Demonstrates some integration and unity of dramatic and theatricalelements

5 – 6


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Criteria Marks

• Presents a director’s concept/vision with little coherence andinconsistencies in practicality and appropriateness

• Demonstrates a limited ability to communicate the director’sconcept/vision

• Demonstrates limited unity of dramatic and theatrical elements

3 – 4

• Presents an incoherent director’s concept/vision with little evidence ofability to communicate ideas or use dramatic and theatrical elements 1 – 2

Assessment Criterion 2: Analysis and synthesis of research (10 marks)- Effective understanding and interpretation of the text- Selection of the material and analysis of research contributing to the idea of the

production- Clarity in presenting the material.


Criteria Marks

• Demonstrates exemplary understanding and innovative interpretation oftext

• Shows intelligent selection of the material and sophisticated analysis ofresearch contributing to the idea of the production

• Presents work in a logical and coherent manner

9 – 10

• Demonstrates substantial understanding of the text through an effectiveinterpretation which may vary in quality

• Demonstrates ability to select appropriate material and applies someresearch and analysis contributing to the idea of the production

• Presents work in a clear and informed manner

7 – 8

• Demonstrates reasonable understanding of the text with someinconsistencies in interpretation and selection of material

• Presents work in an organised manner including some analysis ofbackground information

5 – 6

• Demonstrates basic understanding of the text with little interpretation oruse of support material

• Presents limited work in a disorganised manner3 – 4

• Demonstrates little understanding of interpretation of the text andpresents minimal work at variance with conditions set for this projectarea

1 – 2


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Assessment Criterion 3: Production experience (10 marks)- Skill in conceiving a dramatic and theatrical experience for the audience- Appropriateness and effectiveness of rehearsal techniques- Use of design elements to create dramatic meaning.

Outcomes assessed: H1.3, H1.5, H1.7, H2.2, H2.3, H3.2, H3.3MARKING GUIDELINES

Criteria Marks

• Demonstrates exemplary ability to conceive a dramatic and theatricalexperience including sophisticated use of design elements

• Presents an excellent understanding of appropriate rehearsal techniques9 – 10

• Demonstrates an ability to conceive a dramatic and theatrical experiencefor an audience with variation in quality including the use of designelements

• Presents an appropriate understanding of dramatic and theatricaltechniques and comments on their use in the rehearsal process

7 – 8

• Demonstrates basic ability to conceive dramatic and theatricalexperience for an audience with inconsistencies apparent and a limitedconsideration of design elements

• Presents dramatic and theatrical techniques which may vary in theirappropriateness to the rehearsal process

5 – 6

• Demonstrates a limited conception of a dramatic and theatricalexperience for an audience with little reference to the rehearsal processor design elements

3 – 4

• Presents a minimal conception of the play which demonstrates a verylimited, or irrelevant dramatic or theatrical experience for an audience 1 – 2

(ii) Individual Project: Critical Analysis (Portfolio of Theatre Criticism)This project comprises four reviews of live theatre performances attended during theHSC course. Each should be 800 words in length and use a style appropriate for theatrecriticism. The project must include:• a 300-word rationale (see page 32 of the syllabus)• four reviews that comprise:

- a statement describing the impact and importance of the production- a discussion of significant aspects of the production- information about the style, design and ideas in the production- contributions made by the different members of the creative team that produced

it- a well-supported and analytical judgement of the quality of the production- a style appropriate to theatre criticism.

Submissions significantly under or over length will be penalised.


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Criteria for examining Individual Project: Critical Analysis (Portfolio of TheatreCriticism)• Selection and evaluation• Analysing and synthesising• Language and style

Assessment Criterion 1: Selection and evaluation (10 marks)- Identifying the style, design and ideas in the production- Evaluating the significant aspects of the production- Distinguishing and commenting on the different ways the script, the director,

designers and performers contribute to the production.


Criteria Marks

• Demonstrates outstanding ability to distinguish and comment on thedifferent ways the script, director, designer and performers contribute tothe production

• Presents a sophisticated evaluation of the style, design, ideas andsignificant elements of the production

9 – 10

• Demonstrates a substantial ability to distinguish and comment on thedifferent ways the script, director, designer and performers contribute tothe production

• Presents a clear and detailed evaluation of the style, design, ideas andsignificant elements of the production

7 – 8

• Demonstrates an adequate ability to describe the ways the script,director, designer and performers contribute to the production

• Presents an appropriate but superficial evaluation of elements of theproduction

5 – 6

• Demonstrates a limited ability to describe some of the aspects of theproduction and make generalisations about their contribution 3 – 4

• Presents minimal information about the production, focusing heavily onthe story of the play 1 – 2

Assessment Criterion 2: Analysing and synthesising (10 marks)- Skill in analysing specific aspects of the production- Evidence of knowledge/research into understanding of the script/style of theatre- Coherent critical statements about the production.


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Outcomes assessed: H1.3, H1.7, H2.3, H3.1, H3.2, H3.3MARKING GUIDELINES

Criteria Marks

• Demonstrates outstanding skill in analysing aspects of the productionbased on high level research/knowledge of the script/style of theatre

• Provides a coherent and articulate judgement derived from consideredstatements about the production

9 – 10

• Demonstrates substantial skill in analysing specific aspects of theproduction based on appropriate research/knowledge of the script/styleof theatre

• Provides a clear and effective judgement derived from relevantstatements about the production

7 – 8

• Demonstrates some analysis and describes aspects of the productionbased on a general knowledge/research of the script/style of theatre

• Provides an opinion which is usually substantiated by evidence from theproduction

5 – 6

• Demonstrates inconsistent analysis based on limited knowledge of thescript

• Provides broad generalisations based on minimal evidence3 – 4

• Provides general observations about the nature of the story and theproduction 1 – 2

Assessment Criterion 3: Language and style (10 marks)- Understanding theatrical elements and terminology- Clarity, appropriateness and flair of reviewing style(s)- Coherence of structure.


Criteria Marks

• Demonstrates exemplary understanding of theatrical elements andterminology expressed in a sophisticated and evocative style appropriateto theatre criticism

• Presents a clear and coherent structure sustained across the portfolio

9 – 10

• Demonstrates substantial understanding of theatrical elements andterminology expressed in a clear and effective style appropriate totheatre criticism

• Presents clear, well-structured reviews reasonably sustained across theportfolio

7 – 8

• Demonstrates an understanding of theatrical elements and terminologypresented with varying clarity, structure and style 5 – 6


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Criteria Marks

• Demonstrates a limited understanding of theatrical elements andterminology presented with an inconsistent structure and often in a styleinappropriate to theatre criticism

3 – 4

• Demonstrates minimal understanding of theatrical elements, presentedwith an unstructured and incoherent manner 1 – 2

(iii) Individual Project: Critical Analysis (Applied Research Project)The Applied Research Project will take the form of a structured report on the results ofinvestigative research into the work of one of the following:- an individual artist, performance group or theoretician in drama- a specific dramatic text or production- a theatre arts body- a critical or technical issue in drama or theatre.

The project must be based on a specific research hypothesis, clearly articulated in therationale, and must present the results of the research in a way that clearly addresses thehypothesis. It should include, in separately titled sections:• a 300-word rationale outlining the approach that has been taken (see page 32 of the

syllabus)• an outline of the hypothesis• a survey of the area of study, based on background research (including reading,

diagrams, interviews and/or practical work as appropriate) showing how thehypothesis arises from questions raised by that research

• a description of the research tasks undertaken and a summary of the informationcollected

• an analytical discussion of the results• a conclusion referring to the original hypothesis.

The submitted project should be approximately 3500 words in length. Students shouldwork within the parameters of this project. A project significantly under length will bepenalised and material that exceeds the stipulated length will be disregarded.

Criteria for examining Individual Project: Critical Analysis (Applied ResearchProject)• Hypothesis and conclusion• Analysis and synthesis• Execution

Assessment Criterion 1: Hypothesis and conclusion (10 marks)- Structuring a clear and coherent original hypothesis- Evidence of appropriate research for the development of the hypothesis- Drawing conclusions from the research.


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Criteria Marks

• Presents a sophisticated, clear and original hypothesis that is based oncomprehensive research, and results in articulate and insightfulconclusions

9 – 10

• Presents a sound and informed hypothesis that is based on substantialresearch, and makes conclusions in a coherent and effective way 7 – 8

• Presents an appropriate but predictable hypothesis that is based onrelevant research, and makes conclusions in a satisfactory manner 5 – 6

• Presents a limited hypothesis that is based on unsubstantiatedobservations, and makes conclusions in a simple way 3 – 4

• Presents an inappropriate hypothesis with little or no support or structure 1 – 2

Assessment Criterion 2: Analysis and synthesis (10 marks)- Effectiveness of research undertaken- Selection of the material and analysis of the research supporting the hypothesis.

Outcomes assessed: H1.3, H3.1, H3.2MARKING GUIDELINES

Criteria Marks

• Critically and analytically synthesises the research material in aninformed and selective manner responding effectively to the statedhypothesis

9 – 10

• Clearly and effectively analyses and synthesises the research material ina manner appropriate to the hypothesis 7 – 8

• Adequately analyses and synthesises the research material with somerelevance to the hypothesis 5 – 6

• Demonstrates some analysis of the research material with varyingrelevance to the hypothesis 3 – 4

• Provides broad outlines and descriptions of information related to thehypothesis 1 – 2

Assessment Criterion 3: Execution (10 marks)- Effectiveness in presenting and organising the project- Clarity and accuracy in the use of language.


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Outcomes assessed: H1.3, H3.1, H3.2MARKING GUIDELINES

Criteria Marks

• Presents an exemplary research project that is effectively structured andexpressed articulately and with flair 9 – 10

• Presents a substantial research project that is appropriately structuredand expressed in a clear and relevant manner 7 – 8

• Presents a research project that is adequately organised and expressed ina satisfactory manner 5 – 6

• Presents a limited research project that is inconsistently organised andexpressed in a basic and often inaccurate manner 3 – 4

• Presents a minimal or partial research project that is often incoherent,inarticulate and /or unstructured 1 – 2

Individual Project: DesignA Design project involves students in selecting one of the set plays listed on the currentIndividual Project Text List to be found in Drama Stage 6 Course Prescriptions, HigherSchool Certificate 2001 and 2002. The list may be changed in total or in part every twoyears, and is available on the Board of Studies Website.

The project must be completed in one of the following areas:(i) Costume(ii) Lighting(iii) Promotion and Program(iv) Set.

Students should work within the parameters of the project selected. Projects submittedwith items missing from the stipulated checklists will be penalised. Material thatexceeds the stipulated requirements will be disregarded.

Size and weight specificationsModels and design portfolios should follow the specifications listed in the requirementsfor each of the areas of the Individual Project: Design.

Teachers should be aware that there are inherent difficulties involved in packagingIndividual Projects: Design. Careful attention should be given to the packaging of theseprojects to ensure they are not damaged in transit.

Dangerous materialsPoster and costume designs should not be framed or mounted on any material whichmay cause injury.


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(i) Individual Project: Design (Costume)This project consists of:• a 300-word rationale in the form of a director’s concept/vision (see page 32 of the

syllabus)• renderings of costumes for at least two different characters. A minimum of four to a

maximum of six costume renderings in total. These renderings can be in media suchas watercolour, coloured pencils or markers, collage or a computer-aided designsubmitted as hard copy. The renderings must be separately mounted on cardboard atleast A3 size (297 x 420 mm), but no larger than A1 (594 x 841 mm). The figuresdepicted should be at least 300 mm in height. All characters rendered and the scenesin which they appear must be identified

• support material attached to the renderings, which includes fabric swatches and/orcolour samples and any special construction information

• preliminary sketches and/or written descriptions of at least four other costumesrequired for the production.

Note: Students should not make costumes or include any dolls dressed in costumes inthis Individual Project.

It is in the student’s best interests to work within the parameters of this project. Projectssubmitted with required items missing will not meet the criteria. Material that exceedsthe stipulated requirements will be disregarded.

Criteria for examining Individual Project: Design (Costume)• Design concept/vision• Appropriateness• Execution

Assessment Criterion 1: Design concept/vision (10 marks)- Effective interpretation of the play realised in a directorial concept/vision- Integrity, originality and clarity in the design concept/vision- Selection of appropriate characters and scenes to communicate the concept/vision.


Criteria Marks

• Demonstrates a sophisticated and appropriate directorial interpretation ofthe play realised in an original, imaginative and unified costume designconcept/vision

• Presents an insightful selection of appropriate characters and scenes toeffectively communicate the concept/vision

9 – 10

• Demonstrates an effective and appropriate directorial interpretation ofthe play realised through the costume design concept/vision containingsome imagination, unity and flair

• Presents a selection of characters and scenes to communicate theconcept/vision

7 – 8


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Criteria Marks

• Demonstrates an adequate, but perhaps superficial interpretation of theplay realised through a costume design concept/vision which varies inconsistency, unity and appropriateness

• Presents a selection of characters and scenes which vary inappropriateness in communicating the concept/vision

5 – 6

• Demonstrates a limited understanding of the play through a partiallyrealised costume design concept/vision

• Presents an inappropriate selection of characters and scenes whichconvey a partial concept/vision

3 – 4

• Demonstrates a partial or irrelevant design concept/vision and/or doesnot meet minimal requirements for selection of characters or scenes 1 – 2

Assessment Criterion 2: Appropriateness (10 marks)- Understanding of the characters/roles – social standing, period, place- Suitability to the dramatic and technical needs of the characters/roles- Effectiveness of colours, textures and fabric types to each costume.

Outcomes assessed: H1.3, H1.7, H3.1, H3.2

MARKING GUIDELINESCriteria Marks

• Demonstrates sophisticated understanding of each of the characters/rolesand their dramatic and technical needs

• Presents innovative and evocative use of colours, textures and fabrics todeliberately enhance dramatic meaning for each costume

9 – 10

• Demonstrates a substantial understanding of each of the characters/roles.Some aspects of the dramatic and technical needs of characters/rolesmay be more enhanced than others

• Presents an effective use of colour, textures and fabric types to supportdramatic meaning for each costume

7 – 8

• Demonstrates some understanding of each of the characters/roles but hasdealt with those superficially. Inconsistencies in consideration of thedramatic and technical needs of characters/roles

• Presents adequate use of some, but not all of, the elements of colour,texture and fabric types to support dramatic meaning

5 – 6

• Demonstrates an incomplete or simplistic understanding of each of thecharacters/roles. Little consideration of the dramatic and technical needsof the characters/roles

• Presents a limited awareness or use of the elements of colour, textureand fabric types, but is unable to manipulate these appropriately tosupport dramatic meaning

3 – 4


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Criteria Marks• Demonstrates little understanding of each of characters/roles

• Presents little use of colour, texture or fabric type appropriate to eachcostume

1 – 2

Assessment Criterion 3: Execution (10 marks)- Realisation of the design concept/vision in the presentation- Clarity and flair in renderings- Clear and effective support material.


Criteria Marks• Demonstrates exemplary ability to realise and present the design

concept/vision with clarity and flair in all renderings

• Presents evocative support material for the project9 – 10

• Demonstrates accomplishment in realising and presenting the designconcept/vision with clarity in all renderings

• Presents appropriate support material for the project7 – 8

• Demonstrates adequate ability to realise and present the designconcept/vision with inconsistencies in quality of renderings which maybe stereotypical or without aspects of characterisation and theatricality

• Presents some support material for the project

5 – 6

• Demonstrates little ability to present the design concept/ vision.Renderings are basic, inconsistent or non-theatrical and are oftenundersize or incomplete

• Presents limited support material

3 – 4

• Demonstrates minimal ability to present a design concept/ vision.Renderings are only superficially completed or are executed with littlecare or detail, or are not shown in the context of a figure

• Presents little or no support material

1 – 2

(ii) Individual Project: Design (Lighting)This project will include:• a 300-word rationale in the form of a director’s concept/vision (see page 32 of the

syllabus)• a lighting plan for two scenes in the play where the lighting contributes to the

dramatic impact of significant moments. The lighting plan must be drawn to a scaleof 1:25 and may be presented as a computer-aided design submitted as hard copy. Itshould include:- a floor plan of the stage indicating significant set features- a plan showing the location of the lantern positions


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- an indication of gel colours and lanterns used for the production and the area thateach light covers

- a list and description of the lanterns and gels used for the lighting of the twochosen scenes and a description of their impact on the dramatic action, moodand style

• a cue sheet and running script indicating the lighting state changes and cue points inthe two scenes chosen.

Students should work within the parameters of this project. Projects submitted withitems missing will be penalised. Material that exceeds the stipulated requirements willbe disregarded.

Criteria for examining Individual Project: Design (Lighting)• Design concept/vision• Appropriateness• Execution

Assessment Criterion 1: Design concept/vision (10 marks)- Effective interpretation of the play realised in a directorial concept/vision- Integrity, originality and clarity in the design concept/vision- Effective visualisation of the lighting design to contribute to the dramatic impact of

significant moments.


Criteria Marks

• Demonstrates an outstanding directorial interpretation of the playrealised with originality, clarity and integrity in the designconcept/vision

• Presents a sophisticated visualisation of the lighting design to contributeto the dramatic impact of significant moments

9 – 10

• Demonstrates an effective directorial interpretation of the play realisedwith some imagination and unity in the design concept/vision

• Presents an accomplished visualisation of the lighting design tocontribute to the dramatic impact of significant moments

7 – 8

• Demonstrates an appropriate but predictable directorial interpretation ofthe play realised through a design concept/vision which varies inconsistency, unity and appropriateness

• Presents an adequate visualisation of the lighting design which has somedramatic impact but is not sustained in significant moments

5 – 6


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Criteria Marks

• Demonstrates a very limited directorial interpretation of the playconveyed through an unsustained, simplistic or flawed designconcept/vision

• Presents an inconsistent, incomplete or inappropriate visualisation of thelighting design for significant moments. The design concept/vision isonly a partial consideration of the dramatic action

3 – 4

• Demonstrates little or no directorial interpretation of the play. Thelighting design concept/vision presents a poor or only partialvisualisation that has little relevance to the significant moments

1 – 2

Assessment Criterion 2: Appropriateness (10 marks)- Effectiveness of the lighting states and changes that enhance the dramatic action,

mood and style- Choice of lantern, position, gel colour and intensity to realise the purpose of the

illuminations- Effectiveness of the lighting in enhancing visual elements of the set (where

appropriate).


Criteria Marks

• Demonstrates a profound understanding of the choices of lantern,position, gel colour and intensity to realise the purpose of theilluminations

• Demonstrates exemplary effectiveness of the lighting states and changes,which enhance the dramatic action, setting, mood and style of the twokey scenes

9 – 10

• Demonstrates a substantial understanding of the choices of lantern,position, gel colour and intensity to realise the purpose of theilluminations

• Demonstrates consistent effectiveness of the lighting states and changes,which construct some dramatic impact on the action, setting and mood inthe two key scenes

7 – 8

• Demonstrates an adequate understanding of the basic choices availableof lantern, position, gel colour and intensity to realise the purpose of theilluminations

• Demonstrates an ability to support the dramatic action with lightingstates and changes, which are consistent with the dramatic action of thetwo key scenes

5 – 6

• Demonstrates a partial or flawed understanding of the basic lightingequipment and a limited ability to attempt lighting states and changesthat are consistent with the dramatic action in the two key scenes

3 – 4

• Demonstrates little awareness of basic lighting equipment or knowledgeof the play 1 – 2


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Assessment Criterion 3: Execution (10 marks)- Realisation of the design concept/vision in the presentation- Clarity and accuracy of the lighting plan, cue sheet and running script.


Criteria Marks• Demonstrates an outstanding ability to realise the design concept/vision

in the lighting plan

• Presents an exemplary lighting plan, cue sheet and running script withclarity and accuracy

9 – 10

• Demonstrates a substantial ability to realise the design concept/vision inthe lighting plan

• Presents an appropriate lighting plan, cue sheet and running script that isreasonably consistent and detailed

7 – 8

• Demonstrates an ability to realise the design concept/vision in thelighting plan

• Presents an adequate but superficial lighting plan, cue sheet and runningscript that varies in detail and consistency

5 – 6

• Demonstrates a limited and inconsistent ability to realise the designconcept/vision in the lighting plan

• Presents a partial or substantially flawed lighting plan. The runningscript or cue sheet may be incomplete or missing

3 – 4

• Demonstrates little or elementary relevance to the play in the lightingplan, which contains minimal documentation 1 – 2

(iii) Individual Project: Design (Promotion and Program)This project may be for a real or hypothetical theatre company and will include:• a 300-word rationale in the form of a director’s concept/vision (see page 32 of the

syllabus)• a poster which is a colour rendering of at least A3 (297 x 420 mm) size but no larger

than A1(594 x 841 mm). The design may be rendered by hand or produced as acomputer design submitted as hard copy

• a flyer which includes 150 words of promotional copy• a program which contains a profile of the theatre company, its target audience,

information about the playwright of the set play, the history of the set play, thedirectorial approach and any other information relevant to the production

• a 500-word media feature story about the production of the set play, such as aresearched article or interview which previews the production or an aspect of theproduction.

Note: Designs and promotional copies for a school production must not be used.


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Criteria for examining Individual Project: Design (Promotion and Program)• Design concept/vision • Appropriateness• Execution

Assessment Criterion 1: Design concept/vision (10 marks)- Effective interpretation of the play realised in a directorial concept/vision- Integrity, originality and clarity in the design concept/vision- Use of visual elements and promotional copy to communicate the concept/vision.


Criteria Marks

• Demonstrates an outstanding directorial interpretation of the playrealised with originality, clarity and integrity in the designconcept/vision

• Presents a sophisticated use of visual elements and promotional copy tocommunicate the design concept/vision

9 – 10

• Demonstrates an effective directorial interpretation of the play realisedwith some imagination and unity in the design concept/vision

• Presents an accomplished use of visual elements and promotional copyto communicate the design concept/vision

7 – 8

• Demonstrates an appropriate but predictable directioral interpretation ofthe play realised through a design concept/vision

• Presents an accomplished use of visual elements and promotional copyto communicate the design concept/vision

5 – 6

• Demonstrates a very limited directorial interpretation of the playconveyed through an unsustained, simplistic or flawed designconcept/vision

• Presents an inconsistent, incomplete or inappropriate use of visualelements and promotional copy to convey the design concept/vision

3 – 4

• Demonstrates little or no directorial interpretation of the play. The onlypartially realised design concept/vision, presents poor use of visualelements and promotional elements that are superficial and oftenirrelevant

1 – 2


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Assessment Criterion 2: Appropriateness (10 marks)- Effectiveness of each item of promotional material in conveying a dramatic

interpretation of the production- Understanding purpose of each item of promotional material- Effectiveness of each item of promotional material in communicating the profile of

the theatre company and its target audience.


Criteria Marks• Demonstrates a profound understanding of the purpose of each item of

promotional material

• Demonstrates exemplary effectiveness in conveying a dramaticinterpretation of the production and communicating the profile of thetheatre company and its target audience through each item ofpromotional material

9 – 10

• Demonstrates a substantial understanding of the purpose of each item ofpromotional material

• Demonstrates effectiveness in conveying a dramatic interpretation of theproduction and communicating the profile of the theatre company and itstarget audience through each item of promotional material

7 – 8

• Demonstrates a working knowledge of the purpose of the promotionalmaterial which varies in understanding for each item

• Demonstrates reasonable appropriateness in conveying a superficialdramatic interpretation of the production which conveys someinformation about the theatre company and target audience in some butnot all items of promotional material

5 – 6

• Demonstrates a limited awareness of some but not all of the items of thepromotional material and their purpose

• Demonstrates a basic knowledge of the play in some but not all items ofpromotional material

3 – 4

• Demonstrates only a partial knowledge of the play and promotionalmaterial, which is substantially incomplete and often irrelevant

• Demonstrates little or no understanding of the purpose of promotionalmaterial

1 – 2

Assessment Criterion 3: Execution (10 marks)- Realisation of the design concept/vision in the visual presentation- Clarity and flair in the written material- Effective presentation of all artwork.


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Criteria Marks

• Demonstrates exemplary ability to realise the design concept/vision inthe artwork and visual presentation

• Demonstrates sophistication and flair in the written material9 – 10

• Demonstrates substantial ability to realise the design concept/vision inthe artwork and visual presentation

• Demonstrates an organised and informed style with some sophisticationin the written material

7 – 8

• Demonstrates an ability to realise the design concept/vision in theartwork and visual presentation

• Demonstrates an adequate but often superficial approach in the writtenmaterial

5 – 6

• Demonstrates a limited and inconsistent ability to realise the designconcept/vision in the artwork and visual presentation

• Demonstrates a simplistic and often irrelevant use of language in thewritten material, which may be incomplete

3 – 4

• Demonstrates elementary or little ability to realise the designconcept/vision in the artwork and visual presentation. The writtenmaterial may be incomplete, contain serious flaws and be minimal orinappropriate

1 – 2

(iv) Individual Project: Design (Set)The set design must be for the production of one of the set plays in an identifiedperformance space and will consist of:• a 300-word rationale in the form of a director’s concept/vision (see page 32 of the

syllabus)• a three-dimensional model built to a scale of 1:25, or computer-aided design,

submitted as hard copy, that depicts the set design. The model or computer-aideddesign must be a precise miniature or representation of the stage and setting andshould include a human figure to convey proportion. The model must be of sturdyconstruction and a fixed assembly. The packaged weight of the project must notexceed 15 kilograms

• a floor plan of the set design in the scale of 1:25 with an indication of theperformance space’s dimensions, audience configuration and sightlines

• a description and diagrams of any set or scenic changes in the production.



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Criteria for examining Individual Project: Design (Set)• Design concept/vision• Appropriateness• Execution

Assessment Criterion 1: Design concept/vision (10 marks)- Effective interpretation of the play realised in a directorial concept/vision- Integrity, originality and clarity in the design concept/vision- Effective visualisation of the whole play in the design concept/vision.


Criteria Marks

• Demonstrates an outstanding directorial interpretation and asophisticated visualisation of the whole play realised in an original,imaginative and unified scenic design, justified within the context of thetheatre

9 – 10

• Demonstrates an effective directorial interpretation of the whole playrealised with some imagination and creativity in the scenic designconcept/vision, and reasonably justified within the context of the theatre

7 – 8

• Demonstrates a superficial but adequate directorial interpretation of thewhole play realised with variation in consistency of the scenic designconcept/vision. The scenic design concept/vision may not makereference to a theatre context

5 – 6

• Demonstrates an inappropriate or incomplete response to developing anoverall scenic design concept/vision for the whole play, with littleunderstanding of a theatrical context

3 – 4

• Demonstrates little understanding of a scenic concept/vision and/or doesnot meet the minimal requirements. Eg. the scenic design may onlyaccount for a portion of the whole play

1 – 2

Assessment Criterion 2: Appropriateness (10 marks)- Practicality of the design of the performer and audience sightlines, entrances, levels- Effectiveness of the design to realise the needs of the play- Dramatic effectiveness in the use of the stage space, texture, colour and

composition.


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Criteria Marks

• Presents a sophisticated realisation of the scenic requirements of the playfor both performers and audience

• Demonstrates innovation and dramatic effectiveness in the use of stagespace, texture, colour and composition to enhance dramatic meaning

9 – 10

• Presents a substantial realisation of the scenic requirements of the playfor the performers and audience. Some aspects may be more enhancedthan others

• Demonstrates dramatic effectiveness in the use of stage space, texture,colour and composition to create dramatic meaning

7 – 8

• Presents an adequate realisation of the scenic requirements of the playfor the performers and audience but deals with those superficially.Inconsistencies in consideration of the needs for individual scenes andaspects

• Demonstrates a reasonable use of some, but not all elements of stagespace, texture, colour and composition to support dramatic meaning

5 – 6

• Presents an incomplete or substantially flawed realisation of the scenicrequirements for the performers and audience. The scenic design mayfocus on only a portion of them

3 – 4

• Demonstrates minimal application of design elements and/or scenicrequirements for the performers and audience 1 – 2

Assessment Criterion 3: Execution (10 marks)- Realisation of the design concept/vision in the construction and presentation- Clarity and accuracy of the floor plans, diagrams and explanations- Precision in the construction of the model or computer-aided design.


Criteria Marks

• Demonstrates outstanding ability to realise the design concept/vision inthe construction and presentation, including precision in modelling skillsor computer-aided design, clarity and accuracy in floor plans, scaledrawings, diagrams and explanations, use of evocative materials andscenic designs

9 – 10

• Demonstrates a substantial ability to realise the design concept/vision inthe construction and presentation, including good modelling skills orcomputer-aided designs, and well drawn floor plans, scale drawings,diagrams and explanations, use of appropriate materials and scenicdesigns

7 – 8


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Criteria Marks

• Demonstrates an adequate ability to realise the design concept/vision inthe construction and presentation, including modelling skills orcomputer-aided designs

• Presentations are sound but often weakened by a lack of attention todetail in the floor plans, scale drawings, diagrams and explanations,materials and scenic designs

5 – 6

• Demonstrates inconsistent ability to realise the design/concept vision inthe construction and presentation, including modelling skills orcomputer-aided designs

• Presentations are often undermined particularly by flaws in scale, poorchoice of construction, and scenic design materials, and a lack ofessential support documentation

3 – 4

• Demonstrates minimal ability to realise the design concept/visionincluding modelling skills or computer-aided design 1 – 2

Individual Project: PerformanceThe Individual Project: Performance will consist of:• a 300-word rationale (see page 32 of the syllabus)• a solo performance of 6–8 minutes’ duration based on:

- excerpts or a combination of excerpts from one or a number of scripts ordramatised texts OR the student’s own self-devised material

- a realisation of a coherent theatrical statement demonstrating a clear sense ofdramatic purpose, shape and structure.

Individual Project: Performance should be a complete theatrical statement.Performances that mimic characters from film, stage or video or students who presentan undeveloped audition piece are not likely to meet the criteria for this project.

Performances must be an individual performance. There should be no other students onstage, or off stage, accompanying the performance with live music, vocal sound effectsor acting as a prompt. The Individual Project: Performance will be presented to thevisiting examiners on the same occasion as the examination of the Group Performance.

It is in the student’s best interests to work within the specified time frame. Performancesunder time will be penalised and those significantly over time will be stopped by theexaminers.

Conditions applying to the Individual Performance• Individual Performance will be examined by visiting examiners from the Board of

Studies towards the end of Term 3 of the HSC year. The teacher may be present aspart of the audience, but will not be a member of the Examination Panel nor performany technical operations during the Individual Performances.

• For reasons of confidentiality, students are not allowed to see other students’examinations.

• All students involved in an Individual Performance will be studying for the HigherSchool Certificate Drama examination.


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• A supervised audience of no more than 30 students from the school should bepresent. The audience should be aware of appropriate audience conventions andshould be chosen by negotiation between the teacher and the examined studentsprior to the examination. Students who are HSC candidates in any subject are notpermitted to form part of the audience. Members of the public should not comprisethe audience.

• The examination area should be an indoor school venue such as a small to mediumsize room. The area should be conducive to performance, ie free of noise orinterruption. Sectioning-off the performance area will assist to reduce interruptions.

• A brief interaction will take place between the examiners and the student at theconclusion of each Individual Performance. This will be a standardised interactionfor the purpose of confirming the examiners’ impressions of the IndividualPerformance. Interactions may take place in the performance space or in a roomnearby. It is imperative that there be no interruptions to this process. Followingstudent interactions, examiners require time to confer. Confidentiality during thistime must be respected.

• Examiner requirements when marking include the need for desks and sufficient lightfor writing during performances:- Desks should be placed together in an area where examiners can see and hear

effectively.- Audience members should not be placed directly near examiners.- There will be two examiners present who will at times be joined by a senior

examiner.• Logbooks for each student must be given to examiners in program order for

Individual Performances.• Recording devices must not be used during examinations.• Student identification occurs prior to each Individual Performance.• Inappropriate items in performances such as weapons, naked flames, implements

which may endanger performers, audience members or examiners may not be used.Nudity is also inappropriate. Examiners will stop performances should anyinappropriate items appear.

• Production effects such as costumes, sets, lighting, video, film, sound and technicalsupport should be minimal and limited to those essential to the work’s meaning. Asavailable facilities and technical equipment vary in schools, external examiners willnot award extra marks to any presentation dependant on technical and/or specialeffects.

• Operation of technical equipment such as lighting can only be carried out by otherstudents in the school who are not HSC students. Teachers, or members of thepublic, should not operate technical equipment. A stage crew of students who arenot HSC students may be used to set and remove props.

• Time limits must be adhered to. Students should be given several opportunities toperform their work prior to the examination to ensure the work runs within the timestipulation (Individual Performance 6-8 minutes). Examiners will stop performancesthat go overtime.

Under-time performances will not meet the criteria and will be disadvantaged.

Criteria for examining Individual Project: Performance• Performance skills appropriate to the style or form• Sustaining and developing role/character• Structure and dramatic coherence.


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Assessment Criterion 1: Performance skills appropriate to the style or form(10 marks)- Vocal: projection, clarity, tone, pitch, pace, dynamics- Movement: control, energy, spatial awareness, dynamics- Timing: control of delivery, responses to cues, awareness of rhythms.


Criteria Marks

• Demonstrates exemplary performance skills including vocal, movement,and timing appropriate to the style or form 9 – 10

• Demonstrates highly developed performance skills including vocal,movement, and timing appropriate to the style or form, although someskills may be more refined than others

7 – 8

• Demonstrates adequate performance skills including vocal, movement,and timing which may vary in their level of delivery in relation tocontrol of vocal projection, clarity, tone, pitch, pace, dynamics; controlof energy, spatial awareness and dynamics in movement; control ofdelivery, responses to cues and awareness of rhythms in timing

5 – 6

• Demonstrates limited performance skills including vocal, movement,and timing which may be inappropriate to the style or form 3 – 4

• Demonstrates minimal performance skills with little understanding ofstyle or form 1 – 2

Assessment Criterion 2: Sustaining and developing role/character(10 marks)- Belief/conviction/energy- Complexity/dimension- Clarity in presentation of character(s) or role(s)- Focus


Criteria Marks

• Demonstrates exemplary ability to realise and sustain subtly definedrole(s) or character(s) 9 – 10

• Demonstrates highly developed ability to realise and sustain role(s) orcharacter(s). Some aspects of sustaining and developing role(s) orcharacter(s) may be more refined than others

7 – 8

• Demonstrates adequate ability to realise and sustain role(s) orcharacter(s), which are unsustained or inconsistent. Variations mayoccur in level of belief/conviction/energy, complexity/dimension, focusand clarity in presentation

5 – 6


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Criteria Marks

• Demonstrates limited ability to realise and sustain role(s) or character(s)with limited clarity in presentation 3 – 4

• Displays limited ability to realise role(s) or character(s). May playthemselves. Minimal involvement or lack of clarity in presentation ofrole(s) or character(s)

1 – 2

Assessment Criterion 3: Structure and dramatic coherence (10 marks)- Effective use of performance elements- Establishing and maintaining a clear intention and an appropriate relationship with

the audience in the context of the performance space- Integrity, originality and clarity in analysis, interpretation and presentation of the

chosen material- Realisation of a coherent theatrical performance- Effective use of space in the context of the performance style.


Criteria Marks• Demonstrates outstanding manipulation of the performance elements

• Demonstrates exemplary ability to work at a sophisticated level torealise a coherent theatrical performance which evokes a powerfulaudience response in the context of the performance space

• Demonstrates flair, originality, integrity and clarity in analysis,interpretation and presentation of the chosen material

• Demonstrates intelligent use of space in the context of the performancestyle and the stylistic demands of the material

9 – 10

• Demonstrates highly developed ability to control the performanceelements

• Demonstrates accomplished ability to effectively engage an audience inthe context of the performance space

• Presents a coherent, high quality theatrical performance whichdemonstrates an effective interpretation of the chosen material

• Demonstrates effective use of space in the context of the performancestyle and the stylistic demands of the material

7 – 8

• Demonstrates ability to work with the performance elements, with someinconsistencies in the level of control

• Demonstrates some ability to engage an audience in the context of theperformance space

• Presents a theatrical performance which demonstrates a superficial butadequate interpretation of the chosen material

• Demonstrates some awareness of the use of space in the context of theperformance style or stylistic demands of the material

5 – 6


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Criteria Marks

• Demonstrates frequent inconsistencies in control of the performanceelements

• Demonstrates a limited ability to engage the audience in the context ofthe performance space

• Presents a performance with little coherence

• Demonstrates predictable or simple use of space and a basicunderstanding of the performance style or stylistic demands of thematerial

3 – 4

• Demonstrates minimal control of the performance elements

• Demonstrates little or no ability to engage the audience in the context ofthe performance space

• Presents an incoherent performance

• Demonstrates very limited or no understanding of the use of space andof the stylistic demands of the material

1 – 2

Individual Project: ScriptwritingThis project involves writing a script for a complete play for live performance. Theproject will include:• a 300-word rationale (see page 32 of the syllabus)• a script for a complete play which is of approximately 15 minutes running time or

15–25 pages. The script must be presented as a typed hard copy• stage directions in sufficient detail to show the practicability for a live production• scriptwriting conventions such as character/role list and dialogue formatting.

Students should work within the parameters of this project. Scripts significantly underlength will be penalised and material that exceeds the stipulated length will bedisregarded.

Criteria for examining Individual Project: Scriptwriting• Concept• Realisation• Conventions and practicalities

Assessment Criterion 1: Concept (10 marks)- Originality, clarity and integrity of the script in its concept- Stylistic and thematic coherence of the script- Effectiveness in the treatment of characterisation appropriate to the style.


35


Criteria Marks

• Presents an exemplary script concept demonstrating originality, clarityand integrity

• Demonstrates profound understanding of the stylistic and thematicdemands of scriptwriting, and effectiveness of characterisationappropriate to style

9 – 10

• Presents an effective script concept with some inconsistency inrealisation

• Demonstrates a substantial understanding of the stylistic and thematicdemands of scriptwriting, and an informed understanding ofcharacterisation appropriate to style

7 – 8

• Presents an adequate script concept that is often predictable

• Demonstrates a basic understanding of the stylistic and thematicdemands of scriptwriting, but often lacks clarity and presents superficialcharacterisation not always consistent with the style

5 – 6

• Presents a limited or confused script concept that lacks coherence

• Demonstrates insufficient awareness of the stylistic and thematicdemands of scriptwriting, with inconsistently drawn characters and littleregard to the style

3 – 4

• Presents a minimal narrative with no awareness of the stylistic andthematic demands of scriptwriting 1 – 2

Assessment Criterion 2: Realisation (10 marks)- Effective handling of dramatic elements such as dramatic images, dramatic focus

and tension- Development of clear dramatic action- Effectiveness of the script for an audience and for actors.


Criteria Marks

• Develops evocative and sophisticated dramatic action effectivelymanipulating theatrical elements such as dramatic tension, images andfocus to effectively engage the audience

9 – 10

• Develops effective dramatic action by appropriately manipulatingtheatrical elements with varying use of dramatic tension, images andfocus to engage the audience

7 – 8

• Develops adequate but superficial dramatic action with a limited use oftheatrical elements to present a predictable narrative, which engages theaudience in a limited manner

5 – 6


36

Criteria Marks

• Develops limited dramatic action in a poorly structured narrative withlittle theatricality or moments of engagement for an audience 3 – 4

• Develops minimal dramatic action that is substantially flawed,unresolved and without any regard for theatrical elements or theaudience

1 – 2

Assessment Criterion 3: Conventions and practicalities (10 marks)- Use of scriptwriting conventions such as layout, character list, dialogue formatting,

stage setting, directions and effects- Practicality for production such as scene and costume changes, venue style and size

of production, cast size, scenic and technical effects.


Criteria Marks• Demonstrates an exemplary understanding of scriptwriting conventions

appropriate to the style or form such as layout, character lists, dialogueformatting, stage setting, direction and effects

• Displays a complex awareness of the practical requirements of a scriptfor a theatrical production such as scene and costume changes, venuestyle and size of production, cast size, scenic and technical effects

9 – 10

• Demonstrates a substantial understanding of scriptwriting conventionsappropriate to the style or form. Variation occurs in the use of layout,character lists, dialogue formatting, stage setting, direction and effects

• Displays an adequate awareness of the practical requirements of a scriptfor a theatrical production but considers some elements more closelythan others

7 – 8

• Demonstrates an adequate understanding of scriptwriting conventionsbut omits, or imprecisely deals with some practical requirements for liveperformance

5 – 6

• Demonstrates a very limited awareness of some of the scriptwritingconventions, and does not resolve many of the practicalities for a liveperformance

3 – 4

• Demonstrates minimal awareness of scriptwriting conventions or thepracticalities for a live performance 1 – 2


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Individual Project: Video DramaThis project involves the preparation of a short but complete Video Drama which willbe a narrative developed by the student. The project will include:• a 300-word rationale in the form of a director’s concept/vision for the Video Drama

(see page 34 of the syllabus)• a Video Drama which must be 5–7 minutes in length and submitted in VHS format.

It will require the student to undertake the roles of writer, director, camera operatorand editor.

Students should work within the parameters of this project. Video Dramas significantlyunder time will be penalised and material that exceeds the stipulated time limit will bedisregarded.

Criteria for examining Individual Project: Video Drama• Directorial concept/vision• Production• Post-production

Assessment Criterion 1: Directorial concept/vision (10 marks)- Originality, clarity and integrity of the directioral vision- Effectiveness of narrative construction and screen writing- Ability to convey the narrative using appropriate video language.


Criteria Marks

• Presents an outstanding director’s concept/vision demonstratingoriginality, clarity and integrity in the video drama

• Demonstrates exemplary ability to construct and convey a narrativeusing innovative screen writing skills and sophisticated video language

9 – 10

• Presents an effective director’s concept/vision with some inconsistencyin realisation

• Demonstrates proficiency in the construction and delivery of a narrativeusing effective screen writing skills and appropriate video language

7 – 8

• Presents an adequate director’s concept/vision that may be predictable,unresolved or beyond the student's technical ability

• Demonstrates some skills in the construction and delivery of a narrative5 – 6

• Presents an inconsistent narrative that is unresolved and often limited bypoor organisational skills 3 – 4

• Presents a minimal narrative and uses little or none of the conventions ofvideo drama 1 – 2


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Assessment Criterion 2: Production (10 marks)- Skill in framing of the action using camera angles, focus, shot length, shot size,

movement, light, perspective and/or special effects to create dramatic meaning- Skill in directing the dramatic action for the screen- Selection of appropriate production elements such as location, lighting, costume,

casting.


Criteria Marks• Demonstrates outstanding ability to create complex dramatic meaning

through skilful direction of the camera and action and selection ofevocative production elements including location, lighting, costume andcasting

9 – 10

• Demonstrates substantial ability to create dramatic meaning through aninformed direction of the camera and action and selection of someeffective production elements including location, lighting, costume andcasting

7 – 8

• Demonstrates adequate ability to create some dramatic meaning throughdirection of the camera and the action. Inconsistent selection ofproduction elements including location, lighting, costume and castingresult in a video drama of varying quality

5 – 6

• Demonstrates limited ability to create dramatic meaning throughinsufficient direction of the camera and action. Poor use of productionelements including location, lighting, costume and casting, results in anoften confused video drama

3 – 4

• Demonstrates little or no ability to create dramatic meaning through thecamera, action or production elements 1 – 2

Assessment Criterion 3: Post-production (10 marks)- Skill in editing for dramatic meaning with particular reference to tension, pace and

mood- Use of appropriate sound and music to enhance dramatic meaning- Skill in placing titles and other relevant post-production effects.


Criteria Marks• Demonstrates exemplary skill in post-production including sophisticated

editing for dramatic meaning, evocative use of music and sound andskilful use of other post-production techniques

9 – 10

• Demonstrates substantial skill in post-production including effectiveediting for dramatic meaning, appropriate use of music and sound andother post-production effects

7 – 8


39

Criteria Marks

• Demonstrates adequate, but inconsistent, skill in post-production. Somedramatic meaning is created, through the use of editing with variation inthe quality of sound and other post-production effects

5 – 6

• Demonstrates incomplete post-production skills, with limited dramaticmeaning achieved. Poor use of editing, music, sound or post-productioneffects results in an unrealised video drama.

3 – 4

• Demonstrates minimal post-production skills, resulting in a confused,incoherent or incomplete project. 1 – 2

Drama

2001H I G H E R S C H O O L C E R T I F I C AT E

S P E C I M E N E X A M I N AT I O N

Page 2

Total marks (20)• Attempt Question 1

• Allow about 45 minutes for this section

Pages 3 – 5

Total marks (20)• Attempt ONE question from

Questions 2 – 8

• Allow about 45 minutes for this section

Section II

Section I

General Instructions• Reading time – 5 minutes

• Working time – 1 hours

• Write using blue or black pen

12

Question 1 (20 marks)

‘Drama and theatre in their content and style reflect the society fromwhich they spring.’

To what extent is this true of the Australian topic you have studied?

In your answer you should refer to AT LEAST TWO texts set for the topic you have studied.

Topic 1: Bush and City in Australian Drama

Texts set for study:

Ray Lawler, Summer of the Seventeenth Doll – Compulsory text

and ONE of the following:

Louis Esson, Mother and SonKatharine Susannah Prichard, Brumby InnesBetty Roland, The Touch of Silk

OR

Topic 2: Contemporary Australian Theatre


Wesley Enoch and Deborah Mailman, The Seven Stages of GrievingJack Davis, No SugarDebra Oswald, Gary’s HouseSuzanne Spunner, Running Up a Dress

Section I – Australian Drama and Theatre (Core Study)

Total marks (20)Attempt Question 1Allow about 45 minutes for this section

Answer the question in a writing booklet. Extra writing booklets are available.

In your answer you will be assessed on how well you:! demonstrate knowledge and understanding of drama and theatre relevant to the question! express your point of view and use appropriate supporting evidence! present a sustained, logical and well structured answer to the question

– 2 –

Question 2 — Theatre of the Absurd (20 marks)

‘Theatre of the Absurd introduced theatrical innovations thatcontinue to provide a challenge to the values of its audiences.’

To what extent do you agree with this statement in relation to Waiting for Godot and TWOother texts set for study?


Samuel Beckett, Waiting for Godot – Compulsory text

and TWO of the following:

Arthur Adamov, Professor TaranneEdward Albee, Zoo StoryEugene Ionesco, The Bald Prima Donna Harold Pinter, The Dumb Waiter

OR

Section II – Studies in Drama and Theatre

Total marks (20)Attempt ONE question from Questions 2 – 8Allow about 45 minutes for this section

Answer the question in a SEPARATE writing booklet. Extra writing booklets are available.

In your answer you will be assessed on how well you:! demonstrate knowledge and understanding of drama and theatre relevant to the question! express your point of view and use appropriate supporting evidence! present a sustained, logical and well-structured answer to the question

– 3 –

Question 3 — Medieval English Cycle Plays (20 marks)

How did the performance and presentation of religious material in English Cycle Plays servethe Church, and the community as audience?

In your answer you should refer to AT LEAST THREE texts set for study.


York, The Creation, and the Fall of Lucifer Chester, Noah’s Flood Towneley/Wakefield, The Second Shepherd’s PlayTowneley/Wakefield, Herod the GreatYork, The Crucifixion York, The Judgement

OR

Question 4 — Dario Fo (20 marks)

How effective is Dario Fo’s use of conventional and unconventional theatrical innovations inexposing his audiences to political issues?

In your answer refer to AT LEAST TWO of the texts set for study.


Accidental Death of an AnarchistCan’t Pay? Won’t Pay!Mistero BuffoTrumpets and Raspberries

OR

Question 5 — Environmental, Street and Event Theatre (20 marks)

‘Environmental, street and event theatre challenges the conventionspreviously considered necessary for effective theatrical production.’

Evaluate this statement in relation to different forms of environmental, street and event theatre.

OR

– 4 –

Question 6 — Meyerhold (20 marks)

How did Meyerhold use a wide range of different theatrical techniques to radically challengethe restrictions of naturalistic theatre?

In your answer refer to specific productions you have studied.

OR

Question 7 — American Drama (20 marks)

‘American Drama extends realism through the use of expressionistand symbolist techniques.’

Evaluate this statement in relation to the ways in which TWO of the texts set for study mightbe produced on the contemporary stage.


David Mamet, Speed-the-PlowEugene O’Neill, Desire Under the ElmsThornton Wilder, Our TownTennessee Williams, A Streetcar Named Desire

OR

Question 8 — Seventeenth Century Comedy (20 marks)

‘The use of traditional character types from popular theatretraditions in seventeenth century comedy still offers relevant socialsatire to contemporary audiences.’

Evaluate this statement in relation to performance of The Misanthrope and ONE other text setfor study.


Molière, The Misanthrope – Compulsory text

and ONE of the following:

Aphra Behn, The RoverGeorge Etherege, The Man of ModeWilliam Wycherley, The Country Wife

End of paper

– 5 –

BLANK PAGE

– 6 –

Documents

2001 HSC Specimen Paper · Official Notice for Drama in the November 2000 Board Bulletin. These sample marking guidelines are based on these amendments to the Drama syllabus. Sample