Drama Senior Syllabus 2013 - Queensland Curriculum … · Web viewDrama is a unique art form that re-presents and re-enacts experiences, ideas, stories and emotions. Drama is one

DramaSenior Syllabus 2013

ISBN:Print version: 978-1-921802-33-1Electronic version: 978-1-921802-34-8

Drama Senior Syllabus 2013

© The State of Queensland (Queensland Studies Authority) 2013

Queensland Studies Authority154 Melbourne Street, South BrisbanePO Box 307 Spring Hill QLD 4004 Australia

Phone: (07) 3864 0299Fax: (07) 3221 2553Email: [email protected]: www.qsa.qld.edu.au

http://www.qsa.qld.edu.au/

mailto:[email protected]

Contents1 Rationale..........................................................1

2 Dimensions and objectives.................................22.1 Dimension 1: Forming.................................................................................22.2 Dimension 2: Presenting.............................................................................22.3 Dimension 3: Responding...........................................................................3

3 Course organisation...........................................43.1 Course overview.........................................................................................43.2 Advice, guidelines and resources...............................................................8

4 Assessment.....................................................114.1 Principles of exit assessment....................................................................114.2 Planning an assessment program.............................................................134.3 Special provisions.....................................................................................144.4 Authentication of student work..................................................................144.5 Assessment techniques............................................................................144.6 Verification folio requirements...................................................................304.7 Exit standards...........................................................................................304.8 Determining exit levels of achievement.....................................................31

5 Glossary..........................................................34

1 RationaleDrama is a unique art form that re-presents and re-enacts experiences, ideas, stories and emotions. Drama is one of the oldest forms of artistic expression and continues to be significant in all cultures and societies. Drama is created and performed in diverse spaces, including theatres, to achieve a wide range of purposes. It is usually shared live, but can also be created, mediated and shared through digital media and platforms. Engaging with drama in all its manifestations provides opportunities to experience, understand and communicate different perspectives on the world.

In the subject Drama, students have opportunities to learn about a range of forms and styles of the dramatic art form and gain understandings of human experience in different cultures, times and places. Drama connects students to creative, technical and other cognitive processes and provides opportunities for them to imagine and explore beliefs, feelings, behaviours and relationships across many situations and contexts.

Engaging in drama promotes imagination, critical and creative thinking, problem solving, cultural engagement and communication, and provides opportunities to share ideas with others through informal and formal performances. Students engage in learning experiences that integrate oral, kinaesthetic and visual communication to create aesthetic and artistic meaning.

A course of study in Drama can establish a basis for further education and employment in the fields of theatre and the broader arts industry, and in education. The knowledge, understanding and skills built in Drama connect strongly with careers in which it is important to understand different social and cultural perspectives on a variety of subjects and issues, and to communicate meaning in imaginative, aesthetic and artistic ways.

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2 Dimensions and objectivesThe dimensions are the salient properties or characteristics of distinctive learning for this subject. The dimensions are described through their objectives and it is these that schools are required to teach and that students should have the opportunity to learn. The objectives describe what students should know and be able to do by the end of the course of study.

Progress in a particular dimension may depend on the qualities and skills developed in other dimensions. Learning through each of the dimensions must increase in complexity to allow for greater independence of the learner over a four-semester course of study.

Schools must assess how well students have achieved the objectives. The standards have a direct relationship with the objectives, and are described in the same dimensions as the objectives.

The dimensions for a course of study in this subject are:

Dimension 1: Forming

Dimension 2: Presenting

Dimension 3: Responding.

2.1 Dimension 1: FormingThe dimension Forming is characterised by students making creative dramatic works.

When forming, students create, shape and manage drama through the application, manipulation and structuring of the dramatic languages1.

2.1.1 ObjectivesBy the conclusion of the course of study, students should:

manage elements of drama to create dramatic action

use conventions of forms and styles, and skills of drama to shape dramatic action

synthesise dramatic languages, purposes and contexts to create dramatic action and meaning.

When students manage elements of drama, they visualise how these elements can be used in their dramatic work and build knowledge and understanding of ways to interrelate a variety of ideas in their work.

When students use conventions of forms and styles, and skills of drama, they visualise how these aspects of the dramatic languages can be used in their dramatic work and build knowledge, understanding and skills of ways to interrelate a variety of ideas to create dramatic action.

When students synthesise the dramatic languages, they bring together their knowledge and understanding of purposes, contexts, elements of drama, and conventions of forms and styles, and their skills of drama, to create dramatic action and communicate meaning for audiences.

2.2 Dimension 2: PresentingThe dimension Presenting is characterised by students planning and rehearsing performances to an audience.

When presenting, students manipulate the dramatic languages to realise dramatic action and communicate dramatic meaning to an audience. Work in the Presenting dimension requires

1 The dramatic languages consist of elements of drama, skills of drama, and conventions of forms and styles (see Section 3.1.1).

2 |Drama Senior Syllabus 2013 Queensland Studies Authority

students to demonstrate their understanding of the purpose of drama and elements of drama in a variety of contexts, forms and/or styles. This understanding is realised through applying acting and performance skills.


interpret purposes, contexts and texts to communicate dramatic meaning through performance

manipulate elements of drama through conventions of forms and styles to realise style in performance

demonstrate skills of drama to communicate dramatic action and meaning for audiences.

When students interpret purpose, context and text, they perform dramatic texts in particular ways to communicate intended meaning to audiences.

When students manipulate elements of drama, they purposefully work with elements of drama through the relevant conventions of forms and styles. Through this process, their performances achieve the characteristics of the identified styles.

When students demonstrate skills of drama, they remember their part in dramatic action and integrate and transform ideas into performance. In doing so, they use voice and movement to communicate dramatic action and meaning to audiences.

2.3 Dimension 3: RespondingThe dimension Responding is characterised by students interpreting, analysing, reflecting and evaluating dramatic action from a position outside of, or after, the drama.

When responding, students demonstrate their skills in interpretation, analysis and evaluation of dramatic action and meaning to communicate a position. They also examine how the dramatic languages are employed in professional, independent or non–school-based productions and performances. This objective can be realised in written, oral and multimodal communication.


analyse use of the dramatic languages to facilitate dramatic action and meaning

evaluate, with supporting evidence, the effectiveness of the dramatic action in communicating meaning to audiences

synthesise positions about dramatic action and meaning through language conventions and drama terminology.

When students analyse the use of the dramatic languages, they identify and examine the characteristics of live or recorded live performances that facilitate dramatic action and meaning.

When students evaluate the effectiveness of dramatic action, they make judgments about how effectively dramatic action communicates meaning to audiences. They communicate their analyses and evaluations in extended written and/or spoken text, providing evidence to support their evaluations.

When students synthesise positions about dramatic action and meaning they draw together their analyses and evaluations. They use appropriate language conventions and drama terminology to communicate their position to audiences.


3 Course organisation3.1 Course overviewA course of study in Drama provides opportunities for students to build their knowledge, understanding and skills across the dramatic languages to create, perform and respond to drama situated in a variety of contexts to achieve different purposes.

The minimum number of hours of timetabled school time, including assessment, for a course of study developed from this syllabus is 55 hours per semester. A course of study will usually be completed over four semesters (220 hours).

When planning a course of study, schools should take into account the needs and interests of students, and the culture and resources of the school and its community.

A four-semester course of study includes:

balanced opportunities for teaching and learning the objectives for the dimensions of Forming, Presenting and Responding (see Section 2)

opportunities for students to learn the core subject matter (see Section 3.1.1)

- different purposes, contexts and texts

- a range of dramatic forms and styles, including at least two from each identified category

- the dramatic languages and the interconnections among them.

The interrelationships among the aspects of the core subject matter for Drama are characterised in Figure 1.

Figure 1: Core subject matter of Drama


3.1.1 Core subject matter

Purpose, context and textTeaching and learning in Drama always has a purpose, is located within a context, and uses and creates text. Purpose, context and text work together to create dramatic action and meaning.

Schools provide students with opportunities to learn the dramatic languages within and across a range of purposes, contexts and texts representing a range of cultural and sociological perspectives. These include Aboriginal, Torres Strait Islander and other Australian perspectives, and broader global perspectives. In Drama, students are asked to define and work with dramatic purpose to create dramatic action and meaning.

PurposePurpose refers to the intent of the creator/s or interpreter/s of the dramatic action and meaning. In Drama, teaching and learning may include a combination of a range of dramatic purposes. This range of purposes may include:

to challenge to chronicle/document to educate

to empower to inform to celebrate

to entertain.

ContextContext refers to the real and/or imagined factors, beliefs and values that influence dramatic action and dramatic meaning. These contexts may include:

dramatic historical political

philosophical cultural environmental

personal sociological technological

geographical.

TextThroughout a course of study in Drama, teaching and learning provides students with opportunities to use and create different types of texts. Texts in Drama are developed to achieve different purposes, are drawn from a variety of contexts, and embody the dramatic languages.

Examples of texts that students use in Drama include:

performances, e.g. live performances, recorded live performances

playscripts, e.g. published, unpublished

student-devised texts, e.g. scenario

stimulus texts, e.g. pre-texts, stories, poetry, songs, newspaper articles, interviews.

Examples of texts that students create in Drama include:

performances

improvisations

playscripts

devised concepts

directorial folios

dramatic treatments.


Selecting texts

When selecting texts for study in Drama, teachers consider the needs and interests of individuals and class groups to determine which texts will best meet their students' learning needs.

Teachers encourage students to value and appreciate a diverse range of drama forms, styles, practices and experiences. Throughout the course of study, teachers provide opportunities for all students to consider Aboriginal and Torres Strait Islander perspectives by, for example, engaging with drama created by Aboriginal Australians and Torres Strait Islander Australians, and the culture/s in which such drama is embedded.

Teachers have an ethical responsibility to deal with the subject matter of Drama in ways that are age-appropriate, and that respect their students’ values, and those of their families and community. To meet this responsibility, teachers give careful consideration to the selection of texts for study and the ways selected texts may be perceived, interpreted and treated in class. Teachers can work collaboratively with the school community to ensure the subject matter of performances and texts studied in the Drama classroom suits students’ needs.

These considerations influence:

selection of performances, texts, and resources for teaching and learning

planning for and implementation of teaching and learning.

Further information about selecting appropriate material for study is provided in the A–Z of Senior Moderation handbook (Protocol 2.1 Appropriate material for submissions of student work) <www.qsa.qld.edu.au/1426.html>.

Dramatic forms and stylesStudents must have opportunities to work dramatic languages within and across a range of forms, styles, texts and contexts selected from a diversity of dramatic traditions. Students learn about and work with a variety of dramatic traditions, including those from different cultural and social inheritances, and those created in recent times. When relevant, students also have opportunities to learn about the relationships across these traditions.

For the purposes of this syllabus, these forms and styles have been organised according to their key characteristics and are described in two categories:

1. forms and styles characterised by inherited traditions, defined conventions and structures

2. forms and styles characterised by currency of practice, hybridity and/or drama in applied contexts.

A course of study must include:

at least two forms and/or styles from each category

Realism, a style characterised by inherited traditions, defined conventions and structures.

Examples of forms and styles for each category are provided in Table 1. A course of study may include forms and styles other than those provided in Table 1 and/or use the suggestions inTable 1 to develop the course of study.


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Table 1: Dramatic forms and styles for designing a course of study

Category 1 Examples of forms and styles characterised by inherited traditions, defined conventions and structures

Realism (required study) Absurdism Epic Theatre Elizabethan Theatre Greek Theatre

Roman Theatre Asian theatre forms2

Commedia Dell’Arte Comedy of Manners Medieval Drama

Category 2 Examples of forms and styles characterised by currency of practice, hybridity and/or drama in applied contexts

Applied Theatre Theatre of the Oppressed Postmodern Theatre Physical Theatre Contemporary Aboriginal and Torres Strait

Islander theatre forms One-Person Show Visual Theatre

Object Theatre Cinematic Theatre Documentary Drama Verbatim Theatre Contemporary Political Theatre Australian Gothic New Circus Process Drama

When planning teaching and learning, the forms and styles in each category can be treated discretely or in combination. Some ways to combine forms and styles across the two categories include:

Realism and Postmodern Theatre

Realism and Verbatim Theatre

Elizabethan Theatre and Postmodern Theatre

Greek Theatre and Physical Theatre

Commedia Dell’Arte and Contemporary Political Theatre.

Dramatic languagesIn Drama, a course of study interconnects the dramatic languages in texts and contexts to achieve purposes.

The dramatic languages consist of:

elements of drama

skills of drama

conventions of forms and styles.

The dramatic languages are the foundations and working materials of drama. The dramatic languages are interconnected and embedded in contexts across the four-semester course of study. Throughout the course of study students learn to select, manage, manipulate, analyse and evaluate the dramatic languages in a range of contexts for different purposes. Students use this knowledge, understandings and skills to respond to and make dramatic action and meaning.

2 Examples of Asian theatre forms include Noh and Kabuki; Butoh and Bunraku; Wayang Golek and Wayang Kulit.


A range of dramatic languages must be provided across the course of study and within each year of the course. Teaching and learning needs a strong focus that identifies the specific elements of drama, skills of drama and conventions of forms and styles to be explicitly taught in relation to context and purpose.

Students understand, manage, manipulate, analyse and evaluate the dramatic languages within the dimensions of Forming, Presenting and Responding.

Elements of drama

Elements of drama are discrete but interrelated. Dramatic action and meaning are created when these elements are integrated and applied to a specific context.

Elements of drama can include but are not restricted to the following: character contrast dramatic focus

language mood movement

place relationship role

situation space symbol

tension time.

Skills of drama

Skills of drama are interrelated and underpin the knowledge and processes needed to create dramatic action and meaning.

Skills of drama are provided below, organised according to the dimensions to which they are most typically applied.

Forming Presenting Responding

devising acting (movement, voice) critiquing

directing applying stagecraft

applying stagecraft working as an ensemble

scriptwriting

improvising

Conventions of forms and styles

Conventions of forms and styles are applied to produce dramatic action and meaning. Form and style are interrelated and often overlap.

Conventions characterise particular forms and styles of drama. The selection and combination of conventions create form and style.

Form refers to the way dramatic action is structured, organised and shaped.

Style refers to the way in which dramatic action is expressed, or performed. Styles have particular characteristics which can be identified, used and manipulated to create, shape and evaluate drama. Most styles are placed within the structure of a form.

3.2 Advice, guidelines and resourcesThe following advice, guidelines and resources support the implementation of the syllabus. Where indicated further information may be obtained from the Drama subject page of the QSA website <www.qsa.qld.edu.au/20325.html>.


http://www.qsa.qld.edu.au/20325.html

3.2.1 Aboriginal and Torres Strait Islander perspectives3

The Queensland Government has a vision that Aboriginal and Torres Strait Islander Queenslanders have their cultures affirmed, heritage sustained and the same prospects for health, prosperity and quality of life as other Queenslanders. The QSA is committed to helping achieve this vision and encourages teachers to include Aboriginal and Torres Strait Islander perspectives in the curriculum.

The Queensland Studies Authority (QSA) recognises Aboriginal and Torres Strait Islander peoples, their traditions, histories and experiences from before European settlement and colonisation through to the present time. To strengthen students’ appreciation and understanding of the first peoples of the land, opportunities exist in the syllabus to encourage engagement with Aboriginal and Torres Strait Islander:

frameworks of knowledge and ways of learning

contexts in which Aboriginal and Torres Strait Islander peoples live

contributions to Australian society and cultures.

In Drama there are various ways to develop Aboriginal and Torres Strait Islander perspectives in teaching and learning. For example, drama by Aboriginal people and Torres Strait Islander people that explores their experiences, ideas and stories in diverse contexts provides rich teaching and learning opportunities in Drama.

Subject-specific resources are available on the Drama subject page. In addition, guidelines about Aboriginal and Torres Strait Islander perspectives and resources for teaching are available on the QSA website <www.qsa.qld.edu.au/577.html>.

3.2.2 Composite classesThis syllabus enables teachers to develop a course of study that caters for a variety of ways to organise learning, such as combined Years 11 and 12 classes, combined campuses, or modes of delivery involving periods of student-managed study. This resource provides guidelines about composite classes.

3.2.3 Embedding educational equity in the course of studyEquity means fair treatment of all. In developing work programs from this syllabus, schools need to provide opportunities for all students to demonstrate what they know and what they can do. All students, therefore, should have equitable access to educational programs and human and material resources.

In addition to the subject-specific resources available on the Drama subject page, guidelines about educational equity and resources for devising an inclusive work program are available on the QSA website <www.qsa.qld.edu.au/10188.html>.

3 The Queensland Government has a vision that Aboriginal and Torres Strait Islander Queenslanders have their cultures affirmed, heritage sustained and the same prospects for health, prosperity and quality of life as other Queenslanders. The QSA is committed to helping achieve this vision and encourages teachers to include Aboriginal and Torres Strait Islander perspectives in the curriculum.




3.2.4 Language education in DramaIt is the responsibility of teachers to develop and monitor students’ abilities to use the forms of language appropriate to their own subject areas. This involves providing opportunities for the development of students’ abilities in:

selection and sequencing of information required in various forms (such as reports, essays, interviews and seminar presentations)

use of technical terms and their definitions

use of correct grammar, spelling, punctuation and layout

use of appropriate verbal and non-verbal features in spoken/signed and multimodal texts including spoken/signed language.

3.2.5 Learning experiences and sample resourcesThis resource provides guidelines for learning experiences and sample resources, which may include unit/s of work.

3.2.6 Reference materialsThis resource provides links to reference materials, text and reference books, websites, newspaper reports, periodicals, electronic media and learning technology, and organisations and community resources for the subject.

3.2.7 Work program requirementsA work program is the school’s plan of how the course of study will be delivered and assessed, based on the school’s interpretation of the syllabus. It allows for the special characteristics of the individual school and its students. Work program requirements are available on the Drama subject page of the QSA website <www.qsa.qld.edu.au/20325.html>. Instructions for online submission of work programs are available from <https://www.qsa.qld.edu.au/wponline/login.qsa>.


https://www.qsa.qld.edu.au/wponline/login.qsa


4 AssessmentAssessment is an integral part of the teaching and learning process. For Years 11 and 12 it is the purposeful, systematic and ongoing collection of information about student learning outlined in the senior syllabuses.

In Queensland, assessment is standards based. The standards for each subject are described in dimensions, which identify the valued features of the subject about which evidence of student learning is collected and assessed. The standards describe the characteristics of student work.

The major purposes of assessment in senior Authority subjects are to:

promote, assist and improve learning

inform programs of teaching and learning

advise students about their own progress to help them achieve as well as they are able

give information to parents, carers and teachers about the progress and achievements of individual students to help them achieve as well as they are able

provide comparable levels of achievement in each Authority subject which may contribute credit towards a Queensland Certificate of Education

provide base data for tertiary entrance purposes

provide information about how well groups of students are achieving for school authorities and the State Minister responsible for Education.

4.1 Principles of exit assessmentAll the principles of exit assessment must be used when planning an assessment program and must be applied when making decisions about exit levels of achievement.

A standards-based assessment program for the four-semester course of study requires application of the following interdependent principles:

information is gathered through a process of continuous assessment, i.e. continuous assessment

balance of assessment is a balance over the course of study and not necessarily a balance over a semester or between semesters, i.e. balance

exit levels of achievement are devised from student achievement in all areas identified in the syllabus as being mandatory, i.e. mandatory aspects of the syllabus

assessment of a student’s achievement is in the significant aspects of the course of study identified in the syllabus and the school’s work program, i.e. significant aspects of the course of study

selective updating of a student’s achievement is undertaken over the course of study, i.e. selective updating

exit assessment is devised to provide the fullest and latest information on a student’s achievement in the course of study, i.e. fullest and latest information.

4.1.1 Continuous assessmentJudgments about student achievement made at exit from a course of study must be based on an assessment program of continuous assessment.


Continuous assessment involves gathering information on student achievement using assessment instruments administered at suitable intervals over the developmental four-semester course of study.

In continuous assessment, all assessment instruments have a formative purpose — to improve teaching and student learning and achievement.

When students exit the course of study, teachers make a summative judgment about their levels of achievement in accordance with the standards matrix.

The process of continuous assessment provides the framework in which the other five principles of exit assessment operate: balance, mandatory aspects of the syllabus, significant aspects of the course of study, selective updating, and fullest and latest information.

4.1.2 BalanceJudgments about student achievement made at exit from a course of study must be based on a balance of assessments over the course of study.

Balance of assessment is a balance over the course of study and not a balance within a semester or between semesters.

Balance of assessment means judgments about students’ achievements of the dimensions and objectives are made a number of times using a variety of assessment techniques and a range of assessment conditions over the developmental four-semester course of study.

4.1.3 Mandatory aspects of the syllabusJudgments about student achievement made at exit from a course of study must be based on mandatory aspects of the syllabus.

The mandatory aspects are:

the dimensions Forming, Presenting and Responding

the dramatic languages — elements of drama, skills of drama, and conventions of forms and styles.

To ensure that the judgment of student achievement at exit from a four-semester course of study is based on the mandatory aspects, the exit standards for the dimensions stated in the standards matrix must be used (see Section 4.8.2, Awarding exit levels of achievement).

4.1.4 Significant aspects of the course of studyJudgments about student achievement made at exit from a course of study must be based on significant aspects of the course of study.

Significant aspects are those areas described in the school’s work program that have been selected from the choices permitted by the syllabus to meet local needs.

The significant aspects must be consistent with the objectives of the syllabus and complement the developmental nature of learning in the course of study over four semesters.

4.1.5 Selective updatingJudgments about student achievement made at exit from a course of study must be selectively updated throughout the course of study.

Selective updating is related to the developmental nature of the course of study and works in conjunction with the principle of fullest and latest information.

As subject matter is treated at increasing levels of complexity, assessment information gathered at earlier stages of the course of study may no longer be representative of student achievement.


Therefore, the information should be selectively and continually updated (and not averaged) to accurately represent student achievement.

Schools may apply the principle of selective updating to the whole subject-group or to individual students.

Whole subject-groupA school develops an assessment program so that, in accordance with the developmental nature of the course of study, later assessment information based on the same groups of objectives replaces earlier assessment information.

Individual studentA school determines the assessment folio for verification or exit (post-verification). The student’s assessment folio must be representative of the student’s achievements over the course of study. The assessment folio does not have to be the same for all students; however, the folio must conform to the syllabus requirements and the school’s approved work program.

Selective updating must not involve students reworking and resubmitting previously graded responses to assessment instruments.

4.1.6 Fullest and latest informationJudgments about student achievement made at exit from a course of study must be based on the fullest and latest information available.

Fullest refers to information about student achievement gathered across the range of objectives.

Latest refers to information about student achievement gathered from the most recent period in which achievement of the objectives is assessed.

As the assessment program is developmental, fullest and latest information will most likely come from Year 12 for those students who complete four semesters of the course of study.

The fullest and latest assessment information on mandatory and significant aspects of the course of study is recorded on a student profile.

4.2 Planning an assessment programTo achieve the purposes of assessment listed at the beginning of this section, schools must consider the following when planning a standards-based assessment program:

dimensions and objectives (see Section 2)

course organisation (see Section 3)

principles of exit assessment (see Section 4.1)

variety in assessment techniques and conditions over the four-semester course of study (see Section 4.5)

verification folio requirements, i.e. the range and mix of assessment instruments necessary to reach valid judgments of students’ standards of achievement (see Section 4.6)

post-verification assessment (see Section 4.6.1)

exit standards (see Section 4.7).

In keeping with the principle of continuous assessment, students should have opportunities to become familiar with the assessment techniques that will be used to make summative judgments.

Further information can be found on the Drama subject page of the QSA website <www.qsa.qld.edu.au/20325.html>.



4.3 Special provisionsGuidance about the nature and appropriateness of special provisions for particular students are described in QSA’s Policy on Special Provisions for School-based Assessments in Authority and Authority-registered Subjects (2009), <www.qsa.qld.edu.au/2132.html>.

This statement provides guidance on responsibilities, principles and strategies that schools may need to consider in their school settings. Reasonable adjustments to students with specific educational needs must be planned and negotiated as early as possible so that students can be provided with appropriate support in order to commence, participate and complete course of study requirements. The special provisions might involve alternative teaching approaches, assessment plans and learning experiences.

4.4 Authentication of student workIt is essential that judgments of student achievement be made on genuine student assessment responses. Teachers should ensure that students’ work is their own, particularly where students have access to electronic resources or when they are preparing collaborative tasks.

The QSA’s A–Z of Senior Moderation contains a strategy on authenticating student work <www.qsa.qld.edu.au/10773.html>. This provides information about various methods teachers can use to monitor that students’ work is their own. Particular methods outlined include:

teachers seeing plans and drafts of student work

student production and maintenance of evidence for the development of responses

student acknowledgment of resources used.

Teachers must ensure students use consistent accepted conventions of in-text citation and referencing, where appropriate.

Further advice on drafting of student assessment responses is available on the Drama subject page of the QSA website <www.qsa.qld.edu.au/20325.html>.

4.5 Assessment techniquesThe assessment techniques relevant to this syllabus are identified in Figure 2, and described in detail in Sections 4.5.4, 4.5.5 and 4.5.6.

Figure 2: Drama assessment techniques





Schools design assessment instruments from the assessment techniques relevant to this syllabus. For each assessment instrument, schools develop an instrument-specific standards matrix by selecting the syllabus standards descriptors for the dimension/s to be assessed. The matrix is used as a tool for making judgments about the quality of students’ responses to the instrument and is informed by the syllabus standards descriptors. Assessment is designed to allow students to demonstrate the range of standards (see Section 4.8.2, Awardingexit levels of achievement). Teachers give students an instrument-specific standards matrix for each assessment instrument.

Where students undertake assessment in a group or team, instruments must be designed so that teachers can validly assess the work of individual students and not apply a judgment of the group product and processes to all individuals.

The assessment instruments students respond to in a Year 11 assessment program should support those included in Year 12.

The conditions of assessment, possible modes for assessment and supporting evidence are identified and described below.

4.5.1 Conditions of assessmentOver a four-semester course of study, students are required to complete assessment under a range of conditions (see Section 4.1.2, Balance).

Conditions may vary according to assessment. Conditions should be stated clearly on assessment instruments and may include:

indicating individual or group

whether supervised or unsupervised

stating time allowed (with perusal time as needed)

stating length of response required

using seen or unseen questions.

Conditions are provided for assessment instruments for each of the assessment techniques:

techniques assessing the Forming dimension (see Conditions for assessment instruments assessing the Forming dimension on page 20)

technique assessing the Presenting dimension (see Conditions for assessment instruments assessing the Presenting dimension on page 27)

techniques assessing the Responding dimension (see Conditions for assessment instruments assessing the Responding dimension on page 29).

4.5.2 Modes of assessmentAssessment techniques may be presented in a variety of modes, e.g. written, spoken/signed and multimodal. An assessment response is communicated to an audience for a particular purpose which may influence the type of text, language features and other textual features used in the response. Purposes may include interpreting, creating, performing, analysing, evaluating, and communicating.

Referencing conventions are used in all assessment responses, as relevant.


4.5.3 Evidence to support judgments about student achievementSchools must provide evidence to support judgments about student achievement for monitoring, verification and exit purposes. Schools collect different types of evidence from student responses across the course of study:

student responses collected in a sample folio (also known as direct evidence)

teacher annotations in support of judgments collected in a sample folio (supporting documentation)

standards showing how the characteristics of student work were matched to the standards to make judgments about student achievement

teacher judgments about a cohort using evidence from an individual/indicative response (also known as submission-based evidence) which include:

- evidence related to the achievement of the syllabus dimensions and standards descriptors that is part of a submission but is not part of sample folios

- recorded evidence of sample responses at A, B or C standards not in a folio.

Student folios must include sufficient evidence to demonstrate the match of syllabus standards with student responses. When assessment instruments require that student responses be delivered as a performance, a practical or non-written response, it may be necessary to provide a range of evidence in student folios to demonstrate the match of syllabus standards with the student responses.

Audiovisual evidence to support judgmentsIt is a requirement that schools’ judgments about the application of standards to student responses delivered in class be supported by recorded audiovisual evidence. The evidence provided must be sufficiently clear to illustrate the quality of the student response and be clearly labelled for ease of identification. Evidence provided must be collected from students in the current Year 12 cohort.

The evidence of practical student responses delivered in class will illustrate the typical A, B and C standards, as relevant to the assessment instruments in the verification folio, for responses to:

one practical Forming assessment instrument

one Presenting assessment instrument demonstrating the delivery of a published playscript and using the skills of voice and movement.

For both Forming and Presenting, these must be responses to the same assessment instrument.

If the range of A, B and C standard responses is not available in the current cohort, then schools must supply evidence demonstrating the closest comparable standards. The evidence provided must, where possible, relate to student responses at C standard or higher.

Schools may also provide audiovisual evidence in student folios of responses to practical and non-practical Forming assessment instruments and spoken/signed and multimodal Responding assessment instruments.

Evidence must be accompanied by a copy of the assessment instrument and the standards matrix showing how the qualities of student work were matched to the standards to make judgments about student achievement.

The evidence does not need to illustrate the work of the individual students whose folios are included in the verification submission, nor does it need to be from students who have achieved a VHA, HA or SA overall. Schools must retain audiovisual evidence of assessment responses for all students in the cohort.


4.5.4 Techniques assessing the Forming dimensionTechniques assessing the Forming dimension: Practical and Non-practical

Purpose

Techniques assessing the Forming dimension are characterised by students making creative dramatic works.These techniques assess the creation of dramatic action and meaning and will be the outcome of working with and synthesising the dramatic languages to create dramatic action and meaning.

Practical and non-practical techniques are used to assess the Forming dimension. These techniques provide opportunities for assessment instruments that require responses by individual students and small groups of students (see Conditions for assessment instruments assessing the Forming dimension on page 20).

Description of practical and non-practical techniques

Practical technique

The practical technique for assessing the Forming dimension requires practical use of a skill of drama to create and demonstrate dramatic action and meaning. The skills of drama relevant to practical responses are devising, directing and improvising.Practical assessment instruments to assess the Forming dimension include: demonstrating — a devised concept directing — a published playscript excerpt improvising — intervention in a text; process drama.

Non-practical technique

The non-practical technique for assessing the Forming dimension requires use of a skill of drama to create dramatic action and meaning. The skills of drama relevant to non-practical responses are scriptwriting, directing and devising a dramatic treatment and a dramatic concept.

Modes include written, spoken/signed and multimodal.

Written responses require students to communicate a written assessment response to an audience for a particular purpose.

Spoken responses require students to present a spoken assessment response to a live or virtual audience (i.e. through the use of technology) for a particular purpose.

Multimodal responses use a combination of at least two modes to communicate an assessment response to a live or virtual audience for a particular purpose.

Each of the selected modes contributes significantly to the multimodal response.

Different technologies may be used in the creation or presentation of the response. Replication of a written document into an electronic or digital format does not constitute a multimodal response.

When making judgments about multimodal responses, teachers apply the standards to the entire response, that is, to all modes used to communicate the response.

Non-practical assessment instruments to assess the Forming dimension are: scriptwriting — writing a playscript directing — directorial concept of a published playscript or excerpt devising — dramatic treatment that re-visions or extends a published text (or excerpt) devising — original dramatic concept devised by the student based on stimulus material/s.

Further guidance

In preparation for assessment instruments assessing the Forming dimension, teaching and learning must include opportunities for students to learn how to shape and create dramatic action and meaning for identified purposes, in selected contexts, dramatic forms and/or styles.


Techniques assessing the Forming dimension: Practical and Non-practical

Practical responses — Evidence and supporting documentation for student folios

Further to the evidence to be included in school submissions, described in Section 4.5.3, Audiovisual evidence to support judgments, for practical responses schools also need to include in student folios evidence and supporting documentation as described below.

Demonstrating — a devised concept

Supporting documentation for student folios must include succinct notes indicating choices about management and shaping of the dramatic languages in relation to purpose, context and meaning.Note: The teacher may provide students with a template to support the organisation of notes. Some of these notes may be written by the student after demonstrating their response to reflect decisions made during the demonstration.

Examples of evidence and supporting documentation that may be provided in student folios: audiovisual recording of the student

demonstrating the devised concept if relevant, materials used to support the

conceptualisation and creation of dramatic action and meaning

teacher notes describing choices the student made about management and shaping of the dramatic languages in relation to purpose, context and meaning.

Directing — a published playscript excerpt

Supporting documentation for student folios must include the playscript used as the basis for student directorial input, with annotations indicating choices about management and shaping of the dramatic languages in relation to purpose, context and meaning.Note: Some of these annotations may be written by the student after demonstrating their response to reflect decisions made during the demonstration.

Examples of evidence and supporting documentation that may be provided in student folios: audiovisual recording of the student directorial

input if relevant, materials used to explain

background to the conceptualisation and creation of dramatic action and meaning


Improvising — intervention in a text; process drama

Supporting documentation for student folios must include a succinct explanation of their choices about management and shaping of the dramatic languages in relation to purpose, context and meaning.Note: The explanation is written by the student after their improvisation.

Examples of evidence and supporting documentation that may be provided in student folios: audiovisual recording of the improvisation succinct outline of student’s role and dramatic

action student responses to reflective questions

devised by the teacher and provided after the task



Techniques assessing the Forming dimension: Practical and Non-practical

Non-practical responses — Evidence and supporting documentation for student folios

For written non-practical responses schools include in student folios the response submitted by the student.Other types of evidence and supporting documentation to be included in student folios are described below.

Scriptwriting — writing a playscript

Evidence and supporting documentation for student folios must include: the playscript created by the student succinct notes indicating choices about

management and shaping of the dramatic languages in relation to purpose, context and meaning.

Note: The teacher may provide students with a template to support the organisation of notes.

Directing — directorial concept of a published playscript or excerpt

Evidence and supporting documentation for student folios must include the published playscript used as the basis for student directorial concept, with annotations indicating choices about management and shaping of the dramatic languages in relation to purpose, context and meaning.For written responses, the directorial concept created by the student must also be included in the student folio.

Note: For spoken/signed and multimodal responses schools may provide an audiovisual recording of the student response.

Devising — dramatic treatment that re-visions or extends a published text (or excerpt)

Evidence and supporting documentation for student folios must include the published text used as the basis for the dramatic treatment.If a published playscript is used, it must be annotated to show choices about management and shaping of the dramatic languages, and further notes in relation to purpose, context and meaning.For written responses, the dramatic treatment created by the student must also be included in the student folio.

Devising — original dramatic concept devised by the student based on stimulus material/s

Evidence and supporting documentation for student folios must include an outline of the devised concept with annotations showing choices about management and shaping of the dramatic languages in relation to purpose, context and meaning.For written responses, the dramatic concept created by the student must be included in the student folio.For spoken/signed and multimodal responses, notes and other materials indicating choices about management and shaping of the dramatic languages in relation to purpose, context and meaning must be included in the student folio.

Note: For spoken/signed and multimodal responses schools may provide an audiovisual recording of the student response.


Conditions for assessment instruments assessing the Forming dimension

Possible assessment instruments

YearIndividual or group response

Stimulus material Preparation time — class/home

Teacher consultation, drafting and rehearsal Response length

Practical responses

Demonstrating — a devised concept

11 Individual only

Sourced and provided by student or teacher

At least two weeks’ preparation time in and outside of class time for devisorIf the devisor requires student actors to support their demonstration, the teacher: selects the student actors

immediately before the devisor demonstrates their response

allows 10–15 minutes immediately before the devisor demonstrates their response for the devisor to explain concept to student actors and for actors to read through text.

Teacher consultation during preparation time

3–4 minutes for demonstrating the devised concept

12 Individual only


At least two weeks’ preparation time in and outside of class time for devisorIf the deviser requires student actors to support their demonstration, the teacher: selects the student actors

immediately before the devisor demonstrates their response

allows 10–15 minutes immediately before the devisor demonstrates their response for devisor to explain concept to student actors and for actors to read through text.


4–6 minutes for demonstrating the devised concept






Directing —a published playscript excerpt

11 Individual only

A range of published playscripts or excerpts, each taking no more than two minutes to present

At least two weeks’ preparation time in and outside of class time for directorImmediately before the director demonstrates their response, the teacher: selects student actors allows 10–15 minutes for

student actors to read playscript.


4–6 minutes directorial input

12 Individual only

A range of published playscripts or excerpts, each taking no more than two minutes to present

At least two weeks’ preparation time in and outside of class time for directorImmediately before the director demonstrates their response, the teacher: selects student actors allows 10–15 minutes for

student actors to read playscript.


6–8 minutes directorial input

Improvising — intervention in a text; process drama

11 Individual Context or text familiar to students

At least two weeks’ notice of taskImmediately before assessment: intervention provided 0–2 minutes planning time

Not applicable 2 minutes

11 Groupmaximum of four students in each group

Context or text familiar to students

At least two weeks’ notice of taskImmediately before assessment: intervention provided 0–3 minutes discussion and

planning time

Not applicable 3–6 minutes of dramatic action (every student actively contributing)

21 | Drama Senior Syllabus 2013 Queensland Studies Authority





12 Individual Context or text familiar to students

At least two weeks’ notice of taskImmediately before assessment: intervention provided 0–2 minutes planning time

Not applicable 3 minutes

12 Groupmaximum of four students in each group

Context or text familiar to students

At least two weeks’ notice of taskImmediately before assessment: intervention provided 0–3 minutes discussion and

planning time

Not applicable 4–6 minutes of dramatic action (every student actively contributing)

Non-practical responses

Scriptwriting —writing a playscript

11 Individual only

Not applicable 2–4 weeksThe development process may include workshopping concepts, ideas and/or draft text with peers.

Teacher consultation and feedback on two drafts during preparation time

800–1000 words or equivalent of 2–3 minutes of dramatic action, if enacted

12 Individual only

Not applicable 2–4 weeksThe development process may include workshopping concepts, ideas and/or draft text with peers.

Teacher consultation and feedback on one draft during preparation time

1000–1200 words or equivalent of 3–4 minutes of dramatic action, if enacted

Directing —directorial concept of a published playscript or excerpt

11 Individual only

Published playscript/s or excerpt/s

3–4 weeks Teacher consultation and feedback on two drafts during preparation timeNote: For spoken/signed and multimodal responses students may rehearse delivery of their directorial concept.

Written: 800–1000 wordsSpoken/signed: 3–4 minutesMultimodal: 3–5 minutesPlayscript provided, plus annotations, appendixes and referencing, when appropriate






12 Individual only


3–4 weeks Teacher consultation and feedback on one draft during preparation timeNote: For spoken/signed and multimodal responses students may rehearse delivery of their directorial concept.

Written: 1000–1200 wordsSpoken/signed: 4–5 minutesMultimodal: 5–7 minutesPlayscript provided, plus annotations, appendixes and referencing, when appropriate

Devising —dramatic treatment …

11 Individual only


3–4 weeks Teacher consultation and feedback on two drafts during preparation timeNote: For spoken/signed and multimodal responses students may rehearse delivery of their dramatic treatment.

Written: 800–1000 wordsSpoken/signed: 3–4 minutesMultimodal: 3–5 minutesAnnotated sketches, appendixes and referencing provided, when appropriate

12 Individual only


3–4 weeks Teacher consultation and feedback on one draft during preparation timeNote: For spoken/signed and multimodal responses students may rehearse delivery of their dramatic treatment.


Devising — original dramatic concept …

11 Individual only

Various stimulus texts and other materials

3–4 weeks Teacher consultation and feedback on two drafts during preparation timeNote: For spoken/signed and multimodal responses students may rehearse delivery of their dramatic concept.

Written: 800–1000 wordsSpoken/signed: 3–4 minutesMultimodal: 3–5 minutes Annotated sketches, appendixes and referencing provided, when appropriate






12 Individual only

Various stimulus texts and other materials

3–4 weeks Teacher consultation and feedback on one draft during preparation timeNote: For spoken/signed and multimodal responses students may rehearse delivery of their dramatic concept.



4.5.5 Technique assessing the Presenting dimensionTechnique assessing the Presenting dimension: Performance

Purpose

The technique assessing the Presenting dimension assesses choices about manipulating elements of drama and demonstration of the skills of drama to interpret purposes, contexts and texts, and communicate dramatic action and meaning in performance.The technique provides opportunities for assessment instruments that require responses by individual students and small groups of students (see Conditions for assessment instruments assessing the Presenting dimension on page 27).

Description of Performance

This technique is characterised by planned and rehearsed live and/or recorded performances for audiences.Assessment instruments that can be developed to assess the Presenting dimension are stage and screen acting.

Assessment instruments must provide equitable opportunities for students to demonstrate their learning in the Presenting dimension as described in the standards. The size of groups for performances allows for judgments to be made about an individual student’s achievement.

Stage acting

Stage acting assessment instruments provide opportunities for students to perform published or student-devised playscripts as individuals or in small groups for live audiences.

Screen acting

Screen acting assessment instruments provide opportunities for students to perform published or student-devised playscripts as individuals or in small groups for audiences viewing the recorded performance.

Further guidance

The focus of Presenting assessment instruments is presentation of dramatic action and meaning for an audience. In preparation for Performance assessment instruments, teaching and learning must include rehearsal techniques and application of stagecraft.

Performance of student-devised playscripts provides opportunities for students to perform playscripts devised by the student or a group of students. For assessment instruments in this technique, judgments must be based on the standards descriptors for the Presenting dimension only.

The student-devised playscript performed in this instrument could be the student’s own response to an assessment instrument for the Forming dimension that required students to have written a script or devised an original concept. If students are to use the playscript devised for their own response to an earlier assessment instrument for the Forming dimension, it is essential that the: response has already been demonstrated (practical technique) or submitted/delivered (non-practical

technique) teacher has already made a judgment about the devising response, using the standards descriptors

for the Forming dimension teacher has provided the student with feedback about the quality of their devising response.

Before implementing the Presenting assessment instrument, teachers must: ensure the student-devised playscript provides opportunities for the student to demonstrate the

standards A–E for Presenting complete teaching and learning specific to the objectives for the Presenting dimension.

By completing this process before students perform their own devised work for assessment purposes, the teacher ensures students understand the suitability of their own devised drama for performance and have opportunities to make necessary changes.

Evidence and supporting documentation for student folios


Technique assessing the Presenting dimension: Performance

In addition to the evidence described in Section 4.5.3, Evidence to support judgments about student achievement, student folios also require evidence and supporting documentation as described below.

Stage acting

Supporting documentation for student folios must include the playscript with student’s role highlighted.

Examples of evidence and supporting documentation that may be provided in student folios: audiovisual recording of the performance playscript with annotations about manipulation

and demonstration of the dramatic languages in performances

teacher notes describing student manipulation and demonstration of the dramatic languages in performances.

Screen acting

Supporting documentation for student folios must include the playscript with student’s role highlighted.

Examples of evidence and supporting documentation that may be provided in student folios: audiovisual recording of performance; response

is recorded using one take in a single continuous shot

playscript with annotations about manipulation and demonstration of the dramatic languages in performances

teacher notes describing student manipulation and demonstration of the dramatic languages in performances.


Conditions for assessment instruments assessing the Presenting dimension





Stage acting 11 Individual


At least two weeks’ preparation time in and outside of class time

Teacher consultation and rehearsal permitted during preparation time

3–4 minutes

11 Group 2–3 minutes per student

12 Individual 4–6 minutes

12 Group 3–5 minutes per student

Screen acting 11 Individual



Teacher consultation and rehearsal permitted during preparation time

2–3 minutesResponse recorded using one take in a single continuous shot

11 Group 1—2 minutes per studentResponse recorded using one take in a single continuous shot

12 Individual 3–4 minutesResponse recorded using one take in a single continuous shot

12 Group 2–3 minutes per studentResponse recorded using one take in a single continuous shot


4.5.6 Techniques assessing the Responding dimensionTechniques assessing the Responding dimension: Extended response and Examination — extended response test

Purpose

The technique assessing the Responding dimension assesses communication of a position about the effectiveness of dramatic performances. The position is derived from analysis and evaluation of how effectively the dramatic languages4 were manipulated to create dramatic action using forms and styles in selected contexts for particular purposes. Research is not the focus of this technique.

The technique provides opportunities for assessment instruments that require responses by individual students (see Conditions for assessment instruments assessing the Responding dimension on page 29).

Description of Extended response and Examination — extended response test

Extended response

Written extended response

Written responses require students to communicate a written assessment response to an audience for a particular purpose.

Assessment instruments that can be developed for written extended responses include essays and articles for an informed audience.

Spoken/signed and multimodal responses

Spoken/signed responses require students to present a spoken/signed assessment response to a live or virtual audience, that is, through the use of technology.

Multimodal responses use a combination of at least two modes to communicate an assessment response to a live or virtual audience.

Each of the selected modes contributes significantly to the multimodal response.

Different technologies may be used in the creation or presentation of the response. Replication of a written document into an electronic or digital format does not constitute a multimodal response.

When making judgments about multimodal responses, teachers apply the standards to the entire response, that is, to all modes used to communicate the response.

Assessment instruments that can be developed for spoken/signed and multimodal responses include seminar and viva voce.

Examination — extended response test

Written extended responses can also be completed under supervised conditions. Students respond to a live performance or a recorded live performance, and a seen or unseen question or statement.

Evidence and documentation for student folios

Evidence and supporting documentation for student folios must include: written responses submitted by the student other relevant information, such as questions

asked by the teacher in a viva voce.

Note: For spoken/signed and multimodal responses: schools may provide an audiovisual recording

of the student response student notes and other materials relevant to

the response are included.

4 Elements of drama, skills of drama, and conventions of forms and styles.


Conditions for assessment instruments assessing the Responding dimension




Teacher consultation, drafting and rehearsal

Response length and examination duration

Extended response

11 Individual only Live or recorded live performance


Teacher consultation and feedback on two drafts during preparation time.

For spoken/signed and multimodal responses students may rehearse the delivery of the response.

Written: 800–1000 words

Spoken/signed: 3–4 minutes

Multimodal: 3–5 minutes

For a viva voce, time for questions is added to the guideline above at the teacher’s discretion.



Teacher consultation and feedback on one draft during preparation time.

For spoken/signed and multimodal responses students may rehearse the delivery of the response.

Written: 1000–1200 words

Spoken/signed: 4–5 minutes

Multimodal: 5–7 minutes

For a viva voce, time for questions is added to the guideline above at the teacher’s discretion.

Examination — extended response test


Performance viewed prior to examination

For seen question, teacher consultation during preparation time

Response length: 400–600 words

Duration: 1–1.5 hours


Performance viewed prior to examination

For seen question, teacher consultation during preparation time

Response length: 600–800 words

Duration: 1.5–2 hours


4.6 Verification folio requirementsA verification folio is a collection of a student’s responses to assessment instruments on which the interim level of achievement is based. For students who are to exit after four semesters, each folio should contain the range of assessments for making summative judgments as stated below.

Students’ verification folios for Drama are to contain a minimum of five and a maximum of six assessment instruments and the relevant student responses. Each folio must include:

evidence of student work from Year 12 only

evidence that two of the dimensions have been assessed twice

evidence that the remaining dimension has been assessed once or twice

a minimum of two and a maximum of three written/non-practical responses to assessment instruments

at least one response to an individual practical Forming assessment instrument (see Section 4.5.4)

at least one response to Presenting assessment instrument/s requiring

- a group performance

- performance of a published playscript, demonstrating the delivery of text, and using the skills of voice and movement (see Section 4.5.5)

at least one response to Responding assessment instrument/s (see Section 4.5.6)

- one of these must be a written extended response.

All folios of responses to assessment instruments must also include:

for each student response, the original assessment instrument and the standards matrix showing how the standards were used to make judgments about student achievement

evidence to support judgments about student achievement

a student profile completed to date indicating judgment about each dimension and proposed level of achievement.

For information about preparing monitoring and verification submissions, schools should refer to QSA’s Moderation handbook for Authority subjects, <www.qsa.qld.edu.au/10773.html>.

4.6.1 Post-verification assessmentIn addition to the contents of the verification folio, there must be one subsequent summative assessment in the exit folio completed after verification. For this syllabus, students are to respond to an assessment instrument after verification that:

assesses the dimension that has been assessed only once, if the verification folio includes responses to only five assessment instruments

assesses any one of the dimensions, if the verification folio includes responses to six assessment instruments.

4.7 Exit standardsThe purpose of standards is to make judgments about students’ levels of achievement at exit from a course of study. The standards are described in the same dimensions as the objectives of the syllabus. The standards describe how well students have achieved the objectives and are stated in the standards matrix.



The following dimensions must be used:

Dimension 1: Forming

Dimension 2: Presenting

Dimension 3: Responding.

Each dimension must be assessed twice in each year of the course, and each dimension is to make an equal contribution to the determination of exit levels of achievement.

4.8 Determining exit levels of achievementWhen students exit the course of study, the school is required to award each student an exit level of achievement from one of the five levels:

Very High Achievement (VHA)

High Achievement (HA)

Sound Achievement (SA)

Limited Achievement (LA)

Very Limited Achievement (VLA).

All the principles of exit assessment must be applied when making decisions about exit levels of achievement.

Exit levels of achievement are summative judgments made when students exit the course of study. For most students this will be after four semesters. For these students, judgments are based on exit folios providing evidence of achievement in relation to all objectives of the syllabus and standards.

For students who exit before completing four semesters, judgments are made based on the evidence of achievement to that stage of the course of study and the principles of exit assessment.

4.8.1 Determining a standardThe standard awarded is an on-balance judgment about how the qualities of the student’s responses match the standards descriptors in each dimension. This means that it is not necessary for the student responses to have been matched to every descriptor for a particular standard in each dimension.

4.8.2 Awarding exit levels of achievementWhen standards have been determined in each of the dimensions for this subject, Table 2 below is used to award exit levels of achievement, where A represents the highest standard and E the lowest. The table indicates the minimum combination of standards across the dimensions for each level.

Table 2: Awarding exit levels of achievement

VHA Standard A in any two dimensions and no less than a B in the remaining dimension

HA Standard B in any two dimensions and no less than a C in the remaining dimension

SA Standard C in any two dimensions and no less than a D in the remaining dimension

LA At least Standard D in any two dimensions and an E in the remaining dimension

VLA Standard E in the three dimensions

Further information is available in the QSA’s Moderation handbook for Authority subjects, <www.qsa.qld.edu.au/10773.html>.



4.8.3 Standards matrixStandard A Standard B Standard C Standard D Standard E

Form

ing

The student work has the following characteristics:





perceptive and skilful management of elements of drama to create dramatic action

skilful management of elements of drama to create dramatic action

management of elements of drama to create dramatic action

partial management of aspects of elements of drama to make dramatic action

partial use of aspects of elements of drama to make dramatic action

perceptive and skilful use of a range of conventions of forms and styles, and skills of drama to shape dramatic action

skilful use of a range of conventions of forms and styles, and skills of drama to shape dramatic action

use of a range of conventions of forms and styles, and skills of drama to shape dramatic action

partial use of conventions of forms and styles, and skills of drama to make dramatic action

partial use of aspects of conventions of forms and styles, and skills of drama to make dramatic action

insightful and skilful synthesis of the dramatic languages, purposes and contexts to create dramatic action and meaning.

skilful synthesis of the dramatic languages, purposes and contexts to create dramatic action and meaning.

synthesis of the dramatic languages, purposes and contexts to create dramatic action and meaning.

partial use of purposes and contexts to make dramatic action and superficial meaning.

partial use of aspects of purposes and contexts to make dramatic action.

Pres

entin

g






insightful interpretation of purposes, contexts and texts to skilfully and sensitively communicate dramatic meaning through performance

effective interpretation of purposes, contexts and texts to clearly communicate dramatic meaning through performance

interpretation of purposes, contexts and texts to communicate dramatic meaning through performance

basic interpretation of purposes and texts to partially communicate dramatic meaning through performance

use of texts to communicate a partial performance

perceptive manipulation of elements of drama through conventions of forms and styles to skilfully realise style in performance

effective manipulation of elements of drama through conventions of forms and styles to clearly realise style in performance

manipulation of elements of drama through conventions of forms and styles to realise style in performance

use of elements of drama through conventions to demonstrate aspects of style in performance

superficial use of elements of drama in performance

insightful and polished demonstration of skills of drama to communicate convincing and engaging dramatic action and meaning for audiences.

effective and well-rehearsed demonstration of skills of drama to communicate engaging dramatic action and meaning for audiences.

demonstration of skills of drama to communicate dramatic action and meaning for audiences.

demonstration of basic skills of drama to partially communicate dramatic action and meaning for audiences.

demonstration of aspects of skills of drama to partially communicate dramatic action.


Standard A Standard B Standard C Standard D Standard ER

espo

ndin

g






discriminating analysis of use of the dramatic languages to facilitate dramatic action and meaning

informed analysis of use of the dramatic languages to facilitate dramatic action and meaning

analysis of use of the dramatic languages to facilitate dramatic action and meaning

partial analysis of use of the dramatic languages in dramatic action and meaning

explanation of aspects of the dramatic languages used in dramatic action

perceptive and thorough evaluation with discriminating supporting evidence of effectiveness of the dramatic action in communicating meaning to audiences

informed evaluation with convincing supporting evidence of effectiveness of the dramatic action in communicating meaning to audiences

evaluation with supporting evidence of effectiveness of the dramatic action in communicating meaning to audiences

partial evaluation with evidence of how dramatic action communicates aspects of meaning to audiences

explanation of aspects of the dramatic action

discerning synthesis of positions about dramatic action and meaning through use of relevant language conventions and drama terminology.

effective synthesis of positions about dramatic action and meaning through use of relevant language conventions and drama terminology.

synthesis of positions about dramatic action and meaning through use of language conventions and drama terminology.

communication of positions about aspects of dramatic action and meaning through use of basic language conventions and drama terminology.

communication of opinions using basic language conventions.


5 GlossaryTerm Explanation

acting acting is a skill of drama. It is the process and skills used to embody performance and communicate with an audience. The principal tools of the actor are voice and movement. The skills and processes differ according to dramatic style.

analyse dissect to ascertain and examine constituent parts and/or their relationships

aspect particular parts or features

assessment instrument An assessment instrument is a tool developed by the school for assessing students in a subject at a specific time and used to frame an assessment task.

assessment task An assessment task is work undertaken by a student in response to an assessment instrument, and is described on a criteria sheet. The standard of response is assessed in relation to specific criteria.

assessment technique An assessment technique is an overarching strategy for assessing student work. Under it can sit a variety of assessment instruments.

audience An audience can be an individual, a small group or a larger group. The size of an audience is influenced by the purpose of the assessment instrument. In Drama, it may be appropriate for the teacher to be the audience when a student presents or delivers their response to an assessment instrument.

basic underdeveloped, simple and straightforward

character an element of drama. The performer takes on the persona, physicality, vocal qualities and given circumstances of the character. The character’s relationships with other characters are defined by their particular history, motivations, desires and ways of seeing the world, e.g. Hamlet, Hedda Gabler, Willie Loman. Character is most often rehearsed and polished performance.

clear easy to understand; fully intelligible; free from obscurity

communicate succeed in conveying information

contrast an element of drama. Contrast is characterised by variation and the breaking of patterns in dramatic action.

conventions of forms and styles

accepted techniques that characterise dramatic forms and styles

convincing persuasive because of clear, definite and strong argument and presentation; leaving no doubt

create bring into being; produce; develop or build from one's own thought or imagination


Term Explanation

critiquing a skill of drama. Critiquing is evaluating the effectiveness of dramatic action (live or recorded theatre) through the framework of the dramatic languages.

demonstrate give a practical exhibition; to clearly and deliberately show

devising a skill of drama. Devising is the process of planning, trialling, structuring, refining and creating dramatic action using dramatic languages.

directing a skill of drama. Directing is the process of creating, shaping and managing dramatic action to realise a dramatic vision. The director interprets, listens, observes, articulates and negotiates with the creative team to create dramatic action.

discerning showing good judgment to make thoughtful choices

discriminating able to recognise or draw fine distinctions; showing careful judgment or fine taste

drama terminology the system of terms belonging to the field of drama

dramatic action the basic medium of all drama; the concrete physical expression of the dramatic languages, purposes and contexts. Dramatic action may be totally spontaneous and improvised, or planned and rehearsed. The playscript provides direction for building the dramatic action.

dramatic concept a possible assessment instrument for techniques assessing the Forming dimension. A dramatic concept is an original concept devised by the student communicated as a broad outline, detailed worked sample or demonstration. A dramatic concept is not a script or a polished performance.

dramatic focus an element of drama. Dramatic focus refers to the framing of dramatic action; inside, outside or the edge of action.

dramatic form the way the dramatic action is structured, organised and shaped

dramatic meaning the meaning/s or message/s communicated by manipulating the dramatic languages to create dramatic action. The creator/s may have a meaning they are attempting to communicate and audiences may receive multiple meanings according to their own interpretation of the playscript or performance.

dramatic style the way in which dramatic action is expressed, or performed. Dramatic styles have particular characteristics which can be identified, used and manipulated to create, shape and evaluate drama.

dramatic treatment a possible assessment instrument for techniques assessing the Forming dimension. A dramatic treatment is a reworking or vision for the staging of an existing work. The treatment will make specific reference to and incorporate the original playscript.

effective meets the assigned purpose

elements of drama the building blocks of dramatic form and style, which include role, situation, tension, focus, language, movement, symbol, mood and contrast


Term Explanation

engaging attracting and holding audience attention

evaluate assign merit according to criteria

evidence information drawn from a drama or performance that supports a position

explain present a meaning with clarity, precision, completeness, and with due regard to the order of statements in the explanation

facilitate progress or bring about development in dramatic action and meaning

familiar texts, materials, skills, contexts or purposes that have been the focus of learning experiences

focus concentration of attention on what an actor is doing, feeling and sensing; the direction of the actor’s or audience’s attention to a specific point, person or object

form see dramatic form

hybridity dramatic action that is created using conventions from multiple styles or forms, such as Cinematic Theatre

improvisation a skill of drama. Improvisation is the creation of dramatic action with little or no preparation. Improvisation uses the skills of making, accepting, extending and advancing offers.

improvising see improvisation

informed having relevant knowledge; being conversant with the topic

insightful understanding relationships in complex situations; informed by observation and deduction

interpret make meaning of a dramatic text as: a creator of dramatic action and meaning a performer of dramatic action and meaning the audience critiquing dramatic action and meaning

language an element of drama. Language refers to the way that ideas and feelings are expressed dramatically. Language encompasses the selection of words, delivery of language through voice and the use of body language to express meaning.

language conventions accepted language practices developed over time and generally used and understood, for example use of punctuation

live performance drama performance presented to a live audience

management direction or control in action or use

mediated performance performance that uses another medium such as film or virtual technologies to transfer live performance. Live theatrical performance is immediate, which positions it as a binary opposite to mediated performance.

mood an element of drama. The atmosphere created through the dramatic action.


Term Explanation

movement an element of drama. Movement describes the use of the body to communicate meaning.

opinion a personal view or attitude

partial attempted; incomplete evidence provided

perceptively recognises nuanced qualities of the drama, performance or performance-making situation. These observations may not be obvious on immediate examination.

performance a planned and rehearsed sequence of actions, embodied through acting using movement and voice, which communicates meaning to an audience

place an element of drama. Place describes the location and setting of the dramatic action, including the way they are communicated through staging.

playscript the text of a dramatic work

position a thesis stated in response or in relation to a question or provocation about a drama or performance

pre-text a textual source or stimulus that initiates the creation of a drama text. Pre-texts may establish context, purpose and actions, as well as aspects of elements of drama, such as roles, situation and mood.

published playscript a playscript that has been published by a recognised publishing agency

realise actualise; bring an idea or plan into reality or fruition

Realism a style of drama crafted to create believable representations of life. Roles and characters in Realism drama draw on real-life or life-like motivations.

recorded live performance

Audiovisual recordings of live drama performances are appropriate for study in Drama. Recorded live performance does not include film texts. See also live performance.

referencing styles accepted ways to acknowledge works drawn upon in student work

relationship an element of drama. Relationship refers to the interaction between people, people and ideas, and people and environment in dramatic action.

role an element of drama. The performer adopts the values, attitudes, status and motivations of the role. They act and react to the given circumstances of the drama, and their relationships with others are defined by the values, attitudes and behaviours particular to the type or status they represent, e.g. student, parent, business person. Role is often spontaneous and not a polished performance.

scriptwriting a skill of drama. The recording of dramatic action in writing, as script. Scripts are written in theatrical script format using the appropriate conventions and layout.


Term Explanation

situation an element of drama. Situation refers to the state of affairs and/or physical, emotional and social environment in which dramatic action unfolds.

skilful made or done well, showing a lot of ability; possessing or displaying accomplishment or skill, especially something that requires special ability or training.

space an element of drama. Space describes the use of space in the creation of dramatic action, staging and positioning of the audience to performers. Space also encompasses the levels, shape, proxemics, use of architecture and groupings to communicate through dramatic action.

stagecraft applying stagecraft is a skill of drama. It involves manipulating the features of the staging space, including space, objects and performers’ movement, to create meaning. Stagecraft specifically includes conventions of blocking, avoiding masking other actors, maintaining sightlines, taking cues, demonstrating an understanding of stage layout and direction, managing stage properties. Stagecraft conventions will differ according to the dramatic style.

style see dramatic style

superficial apparent and sometimes trivial, lacking in depth of understanding

symbol an element of drama. Symbols may be objects, sound, actions and images used as signs, which are ascribed with significance or meaning.

synthesise combine elements (information/ideas/components) into a coherent whole

tension an element of drama. Tension is the driving force of drama by engaging audience and creating anticipation and excitement. There are four types of tension: mystery, relationship, surprise and task.

terminology see drama terminology

thorough demonstrating depth and breadth, inclusive of relevant detail

time an element of drama. Time refers to the time or period in which dramatic action is set and the management of tempo, pace and rhythm in dramatic action.

use to operate or put into effect

working as an ensemble a skill of drama. A group of actors working collaboratively.


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Documents

Drama Senior Syllabus 2013 - Queensland Curriculum … · Web viewDrama is a unique art form that re-presents and re-enacts experiences, ideas, stories and emotions. Drama is one