2013 HSC Notes from the Marking Centre – Drama
Introduction
This document has been produced for the teachers and candidates of the Stage 6 Drama course. It contains comments on candidate responses to the 2013 Higher School Certificate examination, highlighting their strengths in particular parts of the examination and indicating where candidates need to improve.
This document should be read along with:
- the Drama Stage 6 Syllabus
- the 2013 Higher School Certificate Drama examination
- the marking guidelines
- Drama – frequently asked questions
- Advice for HSC students about examinations
- other support documents developed by the Board of Studies, Teaching and Educational Standards NSW to assist in the teaching and learning of Drama in Stage 6.
Practical examination
Group Devised Performance
Characteristics of stronger group performances:
- a clear and fully developed concept was presented
- the audience was engaged throughout the performance
- an appropriate and effective structure was employed
- a unity of purpose was demonstrated, by which each dramatic moment contributed to the meaning of the piece
- the elements of drama (eg focus, tension, symbol, space and mood) were manipulated and controlled
- characters/role relationships were developed and realised
- the performance skills of the candidates were appropriate to the dramatic and theatrical demands of the purpose and style of the performance.
Characteristics of weaker group performances:
- a developed concept emerging out of research was lacking
- an incoherent and/or superficial performance was presented
- disconnected and often unrelated scenes were presented with awkward, unmotivated and superficial transitions (eg blackouts or entrances and exits)
- minimal reference to the chosen style was demonstrated
- character(s) or role(s) were created that lacked clarity in identity and motivation, often displaying unidimensionality and little physicality
- characters engaged in limited interaction with other characters/roles
- performances lacked integrity because of their over-reliance on sets, props, music, sound or lighting special effects, exits and entrances, or other production elements.
Individual Project
Performance
Characteristics of stronger individual performances:
- well-rehearsed, complete and clear theatrical journeys for their characters were presented
- an understanding of the role of the audience in the performance was demonstrated and that relationship was manipulated
- an understanding of the conventions of the style adopted for the performance was demonstrated
- characters were realised with absolute conviction, clarity and truth
- dramatic elements such as rhythm, pace, timing, mood, atmosphere and dramatic tension were employed effectively
- pieces that suited the performance skills, abilities and strengths of the candidates were selected.
Characteristics of weaker individual performances:
- performances were presented with little theatricality, often simplistic and without a clear or complete theatrical shape or structure
- scripts demonstrated minimal or no analysis of dramatic elements, including moments and turning points
- little or no awareness of the audience was demonstrated
- there was an over-reliance on song, dance or production elements, eg music, lighting effects and props
- there was a lack of spatial awareness which resulted in unmotivated movement, aimless wandering or inappropriate use of the space
- one-dimensional, unmotivated characters with little internal or external energy or belief were presented
- scripts from film or TV were presented without theatricality.
Submitted projects
Individual project: critical analysis
Portfolio of theatre criticism
Characteristics of stronger projects:
- particular theatrical elements (eg the play’s ideas, directorial choices, acting, performance style, set, costume, lighting or sound design) that created dramatic meaning for the audience were identified, selected and evaluated
- relevant elements were identified that gave shape, created an impact or made the production as a whole unique
- evaluations were supported, substantiated and justified with specific reference to key moments from the performance viewed
- perceptive and accurate observations were embedded, supported by research/evidence
- an appropriate and authoritative reviewer’s voice was used.
Characteristics of weaker projects:
- theatrical elements were identified but were not expanded upon with reference to specific moments to justify their opinion
- generalisations were made that often provided simplistic, hyperbolic or inappropriate justification for their evaluations
- an appropriate reviewer’s voice was not created or the voice was not altered to suit the target audience of the chosen publication.
Applied research project
Characteristics of stronger projects:
- a breadth and depth of initial research was demonstrated that led to a hypothesis that was original, focused and manageable
- a substantial range of resources and effective research tools was sourced, analysed and synthesised, using primary and secondary sources and, when appropriate, their own practice
- sophistication, confidence and authority were demonstrated in the use of language, style and structure.
Characteristics of weaker projects:
- an inappropriate, broad or unmanageable hypothesis that was difficult to research and/or prove was presented
- irrelevant, minimal, incomplete or inappropriate data or research was relied on that often did not substantiate the hypothesis
- projects were presented that lacked attention to detail, such as formatting, editing, footnoting and proofreading.
Director’s folio
Characteristics of stronger projects:
- directors’ visions were presented that were effective, practical and inspired by the play rather than imposed on the play
- extensive knowledge and understanding of the play’s ideas, dramatic elements, style and staging demands were demonstrated by producing a highly effective realisation on stage
- a sophisticated awareness of how elements of drama can be manipulated through directorial and design choices to create engaging theatre was demonstrated
- the intended audience experience was clearly articulated through all areas of the project and effective rehearsal techniques with actors were used to support this intention.
Characteristics of weaker projects:
- a superficial engagement with the play was demonstrated and an undeveloped, inappropriate, impractical or imposed directorial concept was presented
- an understanding of the practicalities of staging the production was lacking
- specific analysis of the text was lacking such as how the ideas and characters in the play would be realised according to the director’s vision
- a superficial approach to working with the actors was provided which stated the obvious, eg saying that actors would read the play.
Individual project: design
Lighting
Characteristics of stronger projects:
- audience engagement was deliberately manipulated through highly appropriate atmosphere and mood choices that transported the audience into a world appropriate to the play
- a unified design was clearly evident in all aspects of the work
- well-plotted cues were presented that created areas of focus, mood and atmosphere and dramatic meaning
- support material demonstrated clear links between the intended lighting states and the equipment selected to deliver the design choices.
Characteristics of weaker projects:
- directorial vision of lighting design choices was poorly articulated for the chosen play
- inappropriate and/or impractical technical choices were made when selecting lanterns, rigging positions, angle and direction, circuit loads and channel allocations
- colour choices were inappropriate and/or overly simplified
- a few varied lights were used as a substitute for a full, well-justified rig that would leave areas of the stage in darkness, or presented their designs using simple washes or strong colour.
Costume
Characteristics of stronger projects:
- a clear vision of the chosen play as a theatrical performance was presented
- the individual costume requirements of each character were understood within an overall concept
- colour and texture were used effectively to enhance the themes and reflect the mood of the chosen play
- strong support material was provided that was consistent with their designs and reflected the fabric and texture shown in their projects
- designs were clearly presented
- costumes for characters were designed that reflected the central themes of the play
- evidence of a thorough and well-researched design process was displayed
- rendering techniques were appropriately theatrical.
Characteristics of weaker projects:
- work was undersized and/or incomplete
- projects were not theatrical and were presented as ‘fashion design’
- projects contained an inappropriate selection of characters and/or scenes that did not reflect the journeys of the chosen play
- the concept was not consistent, or was imposed rather than developing one from a study of the play
- FOUR additional costumes for the play were not presented as stated in the project requirements
- support material provided was not adequate
- fabric swatches were not used, or fabric swatches that did not connect with their renderings were used
- there was no differentiation between the various characters in the play
- the needs of, and requirements for, actors wearing the costumes were not taken into account.
Promotion and program
Characteristics of stronger projects:
- atmosphere of the world of the play on stage was clearly communicated through visual design choices carried through the director’s notes and media feature story
- a carefully sequenced and believable marketing/publicity journey was provided, including the poster, the flyer image, written copy, the media feature story, and the program
- a unified design for their poster, flyer and program was presented
- a balance between aesthetics and functionality was achieved
- appropriate ‘actors’ who were the right gender and age for characters in the play, and costuming that was convincing for the image/concept were used
- a knowledge of the world of the play, and the chosen theatre company’s profile appeal to an appropriate target audience was demonstrated
- the chosen theatre company branding was appropriate and current
- the written material included sophisticated language, including appropriate sales and/or marketing language to promote and attract potential audiences
- an understanding of the chosen existing professional theatre company’s profile was demonstrated
- where candidates created their own theatre company, a convincing profile was developed through the use of an appropriate name, logo, location, target audience and personnel
- a clear and appropriate use of the ‘voice’ of the chosen director in the program’s director’s notes was demonstrated
- there was attention to detail in the program, taking the reader on a journey on each page through the manipulation of colours, images and layout
- images of cast and crew in the program were presented that were appropriate to the theatre company profile, the chosen play and selected character(s)
- presented only one copy of the program and flyer in the appropriate form.
Characteristics of weaker projects:
- a limited knowledge of the chosen set text was displayed
- multiple simplistic, cluttered, clichéd images and/or images from past productions were used without manipulating them
- inappropriate visual and written choices were included that reflected little understanding of the world of the play, their chosen theatre company and the intended target audience
- a lack of understanding of the purpose of each element of the project was demonstrated
- an understanding of the profile of the chosen established theatre company and its stylistic promotional approach was lacking
- there were unrealistic and inconsistent images of cast and crew in the program that were inappropriate to the theatre company profile, the chosen play and selected character(s)
- a sequential order of material in the program providing a clear journey through the production was not presented
- large images and text of poor resolution were used on the poster/flyer making it difficult for the viewer to read the title of the play or clearly see what the image was
- the program or flyer was not in the appropriate form
- written material was repeated across all areas
- flyer copy was significantly less than 150 words and the media article was significantly less than 500 words.
Set
Characteristics of stronger projects:
- highly appropriate design/visual choices evoked a clear theatrical experience
- historical period and style were researched widely
- sets were constructed that supported the dramatic action, mood and setting of the chosen scene, while still considering the whole world of the play and later scene changes
- appropriate building materials were selected that supported their concepts
- support material contained clear floor plans and scene changes, and included detailed prop placement, a 1:25 scaled figure and sightlines for the audience, and a scenic breakdown
- the elements of drama, such as space, mood and atmosphere were used to create tension in all their design choices
- a strong understanding of how proxemics could be used in their sets, and how a director could use them for status, time and relationships was demonstrated
- an understanding that the model box and descriptions that form this project are intended to communicate to a theatre workshop department, actors and a director was demonstrated
- the logistics of the whole play, such as WHS, exits and entrances were realised
- sets were designed in the context of a specific theatre with special consideration paid to the actor–audience relationship and sightlines.
Characteristics of weaker projects:
- an isolated scene was presented without providing a clear intention for the use of the stage space
- the design was not supported by the ideas and/or issues in the play or the play’s style
- the manipulation of the actor–audience relationship was not considered
- the practicalities of the set within the space of the theatre were not considered
- dioramas rather than sets were created, indicating a lack of understanding of theatrical context
- floor plans did not provide sightlines (specifically from the audience’s perspective) of stage properties within the space
- construction materials were selected that did not clearly communicate what they imagined the stage design to be
- documentation lacked detail such as measurements, descriptions of where the action for each scene would take place and how set pieces would be moved
- the mode of presenting their design was not appropriate to their skills
- the set designed was lacking an awareness of the practicalities of performance, eg lacking an actor entrance and exit space
- models were not constructed to a 1:25 scale and were made of inappropriate materials
- the CD as well as any print-outs of the set design were not included when submitting a computer-generated design
- past productions/films were often drawn on for their inspiration rather than engaging directly with the text and examining the appropriate historical period.
Individual project: scriptwriting
Characteristics of stronger projects:
- a sophisticated understanding of the scriptwriting process and product was demonstrated
- a sustained theatrical vision created a coherent world with a clarity of purpose
- dramatic action was manipulated with flair and precision, displaying both control and insight in the use of mood, rhythm, and tension
- a sophisticated use of language was displayed that created visual and verbal images, and appropriate and distinct character voices and relationships
- the unique qualities of live performance, production elements, technical aspects and the practicalities of acting were manipulated
- technical effects such as sound, lighting and projection were used in a judicious way.
Characteristics of weaker projects:
- projects lacked structural and/or thematic complexity and/or coherence
- scripts contained dramatic action lacking in direction and/or resolution, paying insufficient attention to the needs of the audience, the actors or director
- concepts, plots, characterisation and/or scene structures were more suitable for television or film productions than live theatre, and were essentially screenplays that had been ineffectively and superficially written for the stage
- narrators, voice-overs and/or off-stage action, technical effects (such as projection and film) and set and/or prop changes were made, adversely affecting audience engagement
- issues, concepts or topics were dealt with in an unoriginal or overly derivative manner
- did not meet the published specifications for the Project.
Individual project: video drama
Characteristics of stronger projects:
- a clear understanding of the story they wanted to tell and where the audience was placed in relation to that story was demonstrated
- the conventions and screenwriting demands of a short film were understood
- the elements of drama (including character, tension, focus, mood, pace, time, space, and symbol) in the narrative were controlled
- an understanding of mise-en-scene was demonstrated, paying attention to detail and making choices about everything the camera saw, eg location, costume, casting and lighting
- the story/narrative was related using images
- camera shots were carefully controlled to reveal and create dramatic meaning
- a tripod was used where appropriate
- post-production elements were used to enhance and layer meaning
- the pace and timing of the film was controlled in the editing process
- music was used skilfully to enhance the dramatic meaning.
Characteristics of weaker projects:
- an unclear dramatic narrative was presented
- the elements of drama (including character, tension, focus, mood, pace, time, space and symbol) were not controlled
- poor understanding of the conventions and screenwriting demands of a short film was demonstrated
- derivative works based on recent television programming were created
- the camera was used as a recording device without exercising control of shot size, length and angle
- there was an over-reliance on wide shots
- hand-held camera shots were used without a clear dramatic purpose or in a way that worked against audience engagement with the narrative
- footage was out of focus or difficult to see due to poor lighting
- poor quality live sound was recorded
- little or no attention was paid to the mise-en-scene
- inappropriate choices were made regarding casting
- a collage of shots and images was used without any clear dramatic purpose, or there was a reliance on still photographs to create a slide show
- there was an over-reliance on special effects in post-production, leading to poor image quality or over-used effects in editing that did not contribute to the meaning of the film
- editing merely linked scenes without exercising control of pace and timing to build tension
- there was poor control of sound levels in post-production, with live sound and added music being set at very different volume levels.
Written examination
Section I – Australian Drama and Theatre
Question 1
Candidates showed strength in these areas:
- defining a social concern and discussing how this social concern is translated to the stage and how this engages the audience
- demonstrating understanding of the quality of audience engagement
- understanding forms, styles, techniques and conventions and linking these with the social concerns of the plays
- choosing appropriate material from class and productions that articulated how audiences respond to on-stage action.
Candidates need to improve in these areas:
- addressing all parts of the question
- discussing social concerns rather than personal concerns
- using their workshop experiences from an audience’s perspective rather than from an actor’s perspective
- describing the plays that are to be performed rather than as texts to be read
- addressing both texts equally.
Section II – Studies in Drama and Theatre
Question 2 – Tragedy
Candidates showed strength in these areas:
- identifying and interpreting how human suffering is explored in tragedy and how these ideas are staged to engage the audience
- providing a balanced and thorough discussion of both plays as theatre
- demonstrating insightful ideas about how the plays might be staged
- supporting their argument with highly relevant examples from their own workshop experiences or imagined directorial choices.
Candidates need to improve in these areas:
- addressing all components of the question
- linking their ideas about tragedy, using terms such as catharsis and hubris, with the staging of human suffering
- not just outlining the stories of the plays
- going beyond exploring the history of Greek theatre.
Question 3 – Irish Drama
Candidates showed strength in these areas:
- identifying the struggles of the characters in an Irish context and giving convincing and relevant examples of how these struggles can be staged
- demonstrating an insightful understanding of theatrical techniques used to contribute to an audience’s understanding of character struggles
- articulating a coherent and comprehensive argument supported by equal treatment of both plays
- supporting their response with relevant, integrated evidence from workshops, stage productions and hypothetical staging as director.
Candidates need to improve in these areas:
- addressing all parts of the question
- moving beyond a superficial outline of the Irish context and character struggles
- analysing how theatrical moments contribute to audience understanding.
Question 4 – Brecht
Candidates showed strength in these areas:
- exploring the effect on the audience of the dramatic structure of Brecht’s plays
- explaining how Brecht used techniques to manipulate the audience through the structure of his stories
- reflecting on workshops or evidence that clearly demonstrated where structure had been manipulated to achieve Brecht’s aim.
Candidates need to improve in these areas:
- understanding Brecht’s techniques such as Verfremdungseffekt, gestus or alienation
- addressing all parts of the question
- choosing workshop experiences that are relevant to the question.
Question 5 – Site-specific, Street and Event Theatre
Candidates showed strength in these areas:
- interpreting the physical environment as location and cultural context, and the importance of environment in shaping the creation and experience of site-specific theatre
- exploring the importance of physical environment in shaping the case studies from the two set texts
- discussing their own process and performance of site-specific work in light of their particular environment
- linking their own processes of creating site-specific work with the processes of the practitioners.
Candidates need to improve in these areas:
- understanding the physical environment or its impact on shaping an event
- moving beyond giving basic descriptions of events that broadly or superficially reference physical location
- discussing specific examples of case studies from the set texts.
Question 6 – Approaches to Acting
Candidates showed strength in these areas:
- comparing how the practitioners use the body to express dramatic meaning in performance
- using relevant and insightful examples of both their classroom workshop experiences and other production examples.
Candidates need to improve in these areas:
- addressing all aspects of the question
- comparing the practitioners
- providing personal workshop experience and/or production evidence that support their discussion and relate to the question
- defining and/or describing their understanding of how the practitioners train actors to use their body in an expressive way in performance.
Question 7 – Verbatim Theatre
Candidates showed strength in these areas:
- analysing how the multiple voices in Verbatim Theatre create meaning and engagement for the audience
- understanding that these voices could be made apparent by the playwright, director or actor by the structure and shaping of the testimonies and personal stories in the text and/or on the stage
- examining how the manipulation of theatrical conventions like the fourth wall and techniques particular to Verbatim Theatre have a deliberate impact on the audience
- supporting their discussion with relevant staged examples
- demonstrating a sophisticated understanding of the purpose of Verbatim Theatre.
Candidates need to improve in these areas:
- selecting practical workshops that help to exemplify their argument
- engaging with evidence from either text
- interpreting how the various voices in Verbatim Theatre assist in creating meaning rather than retelling the plot of both plays
- exploring how dramatic techniques were used to shape the audience’s perception and experience of the plays rather than listing dramatic techniques.
Question 8 – Black Comedy
Candidates showed strength in these areas:
- identifying and interpreting characters and their relationships in relation to both comedy and discomfort
- identifying the techniques and conventions of black comedy in the two plays studied
- showing an understanding of the presentation and impact of humour and discomfort on stage
- exploring how the techniques and conventions allow audiences to experience both discomfort and humour
- exploring both texts with equal rigour
- supporting their argument with highly relevant examples from their own workshop experiences or imagined directorial choices.
Candidates need to improve in these areas:
- engaging with all the components of the question
- analysing the way techniques and conventions were used
- moving beyond describing the plot or humorous incidents and linking these to the question.
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