Drama

Term 3, 2015
Outcomes and Indicators:
Making
DRAS2.1 Takes on and sustains roles in a variety of drama forms to express meaning in a wide
range of imagined situations.
sustains and builds belief in their roles
takes on both individual and group roles
makes decisions about role interactions, symbolic representations and the dramatic context at various stages of
preparing for the drama and during breaks in the action of the drama
interprets a wide range of imagined situations through the use of various drama forms, eg improvisation, movement,
mime, storytelling, puppetry, mask and playbuilding.
DRAS2.2 Builds the action of the drama by using the elements of drama, movement and voice
skills.
devises the action through movement and voice by adapting stories such as a well-known cultural story, developing
a particular character, exploring the consequences of the storys ending or creating dramatic meaning through
metaphor
interprets everyday and imagined situations to make drama by deciding about drama elements, eg tension, contrast,
symbol, time, space, focus and mood.

Performing
DRAS2.3 Sequences the action of the drama to create meaning for an audience.
demonstrates confidence in gesture, movement and voice skills
demonstrates how characters interact with each other
selects props, costumes, artefacts, sound effects and movement sequences to help define role, place and situation
to add to the meaning of the drama
makes decisions with others in various groupings about sequencing and dramatic structure to convey meaning
organises the space to devise and present their drama.

Appreciating
DRAS2.4 Responds to, and interprets, drama experiences and performances.
shares the process of shaping and making their own drama and the reasons for their choices
engages in drama as a respectful and appreciative audience for live performances, eg by watching in silence,
participating interactively and clapping at appropriate times
forms and exchanges opinions with others about drama experiences and performances.

This term each class will learn, rehearse and perform their CAPA performance. Each student will be given a role in the
performance and over the course of 9 weeks the class will work together to develop characters and put their acts
together.

Week
2

Focus for the week while developing your CAPA performance

Assign roles
Revise students characters for the CAPA performance.
Ensure each student has been assigned a role and discuss roles.
Provide each student with a copy of the script so they can go home and
learn their lines (if they have lines).

3
Focus
Focus is often used interchangeably with the terms concentration and
engagement, assisting the performer in the portrayal of believable
characters. This also implies memorisation of text (including word,
moves and gestures). Furthermore, focus requires the channelling
(focusing) of all the performers energies into achieving the given goals
or objectives of a character in a scene (otherwise known as wants).
4
Space
This dramatic element refers to the effective use of available space in a
performance. Different levels of space are utilised by the performer,
such as sitting, bending over, lying down or crawling. Of course, using
the space around you can mean downstage and upstage or walking in
or on a stage set. In order to use the space effectively, movement
becomes an important factor. Use of space also implies clearly
communicating to the audience where the action is taking place. This
may include any changes in location that may occur in the performance
(particularly if little or no sets and/or props are being used and there is a
heavy reliance on the audiences imagination).
5
Timing
Timing in performance refers to dramatic timing of movements and
gestures. We often take ourmovements for granted in everyday life, but
when performing, the use of our body must be carefully considered.
Timing can be manipulated to create contrast in a scene or simply to
demonstrate robotic, stylised and non-naturalistic movements. Rhythm
and pace are affected by timing.
6

Language

Evaluations

The use of language in performance can be verbal, vocal or non-verbal.

Language is the spoken text. It is the written script realised in
performance. While normally spoken by the actor, language can also be
chanted or sung. It can also be deliberately nonsensical (gibberish) for
dramatic effect. The choice of language in performance is crucial, as it
is forms a major means of communicating the story of the drama to the
audience. Exactly how the actor in performance uses language is
usually determined by the expressive skill of voice. However, language
can also be non-verbal, commonly referred to as body language.
7
Mood
Modern theatrical practice relies on sound to assist in a number of
ways. It can be useful in creating atmosphere or mood. Actors and their
bodies can construct effective sound in performance. Small props can
also create sound effects that can be used live during a show. Other
uses of sound involve the implementation of technology, such as
instrumental recordings and sound effects on CDs and mp3 players
(though this use of sound is technically a stagecraft element in the
theatre, not a dramatic element).
8
Symbol

9
10

The use of symbol in dramatic performance can be one of the simplest

and also most complicated of all techniques. Essentially, symbolism
implies a greater meaning than the literal suggestion. Props are the
easiest to work with because objects in everyday life are symbols in
society (for example a rose symbolises love; a cross symbolises
Christianity). Symbols can also be found in the use of colour. We often
symbolise purple with royalty, red with anger or desire, black with evil
and darkness or white with purity and innocence. Colour association
can be worthwhile symbols with costumes, sets and props. But the
most sophisticated use of symbol occurs with the application of gesture
and movement. A particular gesture performed by a character early in a
performance can be repeated later under different circumstances
(context) and have a very different meaning. Used only once, a gesture
can also be a powerful symbol. Of course, all of the above examples
can be combined for better effect.
Performance Rehearsals
CAPA performance