HSC Drama: Individual Project

The following table summarises the requirements for Individual Projects. It should be read in conjunction with Assessment and Reporting in Drama Stage 6 and the current Drama Stage 6 Course Prescriptions.
Individual Project Critical nal!sis " Director#s $olio Requirements This project comprises a folio of wor% based on one of the te&ts listed on the current Design'Critical nal!sis te&t list. This project comprises four reviews of live theatre performances attended during the (SC course. This project will ta%e the form of a structured report on the results of an investigative research. This project includes costume renderings and supporting materials based on one of the te&ts listed on the current Design'Critical nal!sis te&t list. This project includes lighting plans and supporting materials based on one of the te&ts listed on the current Design'Critical nal!sis te&t list. This project includes the development of a poster+ program and promotional materials based on one of the te&ts listed on the current Design'Critical nal!sis te&t list. This project includes the development of a three,dimensional model+ plans and supporting materials based on one of the te&ts listed on the current Design'Critical nal!sis te&t list. This project involves the development of a solo performance. This project involves the development of a script for a complete pla! for live performance. This project involves the development of a short video drama which is a narrative developed b! the student.

Critical nal!sis " Portfolio of Theatre Criticism

Critical nal!sis " pplied )esearch Project

Design " Costume

Design " *ighting

Design " Promotion and Program

Design " Set

Performance Scriptwriting -ideo Drama

Individual Projects will be determined b! negotiation between the student and the teacher at the beginning of the (SC course. Exclusions: " .hen choosing their Individual Project+ students must ensure that the! do not choose a topic or te&t that the! are stud!ing in Drama /as part of ustralian Drama and Theatre or Studies in Drama and Theatre0 or in an! other of their (SC courses. $or e&ample+ the! ma! not use e&tracts from a te&t the! are stud!ing in 1nglish for the Individual Project Performance+ or a pla!wright the! are stud!ing in ncient (istor! for the Individual Project2 Critical nal!sis /)esearch0. " Teachers should ensure that students do not submit the same project for any other HSC subject.

Text List for Individual Projects

Students undertakin Individual Project: Critical Analysis (Directors Folio) AND Individual Project: Design (Costume; Lig ting; Promotion and Program; !et) !ust select "#$ of the follo%in as the basis of their %ork: &randon' (ames )**+' ,Sukeroku: The -lo%er of $do. in Kabuki, Five Classic Plays' /niversity of Ha%aii Press' Honolulu. Ionesco' $u ene +000' ,1hinoceros. in Rhinoceros, The Chairs, The Lesson' Pen uin Classics' 2ondon. $llis' &en )**3' Falling Petals' Currency Press' Sydney. 1ostand' $dmond )**4' Cyrano de Bergerac' "5ford 6orld.s Classics' "/P' 2ondon. Shakespeare' 6illiam +003' The Tempest' +nd edn' Cambrid e School Shakespeare' Cambrid e /niversity Press' !elbourne. ) Simon' #eil +007' Barefoot in the Park, Samuel -rench Inc' 2ondon. $nri ht' #ick 8 Clarke' Terence )**3' The Sydney. enetian T!ins, Currency Press'

Sondheim' Stephen 8 6eidman' (ohn )**)' "ssassins' Theatre Communications 9roup' #e% :ork. !urray;Smith' (oanna +004' The Female of the #pecies' Currency Press' Sydney. Ibsen' Henrik )*3)' ,The 6ild Duck. in $edda %abler and &ther Plays' Pen uin Classics' 2ondon. Shepard' Sam )*4)' ,&uried Child. in #am #hepard' Plays (' -aber 8 -aber' 2ondon. This te)t list may be changed in total or in part every three years*

It is not necessary to use this particular edition of this play.

2012- 2013Timelineand AssessmentDates- TBC

The Individual Project "utcomes The student: (3.4 uses performance s%ills to interpret and perform scripted and other material (3.5 uses %nowledge and e&perience of dramatic and theatrical forms+ st!les and theories to inform and enhance individual and group,devised wor%s (3.6 demonstrates directorial s%ills (3.7 demonstrates s%ills in using the elements of production (3.8 values innovation and originalit! in group and individual wor% (4.3 demonstrates highl! developed performance s%ills (4.9 appreciates the d!namics of drama as a performing art (5.4 anal!ses+ s!nthesises and organises %nowledge+ information and opinion in coherent+ informed oral and written responses (5.5 demonstrates understanding of the actor,audience relationship in various dramatic and theatrical st!les and movements (5.6 appreciates the role of the audience in various dramatic and theatrical st!les and movements. Content In the Individual Project students learn how to initiate and present a project in an area of interest developed during stud! in the Preliminar! course. The! use the %nowledge+ s%ills and e&periences acquired in the Preliminar! course to select an area in which to specialise. Students then learn how to develop concepts and use innovation. The! learn how to describe their intentions and the approach the! intend to ta%e in realising the project. The! learn how to use s%ills appropriate to the area in which the! are wor%ing+ whether it is based on critical reviews of performances+ dramaturg!+ direction+ design+ performance+ scriptwriting or drama on video. The! learn how to manipulate theatrical elements and conventions to achieve their aims. In preparing their Individual Project, students learn how to plan, evaluate and structure their work into a refined presentation that meets the criteria of each project. Students chart the process of their project in a logbook. They learn how to reflect upon, record, interpret and synthesise research, edit preliminary sketches or drafts, adapt work to specifications of time or length, and to submit work in a prescribed form. The Individual Project will take one of the following forms: : : : : : Critical nal!sis Design Performance Scriptwriting -ideo Drama.

The content for the Individual Projects in Critical Analysis (Directors Folio) and Design (Set, Costume, Lighting, Publicity) will be based on one of the texts in a separately published list, which may change in total or in part every two years. Individual Projects will be determined by negotiation between the student and the teacher at the beginning of the HSC course.

Individual Project The Individual Projects will be negotiated between the student and the teacher at the beginning of the HSC course. It may be formalised by the writing of a contract that could be retained until the formal certification is completed prior to the examination. When choosing their Individual Project, students must ensure that they do not choose a topic or text that they are studying in Drama or in any other of their HSC courses. For example, they may not use extracts from a text being studied in English for the Individual Project Performance or a playwright being studied in Ancient History for the Individual Project: Critical Analysis (Applied Research Report). Teachers should ensure that students do not submit the same project for any other HSC subject. The Group Performances and Individual Projects have either time, word length and/or other requirements (see details below). In preparing for the HSC examination, student are to work within these requirements. Performances and projects that are substantially under duration, length or have required items missing may not fully address all or some of the marking criteria. Performances that go significantly over time will be stopped by the examiners, and material that significantly exceeds the stipulated word lengths or other requirements will be disregarded. 1ationale For each Individual Project students will be required to present a 300-word rationale clearly explaining the intention of the project and the approach that has been taken. The rationale is considered a part of the project. While not marked externally, it will be referred to by examiners in the marking process to confirm the intent of the student work. For the Individual Projects: Critical Analysis (Directors Folio), Design and Video Drama, the rationale will be an explanation of the directorial concept, which provides a coherent vision of the play or video drama. In the other project areas, Critical Analysis (Portfolio of Theatre Criticism) and Critical Analysis (Applied Research Report), Performance and Scriptwriting, the rationale will be an explanation of the overall intention of the work. This includes the approach taken and the reasons leading to eventual decisions. In the submitted Individual Projects, the rationale should be a separate item (ie not in the logbook). For Individual Project Performance, the rationale must be on the final page of the logbook.

2o book for Individual Project The logbook must be submitted with the Individual Project. Examiners may use it for verification, but the logbook will not be used as part of the external examination mark. However, it may be used as part of the school assessment. Teachers should date and sign logbooks, but assessment marks and comments should be recorded separately. The logbook is a documentation of the process of the Individual Project and should provide: : : : : : : : : : a clear statement of intention+ agreed to b! the student and the teacher+ in the form of a contract the motivations for selecting the project the ideas and approaches used evidence of research and selection of resources support material used+ including s%etches+ clippings+ photographs and other sources decisions made and solutions to problems the e&tent to which original intentions were achieved drafts and redrafts with e&planations for an! changes in direction evaluations and constructive advice from advisers or audiences personal reflections and evaluations.

$5aminations Teachers and students are reminded that they are required to certify that any submitted work is the students own and that any words, ideas, designs or workmanship of others have been acknowledged appropriately. Class teachers and principals must certify that the work has been done under the teachers supervision, was the students own work, and was completed by the due date.

Individual Project
Students ndividual !ro"ect options may not be changed after mid#$uly. %efore this date, any changes to students ndividual !ro"ect options must be notified in writing to the %oard and must be countersigned by the principal. The %oards fa& number is '()* +,-. /0/), marked for the attention of the 1rama Coordinator, 2&am Support Section. 3ption changes will not be accepted after this date. Students may not present an ndividual !ro"ect4 !erformance in lieu of another unfinished pro"ect or resubmit work undertaken in the !reliminary course for the 5SC.

"rou# Per$ormances and Individual Per$ormances

-or reasons of confidentiality' students are not allo%ed to see other students. e5aminations. 9roups of students %ho have presented their 9roup Performance and individuals %ho have presented their Individual Project in Performance are not permitted to become part of the audience for subse<uent roups and=or individuals. 9roup Performance %ill be e5amined by visitin e5aminers from the &oard of Studies to%ards the end of Term > of the HSC year. The teacher may be present as part of the audience but %ill not be a member of the $5amination Panel or perform any technical operations durin the 9roup Performances. ?ll students involved in a 9roup Performance %ill be studyin for the Hi her School Certificate Drama e5amination. 6here a school has fe%er than three students attemptin the e5amination or a member of the roup is incapacitated by illness or misadventure' other students of the school @not attemptin the Hi her School Certificate e5aminationA may be used to achieve the re<uired numbers. These students should not be involved in the development of the 9roup Performance. The use of students' other than HSC Drama students' must be approved by the Director' ?ssessment and $5aminations.

%&amination o$ t e Individual Project: Per$ormance

Please note that the Checklist for 9roup Performance above applies to the Individual Project' Performance %ith the addition of the follo%in . Paper%ork' completed and available for e5aminers' should include the follo%in : 'e$ore t e e&amination( students and t e teac er s ould sign student)teac er Individual Declarations. These forms certify that the %ork is the student.s o%n and that the teacher has monitored the development of the project. ?ppropriate documentation should be completed if there is a <uestion that the %ork is not the student.s o%n. $5aminers should be informed if forms have not been si ned for this reason. A #rogram o$ running order is essential so that e5aminers are a%are of the order of Individual Performances. Student numbers should be included on pro rams rather than student names. Times for scheduled breaks should also be included. Some fle5ibility %ithin the pro ram may be re<uired but %ill be ne otiated by e5aminers %here necessary. -ifteen minutes are allocated for the total time of e5amination of the Individual Performance' includin the Performance and interaction. * e +ationale $or Individual Project: Per$ormance should be on the last pa e of the 2o book to be referred to by e5aminers. -or submitted Individual Projects' the 1ationale %ill be sent in separately from the 2o book. Log,oo-s for $?CH student must be iven to e5aminers in pro ram order for Individual Performances.

*ime limits must be adhered to. Students should be iven several opportunities to perform before the e5amination to ensure %ork runs %ithin time stipulations @Individual Performance 3B4 minutesA. $5aminers %ill stop performances that o over time. Performances %hich are under time %ill not meet the criteria and may be disadvanta ed.

9lossary
conventions common principles of form and/or style shared by performers and audiences, usually by tradition, but sometimes negotiated within the performance the idea or vision of the designer, in consultation with the director, in interpreting the play for performance include line, shape, space, colour, mood, atmosphere, visual and aural texture, scale and visual relationships

desi n concepts desi n elements

directorial concept=vision is based on the directors creative interpretation of the plays text, themes, characters, style, mood, structure and context elements of drama include tension, focus, rhythm, space, movement, sound, time, symbol, mood, pace, pause and atmosphere, character/role, actor and audience relationship include direction, dramaturgy, design, technical operation and stage management (see Elements of Production in Performance page 20) involves students in learning activities that focus on the experience rather than the theory only. For instance, experiential learning in Design will involve students creating a design, working with design rather than just reading about a design established sets of structural principles (sometimes rules) by which drama and/or theatre is produced and/or critically evaluated. Examples include historical forms such as Ancient Greek theatre, commedia dellarte, melodrama, farce, or one of the forms of classical Asian theatre, and recent forms such as community and event theatre, contemporary, avant-garde performance, mixed media, or drama on film spontaneous, unscripted (but not necessarily unplanned or unprepared) performance, used either as a rehearsal technique or in live performance an article on a production, or an aspect of a production, published in a newspaper or magazine. It could be based on an interview with the playwright, director, designer(s) or a performer or performer(s) or include quotations from any of these

elements of production

e5periential learnin

forms

improvisation

media feature story

performance style

refers to elements used in the realisation of a work in performance. Where the work is text-based, the written playtext itself will often imply the adoption of a certain performance style. Thus a text suggestive of a music-hall entertainment implies a music-hall style of presentation. It is also possible for a director to approach a work through a performance style alien to the original text (eg a Kabuki Shakespeare) a declaration explaining motivations and making known intentions. In this syllabus the term is used to expand the idea of the artistic idea or concept behind each of the Individual Projects established aesthetic features of any part of the process of making and performing works of drama and theatre (including styles of writing, directing, design and performance) the set of signs that may be read as producing meaning in any work, not including the contextual meanings that the reader brings. So the text of a novel is the words on the page, the text of a film is the images on the screen together with the soundtrack, and the text of a theatrical performance includes all the elements of production commonly held meanings and/or values, or types of practice, in a particular society, considered historically the process of action-learning and exploration conducted in class or in the rehearsal room, involving asking theoretical and practical questions and exploring them through the experimental investigation of possible answers

rationale

styles

te5t

traditions %orkshop