EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

EML444 Assessment Two

Resource Booklet and Performance Evaluation

Due Date: 29/10/22 (Approved Extension)

Student Number: 11686008

Student name: Chloe Godfrey

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Group Performance - Manufactured Manslaughter

The Group Performance (30 marks)

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

Topic List – Group Performance (20120-2014)

ONE topic is to be selected by each group from the following:

1. All clear
2. Ajax
3. Coq au Vin
4. Fly by night
5. 710 x 490cm
6. Finders – Keepers!
7. Boots
8. Mlt.com

The group performance consists of four HSC students performing ‘Manufactured Manslaughter.’
Each of the four students presented performance skills appropriate to the style/form of the dramatic
performance. The clever interpretation and use of Brechtian and Theatre of the Absurd elements was
evident, although needed more sophistication for delivery of the intent behind the performance. The
vocal dynamics in the performance were sound, portraying a non-linear plot line. Each student
portrayed clarity in the projection of their voices, as their stories make life meaningful by clinging to
the illusions of love and family. The tone, pitch and pace of the characters was cleverly delivered,
giving the markers an insight into the characters personal stories as they express illusions concerning
love. Additionally, the declarations of love and support professed by the characters was creatively
articulated through exploration of low and high tones voices, high expressing excitement and low
expressing anger or sadness. Spatial awareness of each character could have been explored more.
Centre stage was evidently used, making it visible for the markers and audience to comprehend the
story. Although, downstage could have been used more, this enables the audience and markers to gain
a better perception of a character’s emotions. The energy throughout the performance was lively and
encapsulated the audience into understanding each of the characters individual stories.

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

GIRL IN PINK DRESS

The girl in the pink dress made her intention very clear throughout the performance and was mostly
sophisticated. There were various juxtapositions of ideas and dialogue used throughout the
performance and were theatrically sustained to an adequate standard. The piece was engaging, and in
some parts high on energy. The interpretation of Brechtian and Theatre of the Absurd was somewhat
evident, although needed more sophistication for delivery behind the intent of the performance. The
characters use of dialogue was at times sophisticated, which automatically draws the audiences
attention to her. Although, at times she lacked characterisation on certain lines, which could have
provided the audience a deeper insight into her character’s personal story and intention behind the
dialogue used. Throughout the piece, I gained the perspective she was the dominant leader of the
group and seemed most confident, making her more engaging. Through her mostly high energy
performance, the mood was lifted as humour and possible commonalties between the audience’s and
characters personal relationship experiences may be relatable.

The group worked in unison and the piece was dynamic. The character plays the role of being
brainwashed and controlled by her partner. She portrays this role well as she describes her revealing
outfits are worn to receive ‘compliments.’ Although, whilst she maintains focus, at times there isn’t a
great deal of energy and belief in character, a little more sophistication was needed. Her interactions
with the other three characters are mostly consistent and hold dynamic and truth.

The girl in the pink dress mostly demonstrates clarity in her vocal work and controls her movements.
She is provided opportunities to exploit her voice in different tones, to represent the emotions of the
character and her experiences, however this isn’t always evident. She makes use of spatial awareness
and has some control over timing and vocal work. I would encourage this character to continue
working on her vocal skills, at times it is difficult to differentiate the mood in particular scenes. To
improve these skills, I would strongly encourage the character to practice dynamic warm ups and
perform various vocal and movement dynamics during rehearsal times to help strengthen both
individual and group dynamics. Noting down and individually analysing the intention of each scene in
sequence, will help improve her characterisation. Another suggestion to further improve these skills is
to gather and further research Brechtian and Theatre of the Absurd elements.

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion One: Performance skills appropriate to the style or form (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Vocal Dynamics: projection, clarity, tone, pitch, pace

- Movement Dynamics: control, energy, spatial awareness
- Timing: control of delivery, responses to cues, awareness of rhythms

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

MARKING GUIDELINES

Criteria Marks
Demonstrates exemplary performance skills
including vocal, movement and timing 9-10
appropriate to the style or form
Demonstrates substantial performance skills
including vocal, movement and timing 7-8
appropriate to the style or form, although some
skills may be more refined than other
Demonstrates adequate performance skills
including vocal, movement and timing which
may vary in their level of delivery in relation to
control of vocal projection, clarity, tone, pitch, 5-6
pace, dynamics; control, energy, spatial
awareness and dynamics in movement; control
of delivery, responses to cues and awareness of
6
rhythms in timing
Demonstrates limited performance skills
including vocal, movement and timing
which may be inappropriate to the style or 3-4
form

Displays minimal performance skills with 1-2

little understanding of style or form

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion Two: Sustaining and developing role/character (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Belief/Conviction/Energy
- Complexity/Dimension
- Interaction with other characters or roles
- Focus

Outcomes assessed: H1 .1, H1 .2, H1 .3, H1 .4, H3.3

MARKING GUIDELINES

Criteria Marks
Demonstrates exemplary ability to realise and
sustain subtly defined role(s) or character(s). 9-10
Effectively interacts with other role(s) or
character(s) in the performance
Demonstrates substantial ability to realise and
sustain role(s) or character(s). Some aspects of
sustaining and developing role(s) or character(s) 7-8
may be more refined than others. Effectively
interacts with other role(s) or character(s) in the
performance
Demonstrates adequate ability to realise and
sustain role(s) or character(s). Variations may
occur in levels of belief/conviction/energy, 5-6
complexity/dimension and focus. There are
often inconsistencies in interactions with other 6
role(s) or character(s) in the performance

Demonstrates limited ability to realise and

sustain role(s) or character(s). Limited 3-4
interactions with other role(s) or character(s) in
the performance
Displays minimal or no ability to realise role(s)
or character(s). May play themselves. Minimal 1-2
participation or interaction with other role(s) or
character(s) in the performance

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion Three: Structure and dramatic coherence (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Effective use of dramatic elements and performance conventions

- Performance as part of an ensemble
- Establishing and maintaining a clear intention and an appropriate relationship with the
audience in the context of the performance space
- Demonstration of innovation, flair and integrity in the dramatic work
- Effective use of the space in the context of the performance style

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

MARKING GUIDELINES

CRITERIA MARKS
Demonstrates a clear intention through
sophisticated use of the elements of drama and
performance conventions

Demonstrates exemplary ability to work as part

of an ensemble.
9-10
Demonstrates integrity and innovation or flair,
in presenting a theatrically coherent
performance which evokes a powerful audience
response

Demonstrates sophisticated use of space in the

context of the performance style
Demonstrates a clear intention through
substantial ability to control the elements of
drama and performance conventions

Demonstrates substantial ability to work as part

of an ensemble
7-8
Presents a coherent, and largely theatrical
performance, that effectively engages the
audience in the context of the performance
space

Demonstrates effective use of space in the

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

context of the performance style

Demonstrates adequate ability to work with the
elements of drama and performance
conventions, with some inconsistencies in the
level of control

Demonstrates adequate ability to work as part

of an ensemble

Demonstrates some intention and reasonably

engages the audience in the context of the 5-6
performance space

Presents a generally coherent but often 6

superficial performance that may contain some
theatricality

Demonstrates some awareness of the use of

space in the context of the performance style
Demonstrates frequent inconsistencies in use of
the elements of drama and performance
conventions

Demonstrates an inconsistent ability to work as

part of an ensemble

Displays a limited ability to engage the 3-4

audience

Presents a simplistic performance with limited

coherence or little theatricality

Demonstrates predictable or simple use of

space
Demonstrates minimal use of the elements of
drama and performance conventions

Demonstrates little or no evidence of working as

part of an ensemble

Demonstrates little or no engagement of the 1-2

audience

Presents an incoherent performance

Demonstrates little or no understanding of the

use of space

Numerical Mark – 2/4

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

GIRL IN THE CHECKERED SKIRT

The girl in the checkered skirt made her intention clear and the performance was mostly sophisticated.
There were multiple juxtapositions of ideas, stories and dialogue used throughout the performance
and were theatrically sustained to an adequate standard. Her performance was engaging, but at times
lacked energy. The interpretation of Brechtian’s technique ‘use of a narrator’ was evident, although
greater sophistication was needed to deliver the intent of her monologue. The characters use of
dialogue was at times sophisticated, although she needed more emphasis on emotion, thus would
automatically have drawn the audiences attention to her in the group. She lacked characterisation on
specific lines, enhancing this characterisation could have provided the audience a deeper insight into
her intent and the dialogue used. Whilst watching the performance, I felt she was the weakest of the
group, in terms of delivery and characterisation. Thus, my attention was drawn to other characters as
they were more engaging. Her performance could have been more emotional in specific scenes,
especially when expressing her character’s personal story. This would have allowed the audiences to
comprehend, relate to or empathise with her personal experiences.

The group worked in unison and the piece was dynamic. Through this performance, I understood her
declaration of love and support expressed towards her group members. She maintained focus,
although at times lacked energy and belief in character, more sophistication was needed to be a
believable situation. The characters interactions with the other three characters was mostly consistent
and held dynamic.

The girl in the checkered skirt mostly demonstrated clarity in her vocal work and controlled her
movements. She was presented opportunities to exploit her voice in different tones, for the audience
to critically understand the study in context with the story being told, however this wasn’t always
evident. The character makes use of spatial awareness and had some control over timing and vocal
work. I would encourage the character to continue working on her expression of emotion, at times it is
difficult to interpret the emotional context in certain scenes. To improve these skills, I would strongly
recommend she practices rein acting different characters during rehearsal times to help strengthen
both individual and group dynamics. Before rein acting these characters, I would recommend she
researches the persona of each character and how they express specific emotions. Thus will help to
improve her characterisation when acting out various characters. Another suggestion to further
improve these skills is to further research Brechtian skills such as breaking down the fourth wall and
use of narrator.

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion One: Performance skills appropriate to the style or form (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Vocal Dynamics: projection, clarity, tone, pitch, pace

- Movement Dynamics: control, energy, spatial awareness
- Timing: control of delivery, responses to cues, awareness of rhythms

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

MARKING GUIDELINES

Criteria Marks
Demonstrates exemplary performance skills
including vocal, movement and timing 9-10
appropriate to the style or form
Demonstrates substantial performance skills
including vocal, movement and timing 7-8
appropriate to the style or form, although some
skills may be more refined than other
Demonstrates adequate performance skills
including vocal, movement and timing which
may vary in their level of delivery in relation to
control of vocal projection, clarity, tone, pitch, 5-6
pace, dynamics; control, energy, spatial
awareness and dynamics in movement; control
of delivery, responses to cues and awareness of
5
rhythms in timing
Demonstrates limited performance skills
including vocal, movement and timing
which may be inappropriate to the style or 3-4
form

Displays minimal performance skills with 1-2

little understanding of style or form

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion Two: Sustaining and developing role/character (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Belief/Conviction/Energy
- Complexity/Dimension
- Interaction with other characters or roles
- Focus

Outcomes assessed: H1 .1, H1 .2, H1 .3, H1 .4, H3.3

MARKING GUIDELINES

Criteria Marks
Demonstrates exemplary ability to realise and
sustain subtly defined role(s) or character(s). 9-10
Effectively interacts with other role(s) or
character(s) in the performance
Demonstrates substantial ability to realise and
sustain role(s) or character(s). Some aspects of
sustaining and developing role(s) or character(s) 7-8
may be more refined than others. Effectively
interacts with other role(s) or character(s) in the
performance
Demonstrates adequate ability to realise and
sustain role(s) or character(s). Variations may
occur in levels of belief/conviction/energy, 5-6
complexity/dimension and focus. There are
often inconsistencies in interactions with other 6
role(s) or character(s) in the performance

Demonstrates limited ability to realise and

sustain role(s) or character(s). Limited 3-4
interactions with other role(s) or character(s) in
the performance
Displays minimal or no ability to realise role(s)
or character(s). May play themselves. Minimal 1-2
participation or interaction with other role(s) or
character(s) in the performance

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion Three: Structure and dramatic coherence (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Effective use of dramatic elements and performance conventions

- Performance as part of an ensemble
- Establishing and maintaining a clear intention and an appropriate relationship with the
audience in the context of the performance space
- Demonstration of innovation, flair and integrity in the dramatic work
- Effective use of the space in the context of the performance style

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

MARKING GUIDELINES

CRITERIA MARKS
Demonstrates a clear intention through
sophisticated use of the elements of drama and
performance conventions

Demonstrates exemplary ability to work as part

of an ensemble.
9-10
Demonstrates integrity and innovation or flair,
in presenting a theatrically coherent
performance which evokes a powerful audience
response

Demonstrates sophisticated use of space in the

context of the performance style
Demonstrates a clear intention through
substantial ability to control the elements of
drama and performance conventions

Demonstrates substantial ability to work as part

of an ensemble
7-8
Presents a coherent, and largely theatrical
performance, that effectively engages the
audience in the context of the performance
space

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Demonstrates effective use of space in the

context of the performance style
Demonstrates adequate ability to work with the
elements of drama and performance
conventions, with some inconsistencies in the
level of control

Demonstrates adequate ability to work as part

of an ensemble

Demonstrates some intention and reasonably

engages the audience in the context of the 5-6
performance space

Presents a generally coherent but often 5

superficial performance that may contain some
theatricality

Demonstrates some awareness of the use of

space in the context of the performance style
Demonstrates frequent inconsistencies in use of
the elements of drama and performance
conventions

Demonstrates an inconsistent ability to work as

part of an ensemble

Displays a limited ability to engage the 3-4

audience

Presents a simplistic performance with limited

coherence or little theatricality

Demonstrates predictable or simple use of

space
Demonstrates minimal use of the elements of
drama and performance conventions

Demonstrates little or no evidence of working as

part of an ensemble

Demonstrates little or no engagement of the 1-2

audience

Presents an incoherent performance

Demonstrates little or no understanding of the

use of space

Numerical Mark – 4/4

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

GIRL IN THE WHITE SKIRT

The girl in the white skirt made her intention clear and her performance was sophisticated. She
expressed multiple juxtapositions of ideas, stories and dialogue used throughout the performance and
was theatrically sustained to a mostly substantial level. The performance was engaging, and mostly
had high energy when required. The interpretation of Brechtian’s technique ‘use of a narrator’ was
evident, although at times greater sophistication was needed to deliver the intent of her personal story.
Her use of dialogue was sophisticated, although at times she needed more emphasis on specific lines
to deliver her intent to the audience. She mostly expressed characterisation in specific lines, although
further enhancing this characterisation could have provided the audience a deeper insight into her
intent throughout the performance. Whilst watching the performance, I felt she was the strongest of
the group, in terms of delivery and characterisation. Thus, my attention was automatically drawn to
her character in the performance as she was more engaging than other characters. The character’s use
of emotion and exaggeration could have been enhanced in specific scenes, especially when expressing
her personal story. This allows the audience to comprehend, relate to or empathise with the
character’s experience.

The group worked in unison and the piece was dynamic. The character’s role of the apparent plea for
love by a model homemaker wife to her husband presents her declaration of love and support
expressed towards her group members. She maintained focus, although at times greater emphasis on
energy was needed to portray the belief in character and situation. The character’s interactions with
the other three characters was consistent and dynamic.

The girl in the white skirt demonstrated clarity in her vocal work and controlled her movements. She
presented opportunities to exploit her voice in a stern or sophisticated tone, for the audience to
critically understand the study in context with the story being told. The character made use of spatial
awareness and had control over timing and vocal work. I would encourage the character to continue
working on dynamic warm ups and perform various vocal dynamics during rehearsal times to develop
her individual dynamics. This will assist in improving her delivery when emphasising specific
dialogue.

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion One: Performance skills appropriate to the style or form (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Vocal Dynamics: projection, clarity, tone, pitch, pace

- Movement Dynamics: control, energy, spatial awareness
- Timing: control of delivery, responses to cues, awareness of rhythms

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

MARKING GUIDELINES

Criteria Marks
Demonstrates exemplary performance skills
including vocal, movement and timing 9-10
appropriate to the style or form
Demonstrates substantial performance skills
including vocal, movement and timing 7-8
appropriate to the style or form, although some
skills may be more refined than other
Demonstrates adequate performance skills
including vocal, movement and timing which
may vary in their level of delivery in relation to
control of vocal projection, clarity, tone, pitch, 5-6
pace, dynamics; control, energy, spatial
awareness and dynamics in movement; control 6
of delivery, responses to cues and awareness of
rhythms in timing
Demonstrates limited performance skills
including vocal, movement and timing
which may be inappropriate to the style or 3-4
form

Displays minimal performance skills with 1-2

little understanding of style or form

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion Two: Sustaining and developing role/character (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Belief/Conviction/Energy
- Complexity/Dimension
- Interaction with other characters or roles
- Focus

Outcomes assessed: H1 .1, H1 .2, H1 .3, H1 .4, H3.3

MARKING GUIDELINES

Criteria Marks
Demonstrates exemplary ability to realise and
sustain subtly defined role(s) or character(s). 9-10
Effectively interacts with other role(s) or
character(s) in the performance
Demonstrates substantial ability to realise and
sustain role(s) or character(s). Some aspects of
sustaining and developing role(s) or character(s) 7-8
may be more refined than others. Effectively
interacts with other role(s) or character(s) in the 7
performance
Demonstrates adequate ability to realise and
sustain role(s) or character(s). Variations may
occur in levels of belief/conviction/energy, 5-6
complexity/dimension and focus. There are
often inconsistencies in interactions with other
role(s) or character(s) in the performance

Demonstrates limited ability to realise and

sustain role(s) or character(s). Limited 3-4
interactions with other role(s) or character(s) in
the performance
Displays minimal or no ability to realise role(s)
or character(s). May play themselves. Minimal 1-2
participation or interaction with other role(s) or
character(s) in the performance

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion Three: Structure and dramatic coherence (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Effective use of dramatic elements and performance conventions

- Performance as part of an ensemble
- Establishing and maintaining a clear intention and an appropriate relationship with the
audience in the context of the performance space
- Demonstration of innovation, flair and integrity in the dramatic work
- Effective use of the space in the context of the performance style

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

MARKING GUIDELINES

CRITERIA MARKS
Demonstrates a clear intention through
sophisticated use of the elements of drama and
performance conventions

Demonstrates exemplary ability to work as part

of an ensemble.
9-10
Demonstrates integrity and innovation or flair,
in presenting a theatrically coherent
performance which evokes a powerful audience
response

Demonstrates sophisticated use of space in the

context of the performance style
Demonstrates a clear intention through
substantial ability to control the elements of
drama and performance conventions

Demonstrates substantial ability to work as part

of an ensemble
7-8
Presents a coherent, and largely theatrical
performance, that effectively engages the
audience in the context of the performance
space

Demonstrates effective use of space in the

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

context of the performance style

Demonstrates adequate ability to work with the
elements of drama and performance
conventions, with some inconsistencies in the
level of control

Demonstrates adequate ability to work as part

of an ensemble

Demonstrates some intention and reasonably

engages the audience in the context of the 5-6
performance space

Presents a generally coherent but often

6
superficial performance that may contain some
theatricality

Demonstrates some awareness of the use of

space in the context of the performance style
Demonstrates frequent inconsistencies in use of
the elements of drama and performance
conventions

Demonstrates an inconsistent ability to work as

part of an ensemble

Displays a limited ability to engage the 3-4

audience

Presents a simplistic performance with limited

coherence or little theatricality

Demonstrates predictable or simple use of

space
Demonstrates minimal use of the elements of
drama and performance conventions

Demonstrates little or no evidence of working as

part of an ensemble

Demonstrates little or no engagement of the 1-2

audience

Presents an incoherent performance

Demonstrates little or no understanding of the

use of space

Numerical Mark – 1/4

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

GIRL IN PINK AND WHITE DRESS

The girl in the pink and white dress made her intention clear and her performance was mostly
sophisticated. She expressed different juxtapositions of ideas and dialogue used throughout the
performance and theatrically sustained to mostly an adequate level. Her performance on stage was
engaging, and utilised high energy when required. Although, she didn’t seem emotional about the
situation, Thus, I lacked empathy and struggled to understand the situation and how it implicated her
emotionally. Her role of being stuck in King’s Cross and ringing her father for assistance represents
her apparent plea for love she seeks. This is presented through her interpretation of Brechtian’s
technique ‘use of a narrator.’ The character’s use of dialogue was mostly sophisticated, although at
times she lacked emphasis on certain lines to deliver her intent to the audience. Whilst watching the
performance, I felt she needed to delve into her character more, in terms of characterisation. Her use
of exaggeration could have been exemplified in more scenes, especially when telling her personal
story. This would further allow the audience to comprehend, relate to and empathise with the
character’s experiences.

The group worked in unison and the piece was dynamic. The character plays the role of abandonment
and her longing for love and belonging. She plays this role well as she expresses her pleas over the
phone to her father. Although, whilst she maintains focus, at times there isn’t a great deal of energy
and belief in character, further sophistication was needed. Her interactions with the other characters
were mostly consistent and held dynamic and truth.

The girl in the pink and white dress mostly demonstrates clarity in her vocal work and controls her
movements. She was provided opportunities to exploit her voice in different tones, to represent the
experiences and emotions of her character, but at times this wasn’t always believable. She made use
of spatial awareness and had some control over timing and vocal work. I would encourage the
character to continue working on her vocal skills, at times it is difficult to understand her emotion in
certain scenes. To improve these skills, I would strongly encourage the character to practice dynamic
warm ups and perform various vocal and movement dynamics during rehearsal times to help
strengthen both individual and group dynamics. Noting down and individually analysing the intention
of each scene in sequence, will help improve her characterisation. Another suggestion to further
improve these skills is to gather and further research Brechtian and Theatre of the Absurd elements.

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion One: Performance skills appropriate to the style or form (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Vocal Dynamics: projection, clarity, tone, pitch, pace

- Movement Dynamics: control, energy, spatial awareness
- Timing: control of delivery, responses to cues, awareness of rhythms

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

MARKING GUIDELINES

Criteria Marks
Demonstrates exemplary performance skills
including vocal, movement and timing 9-10
appropriate to the style or form
Demonstrates substantial performance skills
including vocal, movement and timing 7-8
appropriate to the style or form, although some
skills may be more refined than other
Demonstrates adequate performance skills
including vocal, movement and timing which
may vary in their level of delivery in relation to
control of vocal projection, clarity, tone, pitch, 5-6
pace, dynamics; control, energy, spatial
awareness and dynamics in movement; control 6
of delivery, responses to cues and awareness of
rhythms in timing
Demonstrates limited performance skills
including vocal, movement and timing
which may be inappropriate to the style or 3-4
form

Displays minimal performance skills with 1-2

little understanding of style or form

Assessment Criterion Two: Sustaining and developing role/character (10 marks)

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

The assessment of this criterion focuses on the following aspects as appropriate

- Belief/Conviction/Energy
- Complexity/Dimension
- Interaction with other characters or roles
- Focus

Outcomes assessed: H1 .1, H1 .2, H1 .3, H1 .4, H3.3

MARKING GUIDELINES

Criteria Marks
Demonstrates exemplary ability to realise and
sustain subtly defined role(s) or character(s). 9-10
Effectively interacts with other role(s) or
character(s) in the performance
Demonstrates substantial ability to realise and
sustain role(s) or character(s). Some aspects of
sustaining and developing role(s) or character(s) 7-8
may be more refined than others. Effectively
interacts with other role(s) or character(s) in the
performance
Demonstrates adequate ability to realise and
sustain role(s) or character(s). Variations may
occur in levels of belief/conviction/energy, 5-6
complexity/dimension and focus. There are
often inconsistencies in interactions with other 5
role(s) or character(s) in the performance

Demonstrates limited ability to realise and

sustain role(s) or character(s). Limited 3-4
interactions with other role(s) or character(s) in
the performance
Displays minimal or no ability to realise role(s)
or character(s). May play themselves. Minimal 1-2
participation or interaction with other role(s) or
character(s) in the performance

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Assessment Criterion Three: Structure and dramatic coherence (10 marks)

The assessment of this criterion focuses on the following aspects as appropriate

- Effective use of dramatic elements and performance conventions

- Performance as part of an ensemble
- Establishing and maintaining a clear intention and an appropriate relationship with the
audience in the context of the performance space
- Demonstration of innovation, flair and integrity in the dramatic work
- Effective use of the space in the context of the performance style

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

MARKING GUIDELINES

CRITERIA MARKS
Demonstrates a clear intention through
sophisticated use of the elements of drama and
performance conventions

Demonstrates exemplary ability to work as part

of an ensemble.
9-10
Demonstrates integrity and innovation or flair,
in presenting a theatrically coherent
performance which evokes a powerful audience
response

Demonstrates sophisticated use of space in the

context of the performance style
Demonstrates a clear intention through
substantial ability to control the elements of
drama and performance conventions

Demonstrates substantial ability to work as part

of an ensemble
7-8
Presents a coherent, and largely theatrical
performance, that effectively engages the
audience in the context of the performance
space

Demonstrates effective use of space in the

context of the performance style
Demonstrates adequate ability to work with the
elements of drama and performance

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

conventions, with some inconsistencies in the

level of control

Demonstrates adequate ability to work as part

of an ensemble

Demonstrates some intention and reasonably

engages the audience in the context of the 5-6
performance space

Presents a generally coherent but often

superficial performance that may contain some
6
theatricality

Demonstrates some awareness of the use of

space in the context of the performance style
Demonstrates frequent inconsistencies in use of
the elements of drama and performance
conventions

Demonstrates an inconsistent ability to work as

part of an ensemble

Displays a limited ability to engage the 3-4

audience

Presents a simplistic performance with limited

coherence or little theatricality

Demonstrates predictable or simple use of

space
Demonstrates minimal use of the elements of
drama and performance conventions

Demonstrates little or no evidence of working as

part of an ensemble

Demonstrates little or no engagement of the 1-2

audience

Presents an incoherent performance

Demonstrates little or no understanding of the

use of space

Numerical Mark – ¾

NSW Department of Education

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Unit Planner

Preliminary Drama

Multi Disciplinary Theatre

Term 1 – 10 weeks (40 hours)

Week Content Assessment and Weighting

1
Introduction to the Preliminary
drama course and logbook
requirements/exemplars.
2
Introduction to key text.
3 Participate in MDT teacher
directed workshop and
research.
4 Participate in MDT teacher
directed workshop.

Explore approach through

practical application to ‘Le
Jeu.’
5 Participate in MDT teacher
directed workshop.

Explore approach through

practical application to
Improvisation.
6 Participate in MDT teacher
directed workshop and
research.

7 Students study key text.

Participate in MDT teacher

directed workshop and
research.
8 Students study key text. Formative feedback.

Participate in MDT teacher

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

directed workshop and

research.
9 Students study key text.

Participate in MDT teacher

directed workshop and
research.
10 Workshop and performance Formative logbook feedback.
assessment.
Task 1 – 30%

Logbooks collected and

marked.

Outcomes P1.3, P1.4, P1.6, P2.1,

P2.2, P2.3, P2.4, P3.1,
P3.2, P3.3

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Resource Booklet

Multi-Disciplinary Theatre

Preliminary Course 2022

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

This booklet will be used over a 10 week period. Record your reflections in
your logbook which will be marked at the end of the 10 weeks.

Workshop 1:
Introduction to the Preliminary Course
- Go through the Preliminary BOS requirements (life skills outcomes – alter requirements for
diverse learners)
Including BOS Drama glossary in booklet:
- Studies in Drama
- MDT performance
- Layout of timetable
- Expectations for logbook
- Exemplars of previous high scoring logbooks

Workshop 2:
Philosophy & Complicite
- Ensure students have read ‘A Disappearing Number’ (diverse learners – read a small section)
- Read rubric and highlight key passages/words and put up on noticeboard
- Discuss: what are the roles of theatre? What do you expect from a play?
- Create a series of tableaux which shoes the roles as a class. Photograph and share on class
google drive.
- Discuss: what are the rules of traditional narrative storytelling? Given a traditional fairy tale,
each group presents one of the following. Present in thus order.
1. Using a non-liner story structure
2. Using a circular narrative structure
3. Challenging the representation in any way you see fit

Logbook reflection: What changed and why? How did you respond to the final performance?

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Workshop 3:
Why and what is MDT?
- Write Simon McBurney quote ‘Very rarely do I find a linear story to be reflective of life as I
see it’ on the board
- Watch Complicite Showreel 2015
https://www.youtube.com/watch?v=6mqTCoM3zd0  
- make notes on the different styles and techniques used in performance, use of technology,
themes/ideas/settings, traditional conventions (rules) being used and those being broken, what
seems new and what seems old, relationship with the audience. How does what you have
watched reflect Simon’s quote?
- Diverse learners – make notes on the different technology types used.

Workshop 4:
Le Jeu
- Give handout on Philosophies link to name of Company
- Discuss and define the idea of ‘Leu Ju’
- As a class play the following games:
1. Clap netball
2. Keep the balloons in the air
3. Flush the dunny/stuck in the mud (diverse learners)
- In groups of four and five give each group a couple of the following objects – rope, ball,
couple of chairs, bin – and have them invent their own game for the group
- Discuss the philosophy of Le Jeu and working as an ensemble
- Refer to image from rehearsal book examples of Le Jeu

Logbook reflection: What images of Complicite’s Showreel stood out to them and why? Why is
play/Le Jeu such a significant philosophy for a company that devises it’s own work? From the games
you invented and played, which game was most appealing and why? What makes a good game? What
is the structure of the game? Is there a clear end point and a clear winner? Do different players have
different roles in the game? Does the game develop any certain skills?

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Workshop 5:
Process & Practice – Improvisation (Space)

- Discuss how improvisation and playing are important in the Complicite process
- Discuss and define the use of space in theatre

Warm up:
- Students run a game
- As a class, explore space through exploding and constricting it. Each walk around and fill the
space, never stopping then start to move into the centre and keep moving in as small a space
as possible. On a clap, all explode out to the edges of the space and freeze.
Small/Large Space:
- In groups of three or four, students stand back to back and trace them around on the floor.
This will become their performance space.
- In their space, students start improvising the following thirty second scenes:
1. In a small raft on the ocean, lost at sea
2. Outer space
3. In the Amazon hunting
4. Indiana Jones – finding the treasure
5. Western shoot out
Large Space:
- Using bamboo sticks, each student holds it 10cm off the ground vertically
- Students move around the space without bumping into one another
- Students get into groups of three and move as a group. Change leader when they change
direction. Students stay close together.
- Change timing/pace, rhythm and configuration (three students at breast, single file, triangle)
- In groups, students make shapes creating visual moments such as a prison cell, a rocket, a
doorway of a castle or a hut.
- Students photograph and film to upload to student google drive.
Space between performers
- Students place one piece of cane between two people and only hold onto it with a bit of
pressure from each forefinger.
- Explore ways to move around the space, not letting the bamboo drop. No talking, students
only communicate through their eyes.
- Students get more daring and try rolling, sitting down, changing rhythm and speed.
- Put a number of pairs in one space and students move around one another. They create spaces
together.
- Photograph and film to upload to google drive.
- Discuss how the space can be manipulated and how it creates setting, tension, timing, rhythm
and place.

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Logbook reflection: What was the effect of exploding and constricting the space? How is a space kept
alive on the stage? What were the positives and negatives of working in a small and large space?

Workshop 6:
Process & Technique

- Watch
https://www.youtube.com/watch?v=Iw38uDDCX2c
- Complicite Projection workshop 
- Cirque du Soleil
http://www.youtube.com/watch?v=6C8OJsHfmpI#t=265
- Actors and Drones
https://www.youtube.com/watch?v=9isSyrMS6cc&t=51s
- Ugly Lies the Bones
- https://www.youtube.com/watch?v=ntA7RXfIf-4
- Curious Incident of the dog in the night time
https://www.youtube.com/watch?v=6gMH285LvbM
- Define new and old technologies. List them.
- Explore and use of technology following Complicite Projection workshop:
1. Explore effect of different surfaces/objects (diverse learners – write down different
surfaces/objects).
2. Sum up a story/poem in seven images, students can use their bodies
3. Explore images on small and large surfaces
4. Performance on and off camera. Include recorded and live action.
- Do experiments with different areas of projection/technology using extracts from ‘Mr
Bleaney’ poem.

Workshop 7-10:
Text ‘A Disappearing Number’

- View clips as an introduction to the play.

http://www.youtube.com/watch?v=FK3o05UEufA Interview –music 
https://www.youtube.com/watch?v=aSlIej57a4w&t=9s  Simon interview
https://www.youtube.com/watch?v=XSLd7SKPQWA  Recording of stage perf
https://www.youtube.com/watch?v=ew9waN02Dq4 Spanish News Report

Student number: 11686008 Student name: Chloe Godfrey

EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

- To assist with the complexities of the script, students generate a plot summary as a class in a
google table that provides a deconstruction of each scene. What is happening on stage? What
is the dramatic intent created.
- Hand out summary of play and it’s main themes.

- Warm up games
- Coordination exercise
- Clapping together
- Space jump
- Counting game
- Moved Reading and Workshop of key scenes.
- Scene 1 establish time and place and conventions of the piece (diverse learners – what time is
it? Where are they?)
- Scene 3 vocal loops – simultaneous times and places on stage: Hardy/Ramanujan and Ruth’s
lives end – How does McBurney’s connection establish the connections between the
characters while in different times and places.
- Scene 5 – In groups workshop focussing on space (Al is locked in Ruth’s lecture theatre),
tension (review seven levels of tension) and character.

For each extract – reflect in logbook about

1. Why and how did Simon McBurney and Theatre de Complicite create theatre?
2. What are the innovative visual forms used by MDT that challenge traditional theatre practice
and dramatic narrative?
3. How does new and traditional technology interface with actors in their creating and
presenting?
4. How does MST theatre address cultural, personal and global issues in ‘A Disappearing
Number’ and your own performance work? Explore acting, movement, film, music and
sound, choreography and other resources.

ASSESSMENT TASK –

- Students move into groups to begin working on assessment task and the elements they have
explored do far
- Complete assessment performance

Student number: 11686008 Student name: Chloe Godfrey

 EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

Reference List

“A Disappearing Number in London - Complicite - 2010.” Www.youtube.com, www.youtube.com/watch?

time_continue=3&v=aSlIej57a4w&feature=emb_title. Accessed 29 Oct. 2022.

“Complicité: A Disappearing Number.” YouTube, 3 Oct. 2008, www.youtube.com/watch?v=ew9waN02Dq4.

Accessed 22 Oct. 2022.

Complicite. “Complicite Showreel.” YouTube, 22 Dec. 2015, www.youtube.com/watch?

v=6mqTCoM3zd0.

“Complicite’s Simon McBurney and Nitin Sawhney on a Disappearing Number.” Www.youtube.com,

www.youtube.com/watch?v=FK3o05UEufA. Accessed 25 Oct. 2022.

Curious Broadway. “Creating Christopher’s World.” YouTube, 29 May 2015, www.youtube.com/watch?

v=6gMH285LvbM.

enfasystem08. “Disappearing Number.” YouTube, 8 July 2008, www.youtube.com/watch?

v=XSLd7SKPQWA. Accessed 4 Oct. 2022.

mirvishproductions. “The Curious Incident of the Dog in the Night-Time Backstage Tour.” YouTube, 20 Oct.

2017, www.youtube.com/watch?v=ntA7RXfIf-4.

New South Wales Education Standards Authority (NESA), (2009). Drama stage 6 syllabus.
Department Education and Training. Retrieved from:

Student number: 11686008 Student name: Chloe Godfrey

 EML444 – Curriculum Method 2 Assessment Two – Resource Booklet and Performance Evaluation

9870113 (educationstandards.nsw.edu.au)

“Projection Workshop - Complicite - February 2009.” Www.youtube.com, www.youtube.com/watch?

v=Iw38uDDCX2c.

“SPARKED: A Live Interaction between Humans and Quadcopters.” Www.youtube.com,

www.youtube.com/watch?v=6C8OJsHfmpI#t=265. Accessed 29 Oct. 2022.

“Ugly Lies the Bone | Designing a Projected Landscape.” Www.youtube.com, www.youtube.com/watch?

v=9isSyrMS6cc&t=51s. Accessed 29 Oct. 2022.

Student number: 11686008 Student name: Chloe Godfrey