1. VCE THEATRE STUDIES STUDY DESIGN 2019-2023
IMPLEMENTATION WORKSHOP

2. © Victorian Curriculum and Assessment Authority 2018
The copyright in this PowerPoint presentation is owned by the Victorian Curriculum and Assessment Authority or in the case of some materials, by third parties. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968 or with permission from the Copyright Officer at the Victorian Curriculum and Assessment Authority.

3. Implementation in 2019 Units 1 and 2 and Units 3 and 4
Available online on VCAA website
Study Design
Advice for Teachers (Term )
List of resources (Term )
Monologue examination specifications (early 2019)
Written examination specifications and sample questions (early 2019)
Still to come

4. STUDY OVERVIEW

5. Introduction, Scope of study, Rationale & Aims (p. 5 - 6)
Teachers should thoroughly familiarise themselves with the Study Design including:
Introduction, Scope of study, Rationale & Aims (p )
Structure (p. 6)
Assessment and Reporting (p. 8)
Units 1 – 4 (p. 11 – 29)
Teachers need to become familiar with the study design and thoroughly read the introduction, structure and content of each Unit.
The study design is the only prescribed document that must be used in the planning of a VCE Theatre Studies course.
The study design details the content that is to be taught and how it is to be assessed.
Note: text books and subject association materials are only resources, they do not prescribe the content of VCE Theatre Studies.
Note: the study design is only available online, The VCAA no longer prints hard copy study designs. The study design is available on the VCAA website on the VCE Theatre Studies study page.
School-based assessment administration information and criteria will be published in Term 1, 2019.
Examination material will be published in Term 1, 2019.

6. SCOPE OF STUDY
In VCE Theatre Studies students interpret scripts from the pre-modern era to the present day. They gain insight into the origins and development of theatre and the influences of theatre on cultures and societies.
Students work in the roles of actor, director and designer to plan, develop and present productions. They develop their knowledge and understanding of theatre, its conventions and the elements of theatre composition.

7. RATIONALE
Theatre as a form of cultural expression has been made and performed for audiences from the earliest times and is an integral part of all cultures. Theatre is ever evolving and exists as entertainment, education, ritual, an agent for change, a representation of values and a window on society. Through the study of VCE Theatre Studies students develop their aesthetic sensibility, including an appreciation for the art form of theatre, interpretive skills, interpersonal skills and theatre production skills.

8. UNIT TITLES VCE THEATRE STUDIES 2019-23 1
Pre-modern theatre styles and conventions 2
Modern theatre styles and conventions 3
Producing theatre 4
Presenting an interpretation
The study design provides examples of theatre styles from the pre-modern era for Unit 1 and the modern era for Unit 2. However, there is not a definitive list.

9. OUTCOME TITLES VCE THEATRE STUDIES 2019-23 1 2 3 4
Pre-modern theatre styles and conventions
Exploring pre-modern theatre styles and conventions
Interpreting scripts
Analysing a play in performance 2
Modern theatre styles and conventions
Exploring modern theatre styles and conventions
Analysing and evaluating a theatre production 3
Producing theatre
Staging theatre
Interpreting a script
Analysing and evaluating theatre 4
Presenting an interpretation
Researching and presenting theatrical possibilities
Interpreting a monologue
Analysing and evaluating a performance

10. ASSESSMENT
The percentage contributions to the study score in VCE Theatre Studies are as follows:
GA 1
GA2
GA3
Units 3 and 4 school-assessed coursework
45%
Monologue examination
25%
Written examination
30%

11. ASSESSMENT
The marks allocated to School-assessed Coursework tasks are:
TASK 1
TASK 2
TOTAL
Unit total
Study score contribution
Unit 3 Outcome 1 45 15 60
Unit 3 Outcome 2
Unit 3 Outcome 3 25
Unit 3
100
Unit 3 Coursework 30%
Unit 4 Outcome 1 20 10 30
Unit 4 Outcome 3
Unit 4 50
Unit 4 Coursework 15%
The Unit 3 Outcome 1 assessment.
Task 2 is a written task. (pg. 23)
Unit 4
Outcome 1 Task 2 is an oral task. This marries it to the Framing Statement that students do for the Monologue Examination.
Outcome 3 Task is worth 20 marks. Students don’t have to read the script prior to seeing the play, hence it is not the same weighting as the performance analysis in Unit 3.

12. What’s in the study design?

13. TERMS USED IN THIS STUDY
Pages 9-10 of the study design
These definitions apply across the study and the associated assessment and will also inform the performance and written examination
‘The Advice for Teachers’ provides additional information and may be used in conjunction with the study design.
The definitions draw on information from the previous study design and other documentation such as stagecraft examination and written examination specifications

14. ELEMENTS OF THEATRE COMPOSITION
Practitioners use elements of theatre composition to organise components of a theatre production to create a deliberate effect, realising their aims and intentions and/ or those of the creative production team.
Elements of theatre composition can be used to give structure to the interpretation or the way it is presented on stage in performance to an audience.
These elements can also be used to encourage or lead the audience to engage in the work. They can be applied individually or in combination, in any theatre style, used within any production role and at any stage of the production process.

15. STUDYING Elements of theatre composition
The elements of theatre composition may include the following:
Cohesion
Motion
Rhythm
Emphasis
Contrast
Variation
The elements of theatre composition provide a new vocabulary for students. Students will need a working knowledge of each of the 6 elements. They may also evaluate the absence of the elements in a production.
Cohesion – the unity and balance of various aspects of the interpretation.
• Motion – the movement or implied movement of actors and design features in the theatre space. This may include position, pattern, arrangement,
proportion and spatial flow.
• Rhythm – the pace, timing and tempo within the interpretation.
• Emphasis – aspects of the interpretation are given a particular focus, importance or prominence.
• Contrast – juxtaposition of seemingly different or opposing aspects or qualities within the interpretation.
• Variation – changes to the dynamics of the interpretation, as may be evident in the use of tension, conflict, intensity, energy and use of the space.
Note: See SD p. 10 for details.

16. PRODUCTION ROLES
Production role is the term used to describe an area of work in theatre production. The production roles in this study are:
actor
director
designer: costume
designer: make-up
designer: props
designer: set
designer: lighting
designer: sound
Productions may still have a stage manager and other roles, however, they will not be assessed.
Narrowing down the list of production roles supports the study in two ways;
It makes it much more manageable for the written examination.
It marries the production roles to those undertaken by students in the Monologue Examination.

17. CONTEXTS
Contexts refer to the circumstances surrounding a play and its interpretation for an audience. This may include the time and place in which the play is set and was written, influences on the playwright, the language of the script, circumstances associated with the play and the possibilities for interpreting a script.

18. DRAMATURGY
Dramaturgy refers to research into a play to inform an interpretation of it. This may include the contexts of the play, its intended meanings, the background of the playwright, previous productions of the play and the theatre styles of the play.
Dramaturgy is part of the production process and may be applied at any stage and in any production role; it is not a separate stage of the production process.
Dramaturgy can include processes such as text-based research and/or workshops.
Dramaturgy encourages collaboration on a production. It is the over-arching role that many people working in production roles take on throughout the production process.

19. THEATRE PRODUCTION PROCESS
The theatre production process is described as having three distinct but interrelated stages:
Planning
Development
Presentation
Note: See SD p. 9 for details.

20. THEATRE TECHNOLOGIES
Diverse theatre-specific and other technologies are used in theatre productions. Students may apply theatre technologies in their work as part of their creative processes in any production role.
Use of theatre technologies is not itself a production role.
In their production roles, and as members of the production team, students will have opportunities to apply theatre-specific digital, electrical and mechanical technologies across the stages of the production process.
Students may also use other hardware, software or digital tools to facilitate their work as members of a creative production team.
Examples of Theatre technologies – pg 10.
Social media platforms could be used to communicate between members of a production team or to evaluate options and make decisions
a journaling app or intranet page could be used to document thinking and/or record, analyse and evaluate work undertaken to realise the ideas and concepts for a production.
Note: See SD p. 10 for details.

21. Understanding the Study Design
Each Outcome is described in terms of key knowledge and key skills
Key knowledge
Key Skills
Provides the Content
Provides the Application
For example:
Identify
Research
Explain
Apply
Analyse
Describe
Develop
Document
Outcomes - key knowledge, key skills
Each outcome is described in terms of key knowledge and key skills.
It is important to read the key knowledge together with the key skills, as the key skills give you the application of the key knowledge, i.e. what students should be able to do.
Note that key knowledge and skills are examinable. -any of the key skills in Units 3 and 4 can be used to formulate questions for the Written examination.
A good suggestion is to use the key skills when writing your assessments so that students become familiar with their application. Students need to be able to distinguish between what it means to explain, analyse, evaluate, etc.

22. Understanding the Study Design
Unit 1 AOS 1:
On completion of this unit the student should be able to identify and describe distinguishing features of theatre styles and scripts from the pre-modern era.
Key knowledge
Key Skills
Conventions of three or more theatre styles from the pre-modern era.
(extract from study design)
Identify and describe conventions of theatre styles from the pre-modern era.
All aspects of key knowledge and key skills can be examined in Units 3 and 4. Teachers should be very familiar with the terminology and phrases in each unit of study.
From the outcome we have selected one point of key knowledge and the corresponding key skill.
Key Knowledge
Conventions of three or more theatre styles from the pre-modern era.
Key Skills
Identify and describe conventions of theatre styles from the pre-modern era.

23. UNIT 1
The application of acting, direction and design in relation to theatre styles from the pre-modern era, that is, works prior to the 1920s.
What students do:
Work in at least two production roles with scripts from the pre-modern era of theatre, focusing on at least three distinct theatre styles and their conventions.
Study innovations in theatre production in the pre-modern era and apply this knowledge to their own works.
Note: See SD p (AoS) & p.14 (Assessment)
Unit 1 focuses on the application of acting, direction and design in relation to theatre styles from the pre-modern era, that is, works prior to the 1920s. Students will:
Creatively and imaginatively work in production roles with scripts from the pre-modern era of theatre, focusing on at least three distinct theatre styles and their conventions.
Study innovations in theatre production in the pre-modern era and apply this knowledge to their own works.
Develop knowledge and skills about theatre production processes including dramaturgy, planning, development and performance to an audience and apply this to their work.
Begin to develop skills of performance analysis and apply these to the analysis of a play in performance.
Innovations - such as conventions, theatre technologies and understanding the audience and type of theatre
Students work in at least two production roles. The production roles are:
actor
director
designer – any one or more of costume, make-up, props, set, lighting, sound.

24. Unit 1: Pre-modern theatre styles and conventions
Area of Study 1:
Exploring pre-modern theatre styles and conventions
Area of Study 2:
Interpreting scripts
Area of Study 3:
Analysing a play in performance

25. Unit 1 AOS 1 : Exploring pre-modern theatre styles and conventions
Study scripts from the pre-modern era.
Study at least three distinct theatre styles and conventions from the pre-modern era.
Study innovations in theatre production in the pre-modern era.
Learn about contexts, cultural origins, production roles and performance possibilities for each of the selected theatre styles.
Through practical workshops gain knowledge of how these styles shaped and contributed to the world of pre-modern theatre.
Unit 1 - Area of Study 1 : Page 11
Theatre styles from the pre-modern era of theatre include Ancient Greek, Ancient Roman, Liturgical drama such as morality/miracle/mystery plays, Commedia dell’Arte, Elizabethan, Restoration comedies and dramas, Neo-classical, Naturalism/Realism, Beijing Opera, Noh, Bunraku and Kabuki and other traditional indigenous theatre forms.
Identify, describe, apply

26. Unit 1 AOS 2 : Interpreting scripts
Present scripts from the pre-modern era.
Work creatively & imaginatively in at least two production roles to interpret scripts from three or more distinct theatre styles of the pre-modern era.
Study and apply relevant conventions, elements of theatre composition and safe working practices.
Consider how work in production roles is informed by different theatre styles and contexts.
Learn about processes for developing characters and consider the influence of the audience on work in production roles to enhance text interpretation.
Have opportunities throughout the production process to develop oral skills by explaining how their work in production roles contributes to realising the production aims.
Unit 1 - Area of Study 2 : Pages 11-12
Students must work in at least two production roles:
actor
director
designer – any one or more of costumes, make-up, props, set, lighting, sound.
Discuss, explain, apply

27. Unit 1 AOS 3 : Analysing a play in performance
Analyse a professional theatre performance of a script focusing on:
Ways in which meaning is constructed by an audience.
Ways in which the performance is informed by the contexts of the script.
How theatre styles are applied in performance.
The use of production roles in performance.
The use of technologies in performance.
The use of elements of theatre composition evident in a performance.
Unit 1 - Area of Study 3 : Page 13
Students develop their skill in using theatre terminology and expressions in discussion and in writing.
Analyse

28. Assessment Unit 1- Page 14
For all three outcomes a range of assessment tasks may be selected from the following:
interpretation of scripts from the pre-modern era through the application of acting, direction and/or design: costume, make-up, props, set, lighting, sound
oral/visual/multimedia reports and/or presentations
structured questions
a research report.
At least one assessment task must be practice-based, at least one task must be written and at least one task must include an oral component.
Where teachers allow students to choose between tasks they must ensure that the tasks they set are of comparable scope and demand.

29. UNIT 2
The application of acting, direction and design in relation to theatre styles from the modern era, that is, the 1920s to the present.
What students do
Work creatively and imaginatively in at least two production roles with scripts from the modern era of theatre, focusing on at least three distinct theatre styles.
Study innovations in theatre production in the modern era and apply this knowledge to their own works.
Unit 2 focuses on the application of acting, direction and design in relation to theatre styles from the modern era, that is, the 1920s to present.
Students will:
Creatively and imaginatively work in production roles with scripts from the modern era of theatre, focusing on at least three distinct theatre styles.
Study innovations in theatre production in the modern era and apply this knowledge to their own works.
Develop knowledge and skills about theatre production processes including dramaturgy, planning, development and performance to an audience and apply this to their work.
Study safe and ethical working practices in theatre production.
Develop skills of performance analysis, which they apply to the analysis of a play in performance.
Students work in at least two production roles. The production roles are:
actor
director
designer – any one or more of costume, make-up, props, set, lighting, sound.
Note: See SD p (AoS) & p.18 (assessment)

30. Unit 2: Modern theatre styles and conventions
Area of Study 1:
Exploring modern theatre styles and conventions
Area of Study 2:
Interpreting scripts
Area of Study 3:
Analysing and evaluating a play in performance

31. Unit 2 AOS 1 : Exploring modern theatre styles and conventions
Study scripts from the modern era.
Investigate innovations in theatre practice from the 1920s to the present.
Study at least three distinct theatre styles from the modern era.
Learn about contexts, cultural origins, production roles and performance possibilities for each of the selected theatre styles.
Through practical workshops gain knowledge of how these styles shaped and contributed to the world of modern theatre.
Unit 2 - Area of Study 1 : Page 15
Theatre styles from the modern era of theatre include Epic theatre, Constructivist theatre, Theatre of the Absurd, Political theatre, Feminist theatre, Expressionism, Eclectic theatre, Experimental theatre, Musical theatre, Physical theatre, Verbatim theatre, Theatre-in-education, and Immersive/Interactive theatre.
Identify, outline, discuss, describe

32. Unit 2 AOS 2 : Interpreting scripts
Work in at least two production roles to realise scripts from at least three distinct theatre styles from the modern era.
Develop creative & imaginative interpretations of scripts.
Convey contexts and apply elements of theatre composition
Consider ways that theatre production work is itself shaped by the styles and contexts of the scripts.
Learn about theatre production processes including dramaturgy, planning, development and performance to an audience, and apply this to their work.
Have opportunities throughout the production process to develop oral skills by explaining how their work in production roles contributes to realising the production aims.
Apply safe and ethical working practices in theatre.
Unit 1 - Area of Study 2 : Pages 15-16
Students must work in at least two production roles:
actor
director
designer – any one or more of costumes, make-up, props, set, lighting, sound.
Apply, document

33. Unit 2 AOS 3 : Analysing and evaluating a theatre production
Analyse and evaluate a professional theatre production of a script focusing on:
the application of acting, direction and design
ways in which acting, direction and design are used to interpret theatre styles evident in a production
connections between contexts of the script and the use of acting, direction and design
the ways in which acting, direction and design enables an audience to construct meaning.
the use of elements of theatre composition evident
the use of technologies in theatre production
Unit 2 - Area of Study 3 : Page 17
Students further develop their skill in using theatre terminology and expressions appropriately.
Analyse and evaluate

34. Assessment Unit 2- Page 18
For all three outcomes a range of assessment tasks may be selected from the following:
interpretation of scripts from the modern era through the application of acting, direction and/or design: costume, make-up, props, set, lighting, sound
oral/visual/multimedia reports and/or presentations
structured questions
a research report.
At least one assessment task must be practice-based, at least one task must be written and at least one task must include an oral component.
Where teachers allow students to choose between tasks they must ensure that the tasks they set are of comparable scope and demand.

35. UNIT 3
Students develop an interpretation of a script through the three stages of the theatre production process: planning, development and presentation. They specialise in two production roles working collaboratively, creatively and imaginatively to realise the production of a script.
What students do:
Across Unit 3 students are required to engage with at least three scripts and work in two production roles from the following list:
* actor * director * designer
Across Unit 3 students engage with at least three scripts.
For Area of Study 1, schools select a script for interpretation in a performance to an audience
For Area of Study 2 excerpts from a previously unstudied script are selected for analysis
For Area of Study 3, students must read and study the script for the production they attend and then analyse it. (From the prescribed VCE Theatre Studies Unit 3 Playlist published annually by the VCAA).

36. Unit 3: Producing theatre
Area of Study 1:
Staging theatre
Area of Study 2:
Interpreting a script
Area of Study 3:
Analysing and evaluating theatre

37. Unit 3 AOS 1 : Staging theatre
Interpret a script for performance to an audience.
Work in two production roles across all three stages of the production process.
Apply dramaturgy and elements of theatre composition creatively and imaginatively.
Apply theatre technologies to enhance realisation of production aims.
Demonstrate techniques and processes regarding safe and ethical working practices associated with theatre production.
Analyse, evaluate and document ongoing developmental contributions across all three stages of the production process.
Unit 3 - Area of Study 1 : Page 20
Outcome 1 Assessment comprises two tasks: Page 23
Task 1 : 45 marks
Ongoing developmental contributions to creative interpretation of a script across all three stages of the production process through collaborative work in two production roles
AND
Task 2: 15 marks
Analysis and evaluation, supported by relevant documentation, of ongoing developmental contributions across all three stages of the production process in two or more of the following formats:
* oral * written * visual * multimedia
Demonstrate, document, apply, identify, describe, analyse, evaluate

38. Unit 3 AOS 2 : Interpreting a script
Outline concepts and ideas for a creative interpretation of excerpts from a script.
Explain how these concepts and ideas could be realised in a theatre production.
Formulate and justify interpretations that could be realised through work in production roles.
Document and annotate an interpretation of the scripts.
Identify and explain how work in production roles in one or more of the three stages of the production process could be used to realise ideas or concepts for a theatre production.
Describe how dramaturgy, elements of theatre composition and theatre technologies could be applied to realise ideas and concepts in the interpretation.
Unit 3 - Area of Study 2 : Page 21
Outcome 2 Assessment Task: Page 23
Documentation that outlines the concepts and ideas for a creative interpretation of excerpts from a script and provides an explanation of how these could be realised in a theatre production in any one or a combination of the following formats:
• an essay
• responses to structured questions.
Outline, explain, document, identify, justify, annotate, describe

39. Unit 3 AOS 3 : Analysing and evaluating theatre
Analyse and evaluate an interpretation of a script in a production from the prescribed Unit 3 playlist focusing on:
the ways in which the contexts of a written script were interpreted creatively and imaginatively in performance to an audience
the application of production roles to develop the written script for performance
the use of theatre technologies in the production
the use of elements of theatre composition in the production
Unit 3 - Area of Study 3 : Page 22
Outcome 3 Assessment Task: Page 23
An analysis and evaluation of a creative and imaginative interpretation of a prescribed script in any one or a combination of the following formats:
• an analytical essay
• responses to structured questions.
Analyse and evaluate

40. School-based assessment Unit 3
School-assessed Coursework for Unit 3: 30 percent of the study score
Outcomes
Assessment tasks
Outcome 1
Interpret a script across the stages of the production process through creative, imaginative and collaborative work undertaken in two production roles.
Task 1 : 45 marks
Ongoing developmental contributions to creative interpretation of a script across all three stages of the production process through collaborative work in two production roles.
AND
Task 2 : 15 marks
Analysis and evaluation, supported by relevant documentation, of ongoing developmental contributions to creative interpretation of a script across all three stages of the production process in two or more of the following formats:
oral
written
Visual
multimedia
Two marks are entered into VASS for Unit 3 Outcome 1
Assessment Unit 3 : Page 23.
More information in the Advice for Teachers.

41. School-based assessment Unit 3 cont.
School-assessed Coursework for Unit 3: 30 percent of the study score
Outcomes
Assessment tasks
Outcome 2
Outline concepts and ideas for a creative interpretation of excerpts from a script and
explain how these could be realised in a theatre production.
Documentation that outlines the concepts and ideas for a creative interpretation of excerpts from a script and provides an explanation of how these could be realised in a theatre production in any one or a combination of the following formats:
• an essay
• responses to structured questions.
15 marks
Outcome 3
Analyse and evaluate the creative and imaginative interpretation of a written script
in production to an audience.
An analysis and evaluation of a creative and imaginative interpretation of a prescribed script in any one or a combination of the following formats:
• an analytical essay
Total marks
100
Assessment Unit 3 : Page 23.
More information in the Advice for Teachers.

42. UNIT 4
Students study a scene and an associated monologue from the prescribed Theatre Studies Monologue Examination published annually on the VCAA website. What students do: Explore the theatrical possibilities and use dramaturgy across the three stages of the production process to develop a creative and imaginative interpretation of the monologue. To realise their interpretation, they work in production roles as an actor and director, or as a designer.
In Unit 4, Areas of Study 1 and 2, the production roles are:
actor and director: students must work in both roles OR
designer – any two of costume, make-up, props, set, lighting, sound.

43. Unit 4: Presenting an interpretation
Area of Study 1:
Researching and presenting theatrical possibilities
Area of Study 2:
Interpreting a monologue
Area of Study 3:
Analysing and evaluating a performance

44. Unit 4 AOS 1 : Researching and presenting theatrical possibilities
Undertake dramaturgy into the contextual background of the selected script to inform an interpretation of a monologue and its specified scene.
Outline theatrical possibilities and describe a possible interpretation of a monologue and its prescribed scene
Justify dramaturgical decisions that underpin the proposed interpretation, including how the interpretation will convey intended meaning
Describe work in selected production roles that will be required to realise the proposed interpretation
Describe and justify proposed application of theatre styles and use of elements of theatre composition and theatre technologies to enhance the interpretation for performance to an audience
Unit 4 - Area of Study 1 : Pages 24-25
Outcome 1 Assessment comprises two tasks: Page 28
Task 1 : 20 marks
A written report that describes and justifies dramaturgical decisions for a creative and imaginative interpretation of a monologue and its prescribed scene. The report may be in any one or a combination of the following formats:
• an essay
• responses to structured questions.
AND
Task 2 : 10 marks
An oral presentation about the possibilities, intentions and vision for an interpretation of a monologue and its
prescribed scene, including responding to question/s.
Describe, outline, justify

45. Unit 4 AOS 2 : Interpreting a monologue
Conduct dramaturgy and apply discoveries to inform interpretation of the script
Interpret the contexts of the monologue
Convey the intended meanings of the monologue
Apply theatre styles to the monologue
Interpret the monologue by working in selected production roles, including applying elements of theatre composition creatively and imaginatively
Present an interpretation of the monologue
Orally justify and explain interpretive decisions made
Unit 4 - Area of Study 2 : Pages 25-26
NB. The production roles are:
actor and director: students must work in both roles OR
designer – any two of costume, make-up, props, set, lighting, sound.
Apply, present, justify, explain

46. Unit 4 AOS 3 : Analysing and evaluating a performance
Analyse and evaluate acting, direction and design in a production selected from the prescribed Unit 4 playlist focusing on:
the character/s in the production including function and purpose, objective/s, motivation/s, status and traits
interpretation of a script in performance by actor/s, director/s and designer/s including elements of theatre composition used
the interrelationships between acting, direction and design
the use of focus, the acting space and verbal and/or non-verbal language to convey the intended meaning of the script
the ways that actor/s, director/s and designer/s work with the theatre style/s utilised in the production
Unit 4 - Area of Study 3 : Pages 26-27
Outcome 3 Assessment task : Page 28
It can be in in any one or a combination of the following formats:
an analytical essay
responses to structured questions
Analyse and evaluate

47. School-based assessment Unit 4
School-assessed Coursework for Unit 4: 15 percent of the study score
Outcomes
Assessment tasks
Outcome 1
Describe and justify a creative and imaginative interpretation of a monologue
and its prescribed scene.
Task 1 : 20 marks
A written report that describes and justifies dramaturgical decisions for a creative and imaginative interpretation of a monologue and its prescribed scene. The report may be in any one or a combination of the following formats:
• an essay
• responses to structured questions.
AND
Task 2 : 10 marks
An oral presentation about the possibilities, intentions
and vision for an interpretation of a monologue and its
prescribed scene, including responding to question/s.
Two marks are entered into VASS for Unit 4 Outcome 1
Assessment Unit 4 : Page 28.
More information in the Advice for Teachers.

48. School-based assessment Unit 4 cont.
School-assessed Coursework for Unit 4: 15 percent of the study score
Outcomes
Assessment tasks
Outcome 2
Analyse and evaluate acting, direction and
design in a production.
An analysis and evaluation of acting, direction and
design and their interrelationship in a production from
the prescribed playlist, in any one or a combination of
the following formats:
• an analytical essay
• responses to structured questions.
20 marks
Total marks 50
Assessment Unit 4 : Page 28.
More information in the Advice for Teachers.

49. ACTIVITY Elements of theatre composition
Review the definition and examples on the next slide.
Based on a play from Unit 3, or theatre you have made, with a partner discuss examples of how the elements of theatre composition were used.

50. ELEMENTS OF THEATRE COMPOSITION
Can be used to give structure to the interpretation or the way it is presented on stage in performance to an audience.
These elements can also be used to encourage or lead the audience to engage in the work.
* Cohesion * Emphasis
* Motion * Contrast
* Rhythm * Variation
They can be applied individually or in combination, in any theatre style, used within any production role and at any stage of the production process

51. UNITS 3 and 4 PLAYLIST
The Playlist for 2019 will be selected to reflect the revised study design.

52. Advice & ASSESSMENT

53. Advice for teachers Advice for teachers will include
Developing a program
Employability skills
Learning activities
Detailed activities
Sample approaches for assessment tasks
Performance descriptors / rubric

54. EXAMINATION SPECIFICATIONS
Examination materials
Are published in the first year of implementation (2019)
Include:
Monologue examination specifications, examination criteria and sample material
Written examination specifications and sample material

55. Units 1 and 2 Assessment
Schools determine Unit 1 and 2 assessments using the advice in the study design.
In both Units 1 and 2 at least one assessment task must be practice-based, at least one task must be written and at least one task must include an oral component.

56. Unit 3 Assessment Outcome 1 comprises two tasks:
Task 1 : 45 marks
ongoing developmental contributions to creative interpretation of a script across all three stages of the production process through collaborative work in two production roles
Task 2: 15 marks
Analysis and evaluation, supported by relevant documentation, of ongoing developmental contributions across all three stages of the production process in two or more of the following formats:
* oral * written * visual * multimedia
Two marks are entered into VASS for Unit 3 Outcome 1
Unit 3 Outcome 3 Assessment – Page 23.

57. Unit 4 Assessment Outcome 1 comprises two tasks: Task 1: 20 marks
A written report that describes and justifies dramaturgical decisions for a creative and imaginative interpretation of a monologue and its prescribed scene. The report may be in any one or a combination of the following formats:
* an essay * responses to structured questions
Task 2: 10 marks
An oral presentation about the possibilities, intentions and vision for an interpretation of a monologue and its prescribed scene, including responding to question/s.
Two marks are entered into VASS for Unit 4 Outcome 1
Unit 4 Outcome 3 Assessment – Page 28.

58. INFORMATION & CONTACTS
VCE Theatre Studies Index page
Margaret Arnold, Performing Arts Curriculum Manager
Subscribe to the VCAA Bulletin