Z Fuller 16343229 102091 Drama2b 1h 2016 Assessment 2

Zoe-Lee
Fuller 16343229
Secondary Curriculum Drama 2 Assessment 2
Portfolio artefact and critical reflection HSC Drama
2.2 Program and report of a HSC Australian Drama topic
2.2 (i) Program (1000 words) (Word count does not include text provided in the template)
Unit Outline for Stage 6 Drama

HSC Australian Drama and Theatre topic (1 or 2) Dramatic Traditions in Australia

Rubric This topic explores, theoretically and experientially,
the traditional and contemporary practices of
Australian drama and theatre and the various ways

in which artistic, cultural, social, political and
personal issues and concerns are reflected in
different contexts. Students investigate how
different Australian practitioners use dramatic
forms, performance styles, techniques and
conventions to convey ideas and influence the

ways in which audiences understand and respond
to ideas and images presented in the theatre
(Board of Studies NSW, 2013).
Length of unit 10 weeks

Term to be taught Term 4, Year 11

Focus/purpose for teaching the topic Through composing both a performance and

written essay for the topics assessment task,
students will practice collaborative group work,
and hone their critical thinking and essay writing
abilities, in preparation for the HSC group
performance and exam.
Relatedness to the Stage 6 Drama course As per the syllabus rationale (Board of Studies
NSW, 2009), drama provides an effective vehicle
for exploring and understanding social, cultural and

political values and agendas. The core study allows
students to do so with respect to Australian theatre
and society.

Sequential Lesson Plan 1 for Stage 6 Drama

HSC Topic Dramatic Traditions in Australia

Length of lesson 60 mins

Lesson Number in unit 29/40

Drama Learning Outcomes
Syllabus outcomes (eg H 1.2)
Making H1.3

Performing H1.2

Critically Studying H3.2 H3.4

Life Skills outcomes

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Zoe-Lee Fuller 16343229

Quality Teaching Framework

Quality Teaching Elements Highlight the appropriate areas in columns 2 & 3
Intellectual Quality 1.1 Deep knowledge 1.4 Higher-order
This refers to pedagogy focused on producing deep understanding of 1.2 Deep understanding thinking
important, substantive concepts, skills and ideas. Such pedagogy treats 1.3 Problematic knowledge 1.5 Metalanguage
knowledge as something that requires active construction and requires 1.6 Substantive
students to engage in higher-order thinking and to communicate communication
substantively about what they are learning.
Quality Learning Environment 2.1 Explicit quality criteria 2.4 Social Support
This refers to pedagogy that creates classrooms where students and 2.2 Engagement 2.5 Students self
teachers work productively in an environment clearly focused on learning. 2.3 High Expectations regulation
Such pedagogy sets high & explicit expectations and develops positive 2.6 Student direction
relationships between teacher and students & among students.
Significance 3.1 Background knowledge 3.4 Inclusivity
This refers to pedagogy that helps make learning more meaningful and 3.2 Cultural knowledge 3.5 Connectedness
important to students. Such pedagogy draws clear connections with 3.3 Knowledge integration 3.6 Narrative
students prior knowledge and identities, with contexts outside of the
classroom, & with multiple ways of knowing all cultural perspective.

Teaching element Indicators of quality teaching elements in the lesson

Intellectual Quality Students are encouraged to analyse, draw links and assumptions, reflect,
and deduce answers to proposed questions.
Quality Learning Environment Activities are designed to foster high engagement, and individual learning
needs are catered for through various pedagogies.
Significance All students are encouraged to discuss personal beliefs and stories as
related to class content.

Identify the quality teaching elements and indicate how they are achieved within the lesson

Teaching considerations Indicators in lesson
(reference 2 of the following)
English as an additional language or dialect Group readings with phrasing (Paquette & Reiq, 2008, see Appendix
(EALD) 1.1), non-linguistic cues, written and verbal insruction and critical
reflection (Ferlazzo & Sypnieski, 2012, see Appendix 1.1)
Aboriginal Cultures and Histories Use of Aboriginal pedagogies: story sharing; learning maps; symbols
and images (Yunkaporta, 2009, see Appendix 1.2)
Gifted and talented students
Inclusive learning

Set up prior to lesson
Set up smartboard with mind mup and No Sugar activity ready.
Have handouts of No Sugar excerpt available.

Lesson purpose
2
Explicit subject specific concepts and skills.
Students will draw links between the use of Aboriginal language as a dramatic convention and Aboriginal
resistance to white oppression, so to understand how they may shape and influence each other.

Time Teaching and learning actions Organisation T/S Centred
(Experiential, active, critically reflective / focused
and sequential learning)
10 mins Teacher: facilitates activity
S
Lesson Introduction Student: share personal stories/beliefs
Story sharing: what voices are marginalised in with the class and record by building a
contemporary society? Who has personally learning map
been or felt marginalised? What did you do in
response? Record as a learning map. Resources: Online mind mapping
tool: https://www.mindmup.com/

Class activity - Symbols and images: have
students analyse the front cover of No Sugar, Student: Collaborate as a class and S
in terms of images, texture, and colour, and discuss
attempt to determine the character depicted,
draw assumptions about her, and also the effect Resources: Front cover activity
of the geometric lines and the red line. (Helleman & Gibson, 2013, p. 43, see
appendix 1.3)
10 mins Group readings, with phrasing, of an excerpt of Teacher: Guides phrasing and observes
No Sugar. Students are to make note of what reading S
language in the text marginalises Aboriginals,
and what language provides them resistance to Student: Support each other

oppression.
Resources: No Sugar excerpt (see
appendix 1.4)
15 mins Class discussion: The function of Aboriginal Teacher: drives discussion with reference
language in No Sugar. to academic literature (see appendix 1.5) T

Student: take notes and contribute
Resources:
5 mins Teacher: Observes
Groups create a tableau of 4 stills that express
their understanding from the class discussion to Student: Collaborate in groups (4-5) S
present to the class.
Resources:
5 mins Lesson closure Teacher: Observes and assists where
necessary
Students reflect on class content in their S

logbooks using the scaffolding questions. Student: Works individually

Resources: Logbook entry scaffolding
questions (see appendix 1.6).

Evaluation/Reflection
I have learned the following about the teaching and learning process when preparing this lesson.
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Lesson planning should not be rushed. It takes time and preparation. Many factors need to be taken into account,
such as the syllabus and course prescriptions, quality teaching framework, individual student learning needs and
pedagogies that address these. Also, lesson planning is like essay writing: it needs to be drafted and revised, edited
and revised again.

I will evaluate the students drama learning in relation to the learning outcomes in the follow ways:

identification and use of relevant dramatic forms, styles, techniques and conventions
identification of cultural issues and concerns expressed in Australian theatre
observation of students reflection and experiential learning, especially through monitoring their logbooks

I will consider the following for the next lesson/future student learning: [Not to be completed for this assignment]

Workplace heath and safety
Outline of the key WHS issues that may arise and need to be reduced/eliminated that can be applied in this lesson,
Refer to the Stage 6 Drama Syllabus and support documents and WHS policy:
https://www.workcover.nsw.gov.au/law-policy/legislation-and-codes/work-health-and-safety-legislation

As per the physical and experiential nature of studying drama, in workshopping, making and
performing (Board of Studies NSW, 2009), it is imperative to ensure the safety of the space in which
this learning occurs. Risks can be minimised by ensuring that all equipment, appliances, fittings, and so
on, are in perfect working order, good condition, securely fitted and safety-checked regularly (NSW
Gov, 2016). Additionally the classroom or other learning space should be tidy and free of clutter, floors
should clean and dry, etc.

References (as an appendix and not deemed in the word count)
List of references used for the content and resources of this lesson using APA referencing style which can be found at:
http://library.westernsydney.edu.au/main/guides/referencing-citation

Board of Studies NSW. (2009). Drama Stage 6 Syllabus. Retrieved from
http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/drama-st6-syl-from2010.pdf
Davis, J. (1986). No Sugar. Sydney: Currency Press.
Dibble, B., & MacIntyre, M. (1992). Hybridity in Jack Davis No Sugar. Westerly, 37(4), pp. 93-98.
Helleman, B., & Gibson-Langford, L. (2013). Indigenous perspectives in words and images: National curriculum support
for study of Aboriginal language and literature. Australia: National Library of Australia.
New South Wales Government. (2016). Work health and safety act 2011 No 10. Retrieved from
http://www.legislation.nsw.gov.au/maintop/view/inforce/act+10+2011+cd+0+N
4
Paquette, K.R., & Rieg, S.A. (2008). Using music to support the literacy development of young english language
learners. Early Childhood Education Journal, 36, 227-232. doi: 10.1007/s10643-008-0277-9
Yunkaporta, T.K. (2009). Our ways of learning in Aboriginal languages. Department of Education and Training, New
South Wales. Retrieved from http://researchonline.jcu.edu.au/10974/4/04Bookchapter.pdf

Resources attached (as an appendix and not deemed in the word count)
List of the resources that you have created or found

Appendix 1.1

Pedagogies for English as an Additional Language or Dialect

Paquette & Reig (2008):
Paired reading - students take turns reading in pairs, helping each other with expression
Phrasing - teacher or English-proficient student marks phrases in the text to be read together for EALD
students
Peer modelling

Ferlazzo & Sypnieski (2012)
Non-linguistic cues, such as visuals, sketches, intonation, gestures, etc.
Written and verbal instruction
Critical reflections, eg. summaries, self-assessment, peer and teacher assessment, relevance, higher-
order thinking.

Appendix 1.2

Pedagogies for Aboriginal Cultures and Histories

Yunkaporta (2009):
Story sharing - students share personal stories that are socially, culturally, linguistically, etc., relevant to
the lesson or unit.
Learning maps - learning that can be drawn as a map, in which the path is winding rather than straight.
Can be applied to a scope and sequence, unit, lesson, concept, text, etc.
Symbols & Images - using symbols and pictures as metaphors, to represent words, concepts, learning
processes, etc.

5

Appendix 1.3

No Sugar Front Cover Activity (Helleman & Gibson & Langford, 2013, p. 43).

Appendix 1.4

Excerpt from No Sugar, page 21-23

[The SERGEANT places flour, sugar and two small packages on the bench and marks them off in his ration book.
]
SEARGEANT: Flour, sugar, tea ... And how you keeping, Granny?
GRAN: Im awright.
SERGEANT: Been behavin yourself?
GRAN: Have you?
SERGEANT: Theres your butchers order, meat and ripping.
MILLY: [inspecting the small package] You got two cream a tartar ere.
SERGEANT: Right lets change em.
GRAN: Damper wont rise without no bicarbonate.
SERGEANT: That shouldnt worry you, Granny, should be remember when you used to grind up jam and wattle seeds.
GRAN: More better than white mans flour, no weevils in jam and wattle seeds.
SERGEANT: Good tucker, eh?
GRAN: When I was that high we used to go and get em and smash em up and get a bag full, that much!
SERGEANT: You can still collect em, nothin stoppin you.
GRAN: Where? Wetjala cut all the trees down.
MILLY: Havent got any soap yet.
SERGEANT: Im afraid that soap is no longer included as a ration item.
MILLY: What do you mean, we got no more soap?
SERGEANT: Thats right.
MILLY: But why? What am I gonna wash with? How can I keep my kids clean and sen em to school?
6
SERGEANT: You could buy some.
MILLY: What with?
GRAN: What about gnummarri? You stop that too?
SERGEANT: No, Granny, you still get your stick of nigger twist. [He gives it to her.]
MILLY: Whose idea was it to stop the soap?
SERGEANT: The idea, as you call it, came from the Aboriginal Department in Perth.
GRAN: Mister Neville?
MILLY: I just cant believe: no soap!
SERGEANT: Your trouble, Milly, is you got three healthy mean bludging off you, too lazy to work.
MILLY: Where they gonna get work?
SERGEANT: Theyre afraid to look for it in case they find it.
MILLY: Cockies want em to work for nothin.
GRAN: They not slaves, Chergeant!
SERGEANT: Well, theyll have to work if you want luxury items like soap.
MILLY: Look, last week my Joe cut a hundred posts for old Skinny Martin and you know what he got? A pair of second-
hand boots and a piece of stag ram so tough even the dawgs couldnt eat it; skinnier than old Martin imself.
GRAN: And we couldnt eat the boots.
MILLY: You wait till brother Jimmy hears about this no soap business. Hell make you fellas jump.
SERGEANT: Yeah and you tell that bush lawyer brother of yours, if he comes here arguing Ill make him jump: straight
inside.
[They turn to go. As they leave he raises his voice after them.]
You hear me?
MILLY: [calling] Yeah, I hear you. Cant help hearin you.
[They walk down the street.]
GRAN: [calling] You dont want to shout like that, Chergeant. Youll ave a fit, just like a dingo when gets bait.
MILLY: [calling] Seein youre drinkin down the Federal every night, Sergeant, you can tell old Skinny Martin to stick his
stag ram right up his skinny kwon!
[They exit, laughing and hooting Nyoongah fashion. The SERGEANT returns to the police station, puts the ration
book away and settles down to reading the newspaper...]

Note the following translations:
GNUMMARRI: tobacco
KWON: arse
WETJALA: white person, a corruption of the English white fellow

Appendix 1.5

Class discussion: The function of Aboriginal language in No Sugar

Teacher leads discussion, asking how does the use of bilingualism, that is, Aboriginal language interspersed with
Australian English, function in the play with regards to the oppression of indigenous peoples?

Teacher leads students to understanding that the use of Aboriginal language, as a realist convention, is one of the
ways the play gives a voice to the marginalised Aboriginal people, explicitly internal, and implicitly external, to the
play. The bilingualism used by Jimmy and Millimurra family allow them to resist white oppression subversively, in that
the two languages evoke cultural beliefs and ideologies which are essentially mutually exclusive and even
contradictory. The hybrid nature of language used in the text disables the oppressor by disguising deviance as
compliance (Dibble & MacIntyre, 1992, p. 94, italics in original).

Appendix 1.6

Logbook Entry Scaffolding Questions

For each activity/exercise answer the following:
What did we do?
7
What did we learn?
What was the purpose?
What skills did we use/practice?
What happened during the exercise/activity?
Was it effective? Did it fulfill the purpose?
Could it have been done differently?
What observations did you make about yourself and others?
Evaluate your success in this exercise/activity.

8



Making

Performing H1.2






Quality Learning Environment Activities are designed to encourage collaboration, peer assistance and peer
modelling.
Significance Students identify prior knowledge. Lesson content builds on this knowledge.


(Choose 2 of the following list)
English as an additional language or dialect Paired reading strategies (see appendix 1.1), non-linguistic cues and
(EALD) critical reflection (Ferlazzo & Sypnieski, see appendix 1.1)
Aboriginal Cultures and Histories Aboriginal pedagogies: learning maps, deconstruct/reconstruct (see
appendix 2.1)
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Inclusive learning

Smartboard set up with mindmup online tool
The Chapel Perilous excerpt and line extracts handouts
Helen Thompson excerpt on smartboard/handouts

Lesson purpose
To draw on prior knowledge about the conventions used in the text, and build on this by linking them to
them marginalisation of the texts heroine. In particular students will analyse how the chorus convention
functions as a vehicle for oppression and resistance.

10 mins Lesson Introduction Teacher: leads discussion, prompts
students T
Revise: What do we already know about anti-
realist elements and conventions in The Chapel Student: recall previous content and
Perilous? Record as a learning map. discuss with class, record class discussion
by building a learning map

Resources: Online mind mapping tool:
https://www.mindmup.com/
10 mins Teacher: facilitates and observes

Class activity - deconstruct/reconstruct (see
Appendix 2.1): Sally vs. the Chorus (See Student: all participate S
Appendix 2.2)
Resources: handouts with line extracts
from The Chapel Perilous (see appendix
2.2)
10 mins Paired reading (see Appendix 1.1) of an excerpt Teacher: observes and models where
of The Chapel Perilous (See Appendix 2.3). necessary
S
Students are to make note of the chorus
(schoolgirls) in the text and what they think the Student: read in pairs

purpose of that is.
Resources: Excerpt from The Chapel
Perilous (see appendix 2.3
15 mins Teacher shares an excerpt from Helen Teacher: leads discussion with reference
Thompson writing about Australian womens to academic material T
theatre (see Appendix 2.4) and leads discussion
Student: take notes
on its implications for The Chapel Perilous.

Resources: Helen Thompson excerpt (see
appendix 2.4)
10
10 mins Think - Pair - Share activity (See Appendix 2.5): Teacher: observes and facilitates
how does the chorus (schoolgirls) function in the S
excerpt with regard to the marginalisation of Student: work in pairs
Sally Banner, and subverting that oppression?
Resources: Logbooks
5 mins Lesson closure Teacher: observes and assists where
necessary
Students reflect on class content in their S
logbooks using the scaffolding questions (see Student: write individually
Appendix 1.6).

Resources: Logbook scaffolding
questions (see appendix 1.6)

My learning curve for this lesson plan was how to pace the scope and content of the lesson so that students could
keep up, were adequately challenged, and would understand the learning materials and concepts. I am still not sure
I have done this adequately.

identification and use of acting skills and other dramatic/theatrical practices
responding to the prescribed texts, in both written and dramatic compositions
collaborative presentation of their opinions in relation to the prescribed texts



As for the previous lesson.

References (as an appendix and not deemed in the word count)
List of references used for the content and resources of this lesson using APA referencing style which can be found at:
http://library.westernsydney.edu.au/main/guides/referencing-citation

http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/drama-st6-syl-from2010.pdf
Hewett, D. (1972). The Chapel Perilous, in P. Tait & E. Schafer (eds.), (1997) Australian womens drama: Texts and
feminisms. Sydney: Currency Press.
11
Helleman, B., & Gibson-Langford, L. (2013). Indigenous perspectives in words and images: National curriculum support
for study of Aboriginal language and literature. Australia: National Library of Australia.
New South Wales Government. (2016). Work health and safety act 2011 No 10. Retrieved from
http://www.legislation.nsw.gov.au/maintop/view/inforce/act+10+2011+cd+0+N
Paquette, K.R., & Rieg, S.A. (2008). Using music to support the literacy development of young english language
learners. Early Childhood Education Journal, 36, 227-232. doi: 10.1007/s10643-008-0277-9
Thompson, H. (1998). Recent Australian womens writing for the stage, in V. Kelly (ed.). Our Australian theatre in the
1990s. Amsterdam: Rodopi.
Yunkaporta, T.K. (2009). Our ways of learning in Aboriginal languages. Department of Education and Training, New
South Wales. Retrieved from http://researchonline.jcu.edu.au/10974/4/04Bookchapter.pdf

Resources attached (as an appendix and not deemed in the word count)
List of the resources that you have created or found

Appendix 2.1

Pedagogies for Aboriginal Cultures and Histories

Yunkaporta (2009):

Learning maps - learning that can be drawn as a map, in which the path is winding rather than straight.
Can be applied to a scope and sequence, unit, lesson, concept, text, etc.
Deconstruct/reconstruct: learning occurs in a backtracking manner, where content or text is first looked
as a whole, then in terms of its context, then structure, then its basic parts.

Appendix 2.2

Class Activity - deconstruct/reconstruct: Sally vs. the Chorus
One student is designated as Sally, all others as chorus. Sally is given a list of defiant lines from the play. The
chorus are given a list of lines from the play criticising Sally. They must chant these at her, she may reply only with
her lines. The class then discusses how the delivering the lines as a chorus impacted the messages relayed.
The class discussion should follow, but is not limited to, the following trajectory:
Function of the Chorus

Ask how everyone felt playing those roles.
Let me just note that the lines you have spoken as the chorus are not the actual lines that the chorus in the play
speak. Rather I have put this activity together so that we can all understand how the convention functions in this
play.
Traditional function of the chorus (eg. Greek theatre) - they represent the general population in the world of the
play, and they provide a running commentary of the themes, events and action of the play, thus forging a deeper
relationship between actor and audience.
In light of this, and the activity we have just done, how do you think the chorus functions in The Chapel Perilous?
Highlights the overwhelming criticism and condemnation Sally receives throughout the play
Also provides in a way Sally a means for fighting back, resisting, subverting the normative ideals
Thus gives a voice to marginalised individuals and experiences, ie. women and their sexual experiences, freedom,
expresses feminist concerns.
And while the chorus itself seems to be at times condemning her and at others supporting her, it is metaphoric of
the voices of mainstream society eg. social policing of deviant acts.

12
Handout with line extracts

SALLY: It matters not how strait the gate,
How charged with punishment the scroll,
I am the master of my fate,
I am the captain of my soul. (65).

CHORUS: Adulteress, divorced, she lived in sin. She did not bow, she did not bow (8).

SALLY: I make my own pattern (64).

CHORUS: Blasphemer, pacifist, atheist, Communist. She defied God (48).

SALLY: I believe strongly in the blood, the flesh, as being wiser than the intellect (23).

CHORUS: She was a real trollop. Shed lie down anywhere and do it like a dog (22).

SALLY: I will live in Ringsend with a red-headed whore (9).

CHORUS: She is morbid, introspective, violent, immature, dangerous, malicious, macabre ... and lesbian (6).

SALLY: We can go wrong in our minds, but what our blood feels and believes and says is always true (23).

CHORUS: Youre a randy little bourgeois bitch. The only thing that interests you is what youve got between your legs
(53).

SALLY: All I want is to answer to my blood direct (23).

CHORUS: Father, father, for Gods sake read this. Its Sally. Shes a wild girl. Shes a dirty little whore (14).

SALLY: Nobody can love a mind. But bodies are simple and clean and straight. I know what to do with a body (27).

CHORUS: She is in moral danger, and a danger to others (6).

SALLY: I dont believe in marriage. Im going to live with the man I love, and both of us will be free forever (27).

CHORUS: I find Sally... unwholesome, both precocious and evil (11).
Whore. Dirty whore (24).
Shes a nympho. I bet she cant count them on the fingers of two hands (25).
You want us all, dont you? Sally Banners harem. Well, you cant have us. Its bigamy, my love. Go rock your baby (51).

SALLY: Love, joy, honesty - theyre just words to you. Youre cowards. Afraid of life. Lifes not an abstraction. Its not a
set of rules or a great sacrifice of the self. Its all weve got, and Im going to live it to the fullest stretch of my
imagination (55).

Appendix 2.3

Excerpt from The Chapel Perilous

SISTER ROSA: Parents, teachers, girls: on this speech day I welcome back our old pupil, Sally Banner who was once
one of you, who walked in the school crocodile to the school chapel, who curtseyed before the altar, and bowed to
the name of Jesus. Her name appears, suitably inscribed in bold type, in the school prospectus. An old woman
remembers only those pupils who have made some mark in the world: remember Sally Banner. I remember her well.
AMPLIFIER: [SISTER ROSA'S voice] I remember her bold eyes staring me down at the foot of the altar. She would not
bow. She would not bow....
13
SISTER ROSA: She was not baptised, nor confirmed. Therefore she could never become a school prefect.
AMPLIFIER: [SISTER ROSA'S voice] She drew lewd women on the back of her divinity notebook, and she would not
bow. She would not bow.
SISTER ROSA: She had a slight tendency to wildness, never wearing her hat to the school tuck shop, and occasionally
found out of bounds. She had no school spirit.
AMPLIFIER: [SISTER ROSA'S voice] Adultress, divorced, she lived in sin. She did not bow,
SALLY: [young, fresh, joyous] I will live in Ringsend
With a red-headed whore,
And the fan-light gone in
Where it lights the hall door.
SISTER ROSA: Sally, Sally Banner, where did you find that awful verse?
SALLY: Why, Sister Rosa, in the Oxford Book of Modern Verse I got for the English prize.
AMPLIFIER: [SISTER ROSA'S voice] And she did not bow... She did not bow...
Bell rings. SCHOOLGIRLS come from all parts of the school and take up positions on right and left of stage.
GIRLS: [singing] Bring me my bow of burning gold:
Bring me my arrows of desire:
Bring me my spear! Oh! Clouds unfold:
Bring me my chariot of fire!
I will not cease from mental fight
Nor shall my sword sleep in my hand:
Till we have built Jerusalem,
In England's green and pleasant land.
The hymn tails off as SALLY BANNER enters down the center aisle, singing. She goes to altar, stands before it. SISTER
ROSA stands, arms folded bedside altar. SALLY confronts her.
SISTER ROSA: Bow.
SALLY remains rigid with back to audience.
Go back, that girl. Make your entrance again. 'Bring me your bow', girls... please.
SALLY retreats up aisle. Girls repeat hymn, SALLY comes again to stand rigid at altar.
Bow.
SALLY remains rigid.
Again Sally Banner. Girls, please: 'I will not cease from mental fight'
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SALLY retreats, returns.
Bow.
SALLY: I will live in Ringsend with a red-headed whore.
Appendix 2.4
Excerpts from Helen Thompson's 'Recent Australian women's writing for the stage', in Our Australian Theatre in the
1990s.
"Discussing a group of plays on the basis of the gender of their writers immediately engages us in a central
ongoing debate in theatre and performance work in general. This is the argument concerning the efficacy and
future direction of what Gay McAuley (1996, 140) calls 'traditional text/character/narrative', as opposed to
'theatre as a sacred space of metaphor, transformation and ritual' provocatively posited as 'true' theatre by
Barrie Kosky (1996). This opposition between theatre which reflects back reality and that which transforms it,
is of crucial importance to feminist writers and performers, particularly since Teresa de Lauretis (1984)
revealed the connection between realist narratives and the oppression of women through their inevitable
Oedipal patterning. The requirement that feminist theatre should therefore be disruptive or subversive of the
phallocentric norm, recognised from the earliest second wave feminist movement which politicised the
personal, has drawn many women playwrights into oppositional practices of many kinds anti-realism has
always served marginal and oppressed groups, whether that oppression is the result of race, class or gender"
(p. 104)
"Thus a tradition of radicalism was the first distinctive marker of women's writing for the theatre in
Australia" (p. 105).
"If the MWTG [Melbourne Women's Theatre Group] challenged limiting female stereotypes through
confronting humour, shocking transgressions of acceptable public behaviour and radical subjects, the earlier
writers had, within the limitations of social realist drama, also challenged a rigidly patriarchal order with
female characters who refused to conform to limiting gender roles" (p. 105).
"The defining characteristics of feminist theatre: breaking taboos on the public depiction of the female body;
censuring the male gaze; and repositioning women in the subject position. These concerns clearly indicate
considerable theoretical development since the early 70s consciousness-raising groups, and emphasis on
disrupting gender roles" (p. 106).
Whether the result of breaking female taboos, or, conversely, of apparently reproducing glamourous sexual
stereotypes, Hewetts plays have aroused emotional rather than rational responses and controversies (p.
107).
"Even when no specific claim is being made for feminism it is still vocalising uniquely female experience"
(p. 111).
Appendix 2.5
Think - Pair - Share Activity

Students think about and answer the question in their logbooks individually. Then they share their responses with
their partner. The pair then decide which of their answers is the better of the two. They then share the chosen answer
with the class.
15

2.2 (i) Program continued
School-based/internal assessment task for the Australian drama unit

Assessment task description for the Australian drama unit
In groups students will playbuild a performance essay in response to a set question. Individually students will
compose a written essay addressing the same question (see appendix 3.1 for more details). Students will be given
three weeks in class time to work with their groups. Once a week groups will show the class their progress. This
will allow the teacher to provide formative feedback, and to track the progress of the performance essays from
their initial conceptions to their final performances. Additionally, students will be invited to provide peer
feedback. Observation of this will allow me to informally assess students critical engagement with the topic
through anecdotal records. Summative assessment of both the final performance and written essays will be
processed through the use of Assessment rubrics. Students will receive individual feedback for both the
performance and written essay.

Include below how you will:
o Judge students making, performing and critically studying the topic
o Provision of formative feedback to students to extend the student response to the task.
o Teacher processes for judging, recording and reporting individual student outcomes.

Appendix 3.1

Topic 1: Dramatic Traditions in Australia

Assessment Task - Performance Essay

This assessment has two parts and is based on the two texts studied in this topic:

Dorothy Hewetts The Chapel Perilous
Jack Davis No Sugar

Part A: Performance

You will form groups of 4 to 6, which will be negotiated with the teacher (teacher has final veto over each group and
will endeavour to produce dynamics which will be of advantage to each and every student). You will playbuild a
performance essay (12-15 minutes) based on the following question:

Realism gives great weight to the status quo (John McCallum, 1977,
p. 477). How do the prescribed texts use forms, styles, techniques and
conventions to give recognition to oppressed voices and experiences?

Just as with a written essay, the performance essay must make relevant points or arguments, which are backed up by
evidence. It must also follow an essay structure, that is, with an introduction, body (where arguments are made), and
conclusion. Evidence should be drawn from both textual references and research. While time and resources to help
complete these task will be made available during class time, you should devote additional time and effort outside of
class. Thus, some rehearsals may take place in students own time, as negotiated by all group members. The
Performance will take place in Week 7.

Part B: Drama Written Essay
16

You will also answer the above question individually in a 1500-1800 word essay, which follows the standard essay
format. You are encouraged to refer reflectively to your experiences in creating and performing Part A of the
assessment. Also, while you may assist each other where necessary in the conception of this essay, each of you must
ultimately produce your own work. This is due one week after the performance, in week 8. References and
bibliography are required.

17

Assessment 2.2 (ii) Report on the professional justification for effective and engaging
teaching within the program design that blends practice with theory. (1000 words)
Provide below:
A critical reflection on your creativity as a drama teacher and what you have learnt during the investigation of the topic, unit and
assessment design that will inform your future drama pedagogy. Critically justify your decision-making in relation to relevant theories
and approaches for an innovative, sustainable and positive teaching and learning environment. Weave the relationship of practice
related to the theory and investigation of the topic and drama pedagogy.
References to the HSC topic texts, relevant drama education literature, Australian Professional Standards for Graduate Teachers, quality
teaching dimensions and engaged effective teaching.
Appendices, if required. (words not counted)

When planning this unit program, I found several concerns arose out of the various choices I made
of instructional content and learning needs to be addressed. Firstly, the topic study, Dramatic
Traditions in Australia, and chosen texts, Dorothy Hewetts The Chapel Perilous and Jack Davis No
Sugar (Board of Studies NSW, 2013), presented issues of relevance. That is, given the age of the
texts, whether students would find the themes and issues explored in these texts relevant to their
contemporary lives and communities, or merely outdated and unimportant. Secondly, how would
I incorporate pedagogies to address specific learning needs, English as an Additional Language or
Dialect (EALD) and Aboriginal Cultures and Histories, authentically into my lessons so to be
inclusive of each students needs and fulfil the syllabus requirements, Quality Teaching Framework
(NSW DET, 2008), and the Australian Professional Standards for Teachers (Board of Studies NSW,
2016). My engagement in professional learning (Standard 6; Board of Studies, 2016, p. 18) led
me to various strategies that would allow students to explore the texts social and cultural
contexts and ideologies, relate them back to their own personal and communal beliefs and
attitudes, and enrich their own capacities as active citizens and members of society (Board of
Studies, 2009).
In addressing the needs of EALD and Aboriginal students, both Yunkaporta (2009) and Alford
(2001) recommend first ascertaining students existing contextual knowledge of instructional
content. This can be achieved as an informal baseline or diagnostic assessment, which should be
conducted for all students regardless, in order to successfully fulfil the standards of Professional
Knowledge and Professional Practice (Board of Studies NSW, 2016) and the dimensions of
significance in the Quality Teaching Framework (NSW DET, 2008). Story sharing (Yunkaporta, 2009)
and brainstorming (Alford, 2001) at the beginning of the topic study, and particular lessons, will
allow students to share personal stories and cultural perspectives that are relevant to class
content, will include and be respectful of each student and their diverse cultures and histories,
18
and will help them to find personal relevance in the prescribed texts (Lazarus, 2013). For example,
in looking at the concept of marginalisation in the prescribed texts, I asked students in the first
lesson plan to share their own stories and perspectives of being marginalised, and what they did
or how they felt about it. This opened up a discourse in which we could explore how aboriginals
are marginalised in No Sugar, and the assumptions underpinning these perspectives, thus
addressing and exercising deep and problematic knowledge (NSW DET, 2008).
Lovesy (2002) asserts that for drama students, who tend towards kinaesthetic learning styles,
experiential learning is necessary for activating their critical thinking skills. Thus, know[ing my]
students and how they learn (Standard 1; Board of Studies NSW, 2016), in my second lesson plan
I invited them to participate experientially in the Sally vs. the Chorus class activity. This activity
gave students the opportunity to experience the perspectives of Sally, in her defiance and
resistance, and the general populace, who condemned her, through the dramatic convention of
the chorus. In doing so, students were able to empathise and were better attuned to the themes
and issues in The Chapel Perilous, thus achieving deep understanding and engagement, and
practicing relevant metalanguage (NSW DET, 2008). Additionally, the requirement of the activity,
that the chorus read their lines in unison, provided social support to EALD students in reading out
loud, in a class-size adaptation of various reading strategies for the support of literacy
development, as outlined by Paquette and Rieg (2008).
The most difficult part of constructing this unit program was addressing the specific learning needs
of Aboriginal and EALD students, without detracting from the usual drama learning experiences of
mainstream students. I soon found that many of these were beneficial in and of themselves.
Group activities concerned with making (Board of Studies NSW, 2009), such as the tableaus in my
first lesson plan, provide opportunities for student direction (NSW DET, 2008) in non-linear
learning processes (Yunkaporta, 2009), thus enabling students to pursue their own interests. Such
group activities also provide opportunities for EALD students to have their peers model for them
(Ferlazzo & Sypnieski, 2012), as in the Sally vs. the Chorus class activity. Reflective activities, as
practiced in logbook entries, which invite students to write in one of the following categories,
summarize, self-assess, assess the class and teacher, relevance, and higher-order thinking,
provide resonant written language experiences for all students, particularly EALD (Ferlazzo &
Sypnieski, 2012, p. 149). Additionally, these experiences foster various quality teaching dimension,
such as deep-understanding, higher-order thinking, metalanguage, substantive communication,
and high expectations (NSW DET, 2008), all of which are recommended for English language
19
learners (Ferlazzo & Sypnieski, 2012). Visual or non-verbal learning experiences, such as the
activity examining No Sugars book cover, will also aid both Aboriginal and EALD students, for it
allows students to link meaning through symbolism to both the English and their native language
(Yunkaporta, 2009). This is significant in strengthening their literacy development in both
languages and in general (Ferlazzo & Sypnieski, 2012).
Ultimately, my engagement in professional learning has culminated in the view that, in meeting
the needs of each and every student, I must treat them both as individuals and as a learning
community. In delivering an authentic and holistic dramatic arts education, principles of best
practice and the Quality Teaching Framework are inherent, and will support both Aboriginal and
EALD students organically (Yunkaporta & McGinty, 2009; Erwing, Hristofski, Gibson, Campbell &
Robertson, 2011). The various strategies explored can enhance these learning experiences further,
for everyone, not just EALD and Aboriginal students. Additionally, by emphasising the communal
nature of learning, as well as the individual, students may find relevance in the texts and teaching
content, through their shared experiences, if not the personal (Board of Studies NSW, 2009).
References
Alford, J. (2001). Learning language and critical literacy: Adolescent ESL students. Journal of
Adolescent & Adult Literacy, 45(3), pp. 238-242.

http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/drama-st6-syl-
from2010.pdf
Board of Studies NSW. (2013). Drama Stage 6 Course Prescriptions Higher School Certificate 2015-
2017. Retrieved from http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/drama-
st6-course-prescriptions-2015.pdf
Board of Studies NSW. (2016). Australian professional standards for teachers. Retrieved from
http://www.nswteachers.nsw.edu.au/publications-policies-
resources/publications/australian-professional-standards-for-teachers/
Ewing, R., Hristofski, H., Gibson, R., Campbell, V., & Robertson, A. (2011). Using drama to enhance
literacy: The school drama initiative. Literacy Learning: the middle years, 19(3), pp. 33-39).
20
Ferlazzo, L., & Sypnieski K.H. (2012). The ESL/ELL teachers survival guide: Ready-to-use strategies,
tools, and activities for teaching English language learners of all level. United States of
America, Wiley. Retrieved from
http://reader.eblib.com.au.ezproxy.uws.edu.au/%28S%28mvmoyynxijwdcaupouk5sg2l%2
9%29/Reader.aspx?p=875809&o=121&u=Y8ewI67MKSHF1X4rVFtRMg%3d%3d&t=14612
86395&h=7C4861ED53E3E7A66E9B37602FB8A860E0F1A6FB&s=24529126&ut=366&pg=
1&r=img&c=-1&pat=n&cms=-1&sd=1#
Lazarus, J. (2013). Signs of change: New directions in theatre education. Bristol, UK: Intellect.
Retrieved from
http://site.ebrary.com.ezproxy.uws.edu.au/lib/sydney/home.action?force=1
Lovesy, S. (2002). Performing an essay. NJ, 26(2), pp. 83-91.
NSW Department of Education (DET). (2008). Quality teaching to support the NSW professional
teaching standards: Part A - linking the NSW professional teaching standards and the
NSW quality teaching model. Retrieved from
https://dei.eduone.net.au/ashford/DEPASCSCURRICULUM/HSIE%20UNIT/Quality%20Tea
ching%20Framework.pdf
Paquette, K.R., & Rieg, S.A. (2008). Using music to support the literacy development of young
english language learners. Journal of Early Childhood Education, 36, pp. 227-232.
doi:10.1007/s10643-008-0277-9
Yunkaporta, T.K. (2009). Our ways of learning in Aboriginal languages. Department of Education
and Training, New South Wales. Retrieved from
http://researchonline.jcu.edu.au/10974/4/04Bookchapter.pdf
Yunkaporta, T. & McGinty, S. (2009). Reclaiming Aboriginal knowledge at the cultural interface.
The Australian Educational Researcher, 36(2), pp. 55-72.
21

Assessment 2.3 Portfolio artefact (not assessed)

Select an excerpt from assignment tasks 2.1 and/or 2.2 to include as an artefact with a critical reflection/annotation which can be inserted later into
your graduate teacher portfolio.
Artefact selection related to 2.1 and /or 2.2 can also be drawn from evidence generated in tutorials, study and experience to show your
achievements towards the accomplishment of the Australian Professional Standards for Graduate Teachers. The artefact will comprise reflective
annotations on photographs/lesson plan/assessment task, etc.
See illustrations of Practice examples at: http://www.aitsl.edu.au/australian-professional-standards-for-teachers/illustrations-of-practice/find-by-
career-stage
Align your artefact to two of the Australian Professional Standards for Teachers that are aligned to unit outcomes 3, 4, 5, 6, and/or 7 as listed
below:
Unit learning outcomes
3. Demonstrate how the aims of the Australian Curriculum and NSW Board of Studies, Teaching and Educational Standards Stage 6 Syllabus
can be implemented using best practice in the application of relevant teaching strategies and the development of appropriate and
engaging resources. (CLO: 3, 4, 5); (APST Graduate stage: 1.3.1; 1.4.1; 1.5.1; 1.6.1; 2.1.1; 2.2.1; 2.3.1; 3.2.1; 3.4.1; 4.2.1; 4.3.1)
4. Present well-constructed, innovative and coherent student-centred lessons that include literacy (including key metalanguage) and
numeracy, enhance thinking and ICT skills and which take into account the full range of students abilities and school-based and system
data. (CLO: 2, 5, 7, 8); (APST Graduate stage: 1.1.1; 1.2.1; 2.1.1; 2.2.1; 2.3.1; 2.5.1; 2.6.1; 3.2.1; 3.4.1; 3.5.1);
5. Prepare a suitable range of assessment instruments that demonstrate understanding of statistical information, assessment moderation
and its application to support consistent and comparable judgements of student learning. (CLO: 1, 6); (APST Graduate stage: 1.5.1; 2.3.1;
3.6.1; 5.1.1; 5.2.1; 5.3.1; 5.4.1);
6. Design units of work, and develop curriculum materials that apply a critically reflective approach to teaching the subject. (CLO: 3, 4, 5, 7);
(APST Graduate stage: 2.1.1; 2.2.1; 2.3.1; 3.1.1; 3.2.1);
7. Use a variety of teaching and learning strategies and resources, including ICT and a range of texts and evaluate their effectiveness. (CLO:
2, 3, 4, 8); (APST Graduate stage: 3.3.1; 3.4.1; 3.5.1);

Unit learning outcome 3

Standards:

1.3.1 Demonstrate knowledge of teaching strategies that are responsive to the learning strengths
and needs of students from diverse linguistic, cultural, religious and socio-economic backgrounds.
3.4.1 Demonstrate knowledge of a range of resources, including ICT that engage students in their
learning.


Making H1.3

Performing H1.2



22




Quality Learning Environment Activities are designed to foster high engagement, and individual learning
needs are catered for through various pedagogies.
Significance All students are encouraged to discuss personal beliefs and stories as
related to class content.

(reference 2 of the following)
English as an additional language or dialect Group readings with phrasing (Paquette & Reiq, 2008, see Appendix
(EALD) 1.1), non-linguistic cues and critical reflection (Ferlazzo & Sypnieski,
see appendix 1.1)
Aboriginal Cultures and Histories Use of Aboriginal pedagogies: story sharing; learning maps; symbols
and images (Yunkaporta, 2009, see Appendix 1.2)
Inclusive learning

1.3.1 These teaching strategies address the diverse learning needs of EALD students and
Aboriginal students, by providing opportunities for reading out loud with peer modelling, using
non-linguistic cues (eg. visual) for relating meaning to language, providing writing practice
through critical reflection, valuing students unique personal and cultural perspectives, and
using symbols and images to construct meaning.

23
Set up smartboard with mind mup and No Sugar activity ready.
Have handouts of No Sugar excerpt available.

3.4.1 In this lesson we will use a smartboard for two activities. Firstly, we will use the online
mind mapping tool, mindmup, to create learning maps from our the content of our class
discussion. Secondly, the smartboard will be used to display the cover of No Sugar for our class
activity, which will allow us to look at the cover in larger detail than the book itself.
We will also be looking at an excerpt of No Sugar, photocopied from the text, which will allow
the students to annotate them if necessary, especially for the supportive English proficient
students to indicate phrases to be read together for EALD students.

Lesson purpose
Students will draw links between the use of Aboriginal language as a dramatic convention and Aboriginal
resistance to white oppression, so to understand how they may shape and influence each other.

10 mins Lesson Introduction Teacher: facilitates activity
Story sharing: what voices are marginalised in S
contemporary society? Who has personally Student: share personal stories/beliefs
been or felt marginalised? What did you do in with the class and record by building a
learning map
response? Record as a learning map.

Resources: Online mind mapping
1.3.1 By inviting students to share stories tool: https://www.mindmup.com/
and prior knowledge, we demonstrate the
value of uniques perspectives students
bring to the classroom. It brings us closer
together as a learning community. It
enables the teacher to informally assess
prior knowledge and linguistic skills to be
built upon. This is also a pedagogical
strategy from Yunkaportas (2009) Eight
Ways of Learning, which comes from
Aboriginal culture.
Class activity - Symbols and images: have
students analyse the front cover of No Sugar, Student: Collaborate as a class and S
in terms of images, texture, and colour, and discuss
attempt to determine the character depicted,
draw assumptions about her, and also the effect Resources: Front cover activity
of the geometric lines and the red line. (Helleman & Gibson, 2013, p. 43, see
appendix 1.3)
24
10 mins Group readings, with phrasing, of an excerpt of Teacher: Guides phrasing and observes
No Sugar. Students are to make note of what reading S
language in the text marginalises Aboriginals,
and what language provides them resistance to Student: Support each other

oppression.
Resources: No Sugar excerpt (see
appendix 1.4)
15 mins Class discussion: The function of Aboriginal Teacher: drives discussion with reference
language in No Sugar. to academic literature (see appendix 1.5) T

Student: take notes and contribute
1.3.1 Class discussion enables EALD Resources:
students opportunities for practicing their
listening and speaking skills. It also allows
their peers to model spoken English for
them.
5 mins Teacher: Observes
Groups create a tableau of 4 stills that express
their understanding from the class discussion to Student: Collaborate in groups (4-5) S
present to the class.
Resources:
5 mins Lesson closure Teacher: Observes and assists where
necessary S
Students reflect on class content in their
logbooks using the scaffolding questions. Student: Works individually

3.4.1 The logbooks and scaffolding

questions provide opportunities for Resources: Logbook entry scaffolding
students to engage in higher-order questions (see appendix 1.6).
thinking as the reflect on their learning,
both theoretical and experiential, from
class content and activities. This in turn
will help students later to complete their
performance and written essays, as they
will have their critical reflections of
learning experiences to draw on.

Lesson planning should not be rushed. It takes time and preparation. Many factors need to be taken into account,
such as the syllabus and course prescriptions, quality teaching framework, individual student learning needs and
pedagogies that address these. Also, lesson planning is like essay writing: it needs to be drafted and revised, edited
and revised again.


identification and use of relevant dramatic forms, styles, techniques and conventions
identification of cultural issues and concerns expressed in Australian theatre
25



As per the physical and experiential nature of studying drama, in workshopping, making and
performing (Board of Studies NSW, 2009), it is imperative to ensure the safety of the space in which
this learning occurs. Risks can be minimised by ensuring that all equipment, appliances, fittings, and so
on, are in perfect working order, good condition, securely fitted and safety-checked regularly (NSW
Gov, 2016). Additionally the classroom or other learning space should be tidy and free of clutter, floors
should clean and dry, etc.

26

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Teaching element Indicators of quality teaching elements in the lesson

15 mins Teacher: facilitates activity

identification of cultural issues and concerns expressed in Australian theatre

Drama Learning Outcomes

Teaching element Indicators of quality teaching elements in the lesson

10 mins Teacher: facilitates and observes

identification and use of acting skills and other dramatic/theatrical practices

responding to the prescribed texts, in both written and dramatic compositions

collaborative presentation of their opinions in relation to the prescribed texts

SALLY: [young, fresh, joyous] I will live in Ringsend

With a red-headed whore,

And the fan-light gone in

Where it lights the hall door.

GIRLS: [singing] Bring me my bow of burning gold:

Bring me my arrows of desire:

Bring me my spear! Oh! Clouds unfold:

Bring me my chariot of fire!

I will not cease from mental fight

Nor shall my sword sleep in my hand:

Till we have built Jerusalem,

In England's green and pleasant land.

SISTER ROSA: Bow.

SALLY remains rigid with back to audience.

SALLY remains rigid.

SALLY: I will live in Ringsend with a red-headed whore.

Think - Pair - Share Activity

Board of Studies NSW. (2009). Drama Stage 6 Syllabus. Retrieved from

Lovesy, S. (2002). Performing an essay. NJ, 26(2), pp. 83-91.

Sequential Lesson Plan 1 for Stage 6 Drama

identification of cultural issues and concerns expressed in Australian theatre

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