DRAMAWritten examination

Thursday 7 November 2013 Reading time: 9.00 am to 9.15 am (15 minutes) Writing time: 9.15 am to 10.45 am (1 hour 30 minutes)

QUESTION AND ANSWER BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A 2 2 42B 6 1 18

Total 60

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orwhiteoutliquid/tape.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Questionandanswerbookof16pages.ThereisadetachableinsertforSectionAinthecentrefold.• Additionalspaceisavailableattheendofthebookifyouneedextrapapertocompleteananswer.

Instructions• Writeyourstudent numberinthespaceprovidedaboveonthispage.

• AllwrittenresponsesmustbeinEnglish.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2013

SUPERVISOR TO ATTACH PROCESSING LABEL HEREVictorian Certificate of Education 2013

Figures

Words

STUDENT NUMBER Letter

2013DRAMAEXAM 2

SECTION A – Question 1 –continued

Question 1 (22marks)Considerhowyouwouldusetheextract and the stimulus material for Question 1intheinserttodevelopandperformthecharacterofTheRatorTheMoleforanon-naturalistic solo performance.• Studythestimulus materialforQuestion1.• ReadtheextractfromKennethGrahame’sThe Wind in the Willows.• Answerparts a.–g.ofQuestion 1.

TheextractintheinsertfromKennethGrahame’sbookThe Wind in the Willowsisfromthechapterentitled‘ThePiperattheGatesofDawn’.Inthischapter,TheRatandTheMolehaveroweduptheriveratdawninsearchofababyotterthathasgonemissingfromhishome.Theyfollowthemysterioussoundofpan-pipesbeingplayeduntiltheyunexpectedlyfindthebabyottersleepingbetweenthehoovesofthegod,Pan.

a. Howwillyouuseoneideafromthestimulusmaterialtodevelopthissoloperformance? 2marks

b. Describehowyouwilltransformthespacetocreatethetwocontrastingenvironmentsofaquietdawnontheriverandthesearchpartylookingforthebabyotterintheforest. 4marks

SECTION A

Instructions for Section ADetachtheinsertfromthecentreofthisbookduringreadingtime.TheinsertcontainsstimulusmaterialforQuestion1andQuestion2inSectionA.ThestimulusmaterialintheinsertmustbeusedinansweringbothquestionsinSectionA.Answerallquestionsinthespacesprovided.

3 2013DRAMAEXAM

SECTION A – Question 1 –continuedTURN OVER

c. Createaworkingscriptforthedevelopmentofthissoloperformance.Clearlyannotatethedialogueinthetablebelowasyourworkingscript.

Inyouranswer,referto howyouwillapply• twoexpressiveskills• tension. 4marks

Mole:Rat! Areyouafraid?

Rat: Afraid? Afraid! OfHim? O,never,never! Andyet– andyet– O,Mole,Iamafraid!

d. Howwillyouuseonetransformationtechniquetocreatethedramaticmomentwhenyoutransform fromthecharacterofTheMoleintothecharacterofTheRat? 2marks

e. ThenextdramaticmomentinyoursoloperformanceiswhenTheRatmeetsthegod,Pan. AnalysehowyouwilluseanobjectandlanguagetotransformfromTheRatintothegod,Pan. 4marks

2013DRAMAEXAM 4

SECTION A –continued

f. Explainhowyouwillusefacialexpressionandmovementtopresentthecharacterofthegod,Pan. 3marks

g. Thenextdramaticmomentinyoursoloperformanceisthedisjointedtimesequencethatisusedtoshowwhenthegod,Pan,foundthebabyotter.

Discusshowyouwillmanipulateoneofthelistedareasofstagecraft(props,puppetry,mask,soundproduction,costume)toshowtheaudiencethisdisjointedtimesequence. 3marks

5 2013DRAMAEXAM

SECTION A – Question 2 –continuedTURN OVER

Question 2 (20marks)Considerhowyouwillusethestimulus material for Question 2intheinserttodevelopandpresentan ensemble performance in a non-naturalistic style.YourgroupistocreateandperformanensembleperformancethatissetinthefictionalworldofImagi-Town.Youraudiencewillbeprimary-schoolchildren.Someofthethemesforthisensembleperformanceinclude• magic• fantasy• goodversusevil• adventure• thepowerofimagination.Thestimulusmaterialprovidedisaconstructiondeviceintheformofabrainstorm/mindmap.

ScenarioThemagicinImagi-Townhasmysteriouslybeenstolen.Thetownsfolkenlistthehelpofanoutsider,theHeeby-Geeby,tofindtheculpritandrestorethetowntoitsoriginalstate.

Characters• BaronBignose–thebusybodywhowantstoknoweveryone’sbusiness• theHeeby-Geeby–whoeveryoneisscaredof,butwhoismisunderstood• SusieSnivel–thegossiper,whofrequentlygetsherinformationwrong• QueenBeen–whothinkssheismoreimportantthanshereallyis

Yourgroupwillberequiredtousetheatricalconventionsfromonespecificnon-naturalisticperformancestyleinthisensembleperformance.Youmustconsistentlyapplytheappropriatetheatricalconventionsfromyourselected non-naturalisticperformancestyleinthisensembleperformance.

a. Selectonenon-naturalisticperformancestyletouseinthisensembleperformance. 1mark

b. Describehowyourgroupwillapplyonetheatricalconventionfromthechosen non-naturalisticperformancestyletodevelopthisensembleperformance. 3marks

2013DRAMAEXAM 6

SECTION A – Question 2–continued

c. Selectoneofthecharacterslistedonpage5.

Thischaracterwillbeyourfocusintheensembleperformance. Explainhowthischaracterwillestablishandmanipulateanappropriateactor–audience

relationship. 3marks

d. Explainhowyourgroupwilluseoneplay-makingtechniquetoexplorethischaracter’sroleduringthedevelopmentofthisensembleperformance. 3marks

7 2013DRAMAEXAM

SECTION A – Question 2–continuedTURN OVER

Inyourensembleperformance,yourgroupwillcreateoneplacewithinImagi-TownorwithintheHeeby-Geeby’shometown.Namethisplace.

e. Explainhowtheactorswilluserhythmthroughlanguageandgesturetocreatethisplaceinthefinalperformance. 6marks

2013DRAMAEXAM 8

END OF SECTION A

f. Analysehowyourgroupwilluseoneareaofstagecraftasasymboltocreatetheclimacticmomentwhenthestolenmagicisfound. 4marks

9 2013DRAMAEXAM

SECTION B –continuedTURN OVER

Question 1 (18marks)Beacheda. Describehowoneactorusedmovementtorepresentonecharacterintheperformanceof

Beached. 3marks

b. DiscusshowonetheatricalconventionwasusedtoconveyathemeintheperformanceofBeached. 3marks

c. ExplainhowsymbolwasappliedinaspecificdramaticmomentintheperformanceofBeached. 3marks

d. Evaluatehowmultimediaprojectionsandcaricaturewereappliedtoenhancethe non-naturalisticperformancestyleofBeached. 9marks

Question 2 (18marks)Boxmana. Describehowoneactorusedmovementtorepresentonecharacterintheperformanceof

Boxman. 3marks

b. DiscusshowonetheatricalconventionwasusedtoconveyathemeintheperformanceofBoxman. 3marks

c. ExplainhowsymbolwasappliedinaspecificdramaticmomentintheperformanceofBoxman. 3marks

d. EvaluatehowheighteneduseoflanguageandsetdesignwereappliedtocreatemoodintheperformanceofBoxman. 9marks

Question 3 (18marks)Buttona. Describehowoneactorusedmovementtorepresentonecharacterintheperformanceof

Button. 3marks

b. DiscusshowonetheatricalconventionwasusedtoconveyathemeintheperformanceofButton. 3marks

c. ExplainhowsymbolwasappliedinaspecificdramaticmomentintheperformanceofButton. 3marks

d. Evaluatehowdanceanddisjointedtimesequenceswereusedtoenhancethenon-naturalisticperformancestyleofButton. 9marks

SECTION B

Instructions for Section BSelectoneoftheQuestions1–6below,ontheproductionsfromthe2013Dramaplaylist. Answer all four parts (a., b., c. and d.). Writethenumberofthequestionandthenameoftheproductionatthetopofyouranswerinthespaceprovided.

2013DRAMAEXAM 10

SECTION B –continued

Question 4 (18marks)Cut Snakea. Describehowoneactorusedmovementtorepresentonecharacterintheperformanceof

Cut Snake. 3marks

b. Discusshowonetheatricalconventionwasusedtoconveyathemeintheperformanceof Cut Snake. 3marks

c. ExplainhowsymbolwasappliedinaspecificdramaticmomentintheperformanceofCut Snake. 3marks

d. Evaluatehowcaricatureandtheuseofphysicaltheatrewereappliedtoenhancethe non-naturalisticperformancestyleofCut Snake. 9marks

Question 5 (18marks)No Childa. Describehowoneactorusedmovementtorepresentonecharacterintheperformanceof

No Child. 3marks

b. DiscusshowonetheatricalconventionwasusedtoconveyathemeintheperformanceofNo Child. 3marks

c. ExplainhowsymbolwasappliedinaspecificdramaticmomentintheperformanceofNo Child. 3marks

d. Evaluatehowtimingandcharactertransformationwereusedtoenhancethenon-naturalisticperformancestyleofNo Child. 9marks

Question 6 (18marks)School Dancea. Describehowoneactorusedmovementtorepresentonecharacterintheperformanceof

School Dance. 3marks

b. DiscusshowonetheatricalconventionwasusedtoconveyathemeintheperformanceofSchool Dance. 3marks

c. ExplainhowsymbolwasappliedinaspecificdramaticmomentintheperformanceofSchool Dance. 3marks

d. EvaluatehowsoundandexaggeratedmovementwereappliedtoenhancetheperformancestyleofcomedyinSchool Dance. 9marks

11 2013DRAMAEXAM

SECTION B –continuedTURN OVER

Question No.

Nameofproduction

a.

b.

c.

2013DRAMAEXAM 12

SECTION B –continued

d.

13 2013DRAMAEXAM

TURN OVEREND OF QUESTION AND ANSWER BOOK

2013DRAMAEXAM 14

Extra space for responses

Clearly number all responses in this space.

15 2013DRAMAEXAM

TURN OVER

2013DRAMAEXAM 16

Ascriptbookisavailablefromthesupervisorifyouneedextrapapertocompleteyouranswer.Pleaseensureyouwriteyourstudent numberinthespaceprovidedonthefrontcoverofthescriptbook.At the end of the examination, place the script book inside the front cover of this question and answer book.

1 2013 DRAMA INSERT

TURN OVER

The Rat – he is relaxed, friendly, loves the river, is self-confident but can sometimes be a bit conservative.

The Mole – he is mild-mannered, lives underground, has small beady eyes that give him poor vision, loves his home and is overawed by the hustle and bustle of the riverbank.

Insert for Section APlease remove from the centre of this book during reading time.

Stimulus material for Section A – Question 1Extract from Kenneth Grahame’s The Wind in the Willows (Walker Books Australia, Newtown, 2007, p. 122)

‘This is the place of my song-dream, the place the music played to me,’ whispered the Rat, as if in a trance. ‘Here, in this holy place, here if anywhere, surely we shall find Him!’ Then suddenly the Mole felt a great Awe fall upon him … he felt wonderfully at peace and happy … With difficulty he turned to look for his friend and saw him … trembling violently.… he … raised his humble head; and then … saw … the curved horns … the stern, hooked nose between the kindly eyes … while the bearded mouth broke into a half-smile at the corners … the rippling muscles on the arm that lay across the broad chest, the long supple hand still holding the pan-pipes … last of all, nestling between his very hooves, sleeping soundly in entire peace and contentment, the little, round, podgy, childish form of the baby otter. All this he saw, for one moment breathless and intense, vivid on the morning sky; and still, as he looked, he lived; and still, as he lived, he wondered. ‘Rat!’ he found breath to whisper, shaking. ‘Are you afraid?’‘Afraid?’ murmured the Rat, his eyes shining with unutterable love. ‘Afraid! Of Him? O, never, never! And yet – and yet – O, Mole, I am afraid!’

The god, Pan

Sources: 1 EH Shepard (illustrator); in Rawle Knox (ed.), The Work of EH Shepard, Methuen Children’s Books Ltd, London, 1979, p. 164 2 & 3 R Ingpen (illustrator); in Kenneth Grahame, The Wind in the Willows, Walker Books Australia, Newtown, 2007, pp. 11 and 123

21

3

2013 DRAMA INSERT 2

Stimulus material for Section A – Question 2

Sources: 1 The Lorax, TM & © Dr. Seuss Enterprises, L.P. 1957 2 Fox in Socks, TM & © 1965, renewed 1993 by Dr. Seuss Enterprises, L.P. 3 © View Stock/Alamy 4 Horton Hears a Who, TM & © 1954, renewed 1982 by Dr. Seuss Enterprises, L.P. 5 Helen Oxenbury (illustrator); in Edward Lear, The Quangle Wangle’s Hat, Puffin Picture Books, London, 1973, p. 9

65

4

2

1

3

Due to copyright restriction, this material is not supplied

Due to copyright restriction, this material is not supplied

Due to copyright restriction, this material is not supplied

Due to copyright restriction, this material is not supplied

3 2013 DRAMA INSERT

Sources: 1 The Lorax, TM & © Dr. Seuss Enterprises, L.P. 1957 2 Fox in Socks, TM & © 1965, renewed 1993 by Dr. Seuss Enterprises, L.P. 3 © View Stock/Alamy 4 Horton Hears a Who, TM & © 1954, renewed 1982 by Dr. Seuss Enterprises, L.P. 5 Helen Oxenbury (illustrator); in Edward Lear, The Quangle Wangle’s Hat, Puffin Picture Books, London, 1973, p. 9

6 Fox in Socks, TM & © 1965, renewed 1993 by Dr. Seuss Enterprises, L.P.7 Edward Lear, Nonsense Songs, Frederick Warne & Co. Ltd, London8 Spike Milligan, Silly Verse for Kids, Puffin Books, London, 1968, p. 399 Edward Lear, The Quangle Wangle’s Hat, Puffin Picture Books, London, 1973, p. 310 Alice Calaprice (ed.), The Ultimate Quotable Einstein, Princeton University Press, New Jersey, 2011, p. 481

87

9

10

Due to copyright restriction, this material is not supplied

Due to copyright restriction, this material is not supplied

Due to copyright restriction, this material is not supplied