F-10 Curriculum (V8)
F-10 Curriculum (V9)
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This class develops your vocal skills for performance. Write a Slam Poem or a Rap and then perform them for an audience.
Stars of stage and screen learn about breathing, vocal warms and how to use different accents to enhance their performances. You will go through some exercises in preparation for using your voice effectively and learning to use the Standard American Accent.
This resource is designed to support Stage 4 drama students in understanding the characteristics of good radio plays and learning to use vocal expression to create clear and engaging characters. They will rehearse, perform and record a short radio play that can be shared with an audience.
Learn the fundamentals of lighting design with lighting designer Lincoln Gidney. Explore how to apply stage lighting conveys meaning and apply this knowledge and understanding to design lighting or a scene.
Students will develop expressive movement skills to perform a Lip Sync Challenge. They will explore character, rhythm, movement, sound and tension and reflect on their own performance skills.
Explore drama and visual arts activities using an adventure story as a stimulus.
Students explore screenwriting for video drama.
Tune in and tune up your acting skills with these fun drama warm up games that will strengthen you vocally, physically and imaginatively.
This unit uses various arts practices as the stimuli for exploring the safety message of Stop, Look, Listen, Think. Students create woven artworks to incorporate safety messages; they collaboratively develop a play about safety; and explore rap as a music form and combined with dance convey a safety message in a performance.
Stars of stage and screen learn about breathing, and where the voice comes from to enhance their performances. You will go through some exercises in preparation for using your voice effectively, as well as experiment with tongue twisters.
Using drama and visual arts students explore a world of play and imagination where nothing is as ordinary as it seems.
Explore characterisation through observation, status and movement to communicate meaning. Students will create a character through performance.
This resource explores the perspectives of the Aboriginal people of Kamay Botany Bay and the men aboard the HMB Endeavour upon their meeting in 1770. It will also help students to understand the history of Australia's Aboriginal peoples and why their stories of the past are equally important to hear. Note to Aboriginal ...
Students develop their mime and physical skills through drama.
This unit uses dance, drama, visual arts and music to communicate student-created safety messages. Using a community-based scenario, students devise an improvised drama and choreograph a dance to highlight the importance of safe track-side behaviours; they use artworks to explore the effect of colour before creating a cartoon-based ...
Explore a world of play and imagery, where nothing is as ordinary as it seems. Students respond imaginatively when using a stick as a stimulus to explore elements of drama and create characters. Students will develop their expressive skills through movement and voice. Students also create artworks using a stick as a stimulus.
Develop and build engaging characters through stereotypes and using through role play and improvisation using voice, body and dialogue. Perform a devised character scenario to engage an audience.
Discover the dramatic form and acting styles of melodrama through the exploration of stock characters and how to act in a melodrama style with large emotions and gestures. Perform various characters through a scripted performance.
How important do you think it is to hear Australian stories told on stage? Listen as Hannie Rayson explains her early beliefs about where great drama comes from. After watching this clip, try writing a dramatic scene that takes place at a family barbeque.
How do you come up with ideas to write about? Watch this clip to find out how Australian playwright and screenwriter Hannie Rayson begins her writing process. She begins with a "big question" - if you were writing a play, what big question would you ask?