F-10 Curriculum (V8)
F-10 Curriculum (V9)
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In this learning sequence, students will extend their knowledge and understanding of the key conventions of the Gothic genre. They will critically apply this knowledge to a short animated film and films produced by their peers. They can also compose a personal response to a film text using metalanguage connected to genre.
Fifty-two of Henry Lawson’s stories and sketches, first published in newspapers and magazines from 1888 onwards, were gathered in the collection While The Billy Boils. This unit focuses on that collection of writing and provides practical teaching ideas, an assessment task and an essay by Peter Craven.
The resource contains information, activities and tasks on how to write a discussion. It includes writing and publishing templates for students for a variety of purposes and contexts. This resource supports the Australian Curriculum in English K–10.
A resource for primary and secondary students that features ten award-winning writers from the 2007 Sydney Writers' Festival. The resource explores each author's books, background, beliefs and approaches to writing, and includes advice for young writers. Video interviews of each author are accompanied by a biography, bibliography. ...
Listen as David Williamson explains where he finds inspiration for his plays. What are his aims as a playwright?
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.
Youth theatre is a unit resource with three self-contained and independent resources for English and drama students. The unit focuses on the play 48 Shades of Brown, adapted from Nick Earls' award winning novel. It examines the themes, issues, setting, characters and language of the play. It also examines the staging of ...
Watch as Hannie Rayson describes her early desire to write multidimensional, complex roles for women in her plays. What was this in response to? Why is it important for audiences to see female characters as well as male characters driving drama in plays?