ASSESSMENT TASK- Adjusted

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1 ASSESSMENT TASK- Adjusted Year 7 ENGLISH Evolution of Theatre Task Number: 7 Task Type: Writing Task Weighting: 25% Due Date: Week 6, 16 November (Term 4). Outcomes Assessed A student: EN4.1A responds to and composes texts for understanding, interpretation, critical analysis, imaginative expression and pleasure EN4.5C thinks imaginatively, creatively, interpretively and critically about information, ideas and arguments to respond to and compose texts EN4.8D questions, challenges and evaluates cultural assumptions in texts and their effects on meaning TASK From Page to Stage You have been tasked with completing a script for a Greek Myths and Legends performance day. This day will celebrate the traditions of Greek theatre and Greek narratives but with a modern twist. You will submit a hard copy of your task to your teacher. Part 1 You will adapt a classic Greek myth/legend into a short script. You will be given the first page of the script and must complete the second page. Your script will include; stage directions, including dialogue, sound effects, lighting, use of props, instructions for the actors, set design and any other special effects necessary.. Part 2 To accompany your script, you will also present a ONE PAGE labelled design of the protagonist s (main character) costume and mask. Responding to this task: Read the script carefully and consider how you will complete it for the stage Compose a list of the characters and their features Design the costume and mask of the main character, or set design and annotate your drawings You will be assessed on how well you: Compose an original script using the features of the dramatic form Use elements of drama to create meaning and engage the Use language appropriate for purpose, and form Year 7 English Assessment Task 7- Adjusted Term Evolution of Theatre 1

2 Midas & The Golden Touch Midas was a very wealthy king. It seemed as though he had everything a king could wish for. He lived in luxury in a huge castle. He had a daughter that he loved. King Midas also really loved counting his gold coins. Being rich was his obsession. One day, Dionysus, the god of wine and revelry, passed through the kingdom of Midas. One of his friends, a satyr (half man, half goat), had gotten lost there. King Midas had been very nice to the satyr when he found him, so Dionysus wanted to reward him for his kindness. The god of revelry offered to grant King Midas one wish. Midas thought for a minute and then he said, "I wish that everything I touch turns into gold". Dionysus warned the king to think carefully about his wish, but King Midas said he was positive. His wish was granted. The next day King Midas woke up eager to see if his wish had come true. He touched a small wooden table that immediately turned into gold. Midas jumped with joy! He then touched a chair, the rug, the door, a bowl and many more items throughout his castle. On his way to breakfast he picked a rose, his favorite flower, to smell it. When he touched it, the rose became gold too, its lovely fragrance gone. Without even thinking, the king ate a grape but it also turned into gold. The same thing happened when he tried to drink a glass of water. He started to panic. Tears filled his eyes and that moment, his beloved daughter entered the room. When King Midas hugged her, she turned into a golden statue! Desperate, he prayed to Dionysus to take this curse from him. The god heard Midas and felt sorry for him. He told Midas to go to a special river and wash his hands. Midas did as he was told and was surprised to see gold flowing from his hands into the water. The ancient Greeks found gold on the banks of that river for many years. When he returned home, everything Midas had touched had become normal again. The king was so relieved to have his daughter back. He realized that it wasn't the gold in his life that had made him so happy. From that point on, he decided to share his great fortune with his people. h!lp://ww'n.lijcdm:1pay1ocche.-.=m/s1me/sunnydarn Year 7 English Assessment Task 7- Adjusted Term Evolution of Theatre 2

3 Midas and the Golden Touch - Page 1 - (Narrator stands in the centre of the stage under a spotlight) Midas was a very rich king. It seemed like he had everything a king could ever want. He lived in a big castle and had a daughter that he loved. He also had a lot of gold. One day, when King Midas was walking around outside admiring his castle, he found someone unexpected. King Midas (King Midas enters the stage, walking proudly) Hello there. You look like an interesting fellow. Who might you be? Satyr (Satyr trots in merrily) I am a satyr. As you probably noticed, I am half man and half goat. King Midas (In a bossy and proud tone) Well, since you mention it, I did notice that you are not from around here. I am King Midas and this is my kingdom. I feel sure that I would have remembered if a man with a tail and hooves lived nearby. Satyr (Steps back shyly and replies) You are quite right your majesty. I do not live near here. I am a friend of Dionysus, the god of revelry. We were traveling by here celebrating something. Dionysus is always celebrating something. We stopped to take a break and I decided to rest under this lovely old tree. I must have fallen asleep and was left behind. King Midas (He says warmly and in a more friendly manner) Don't worry Satyr. I'm sure Dionysus will return for you. While you wait for him come on inside my castle. We will have a nice dinner and you can meet my daughter. We'd love to hear your stories about what life is like travelling around with such a cheerful god. I'm sure you have lots of fun. Satyr (replies happily) Oh yes we do! You wouldn't believe what happened this one time... Year 7 English Assessment Task 7- Adjusted Term Evolution of Theatre 3

4 NAME _ TEACHER = _ Year 7 English Assessment Task 7- Adjusted Term Evolution of Theatre 4

5 COSTUME AND MASK DESIGN Year 7 English Assessment Task 7- Adjusted Term Evolution of Theatre 5

6 Organisation and Form - Use of scriptwriting conventions - Theatrical vision and textual cohesion Characters - Effectiveness in the treatment of characterisation appropriate to the style. Marking Criteria: Page to Stage Presents a script that is not fully developed - Attempts to use the features of the form or uses form incorrectly throughout - Script lacks development and cohesion - Attempts to compose a script - Plot is hard to follow - Script lacks character development - Attempts to develop characterisation - Attempts to develop the problem and resolution of the main character. - Presents an adequate script - An inconsistent vision (cohesion)with generic arrangement and some transitions - Demonstrates a developing understanding of the stylistic, structural and thematic features of the form - May lack clarity and consistency - Sound use of visual and aural language to create clearly presented characters - Sound development of the main character s problem and there is a sound resolution - Presents an effective script - a substantial theatrical vision (cohesion) with effective arrangement and transitions - Demonstrates understanding of the stylistic, structural and thematic demands of scriptwriting - Highly effective use of visual and aural language to create clearly presented characters - Effective development of the main characters problem and there is an effective resolution - Presents a sophisticated script demonstrating flair - A sustained theatrical vision (cohesion) with a highly effective arrangement and clear transitions - Demonstrates extensive understanding of the stylistic, structural and language features of scriptwriting - Sophisticated use of visual and aural language to create clearly defined and convincing characters - Sophisticated development of the main characters problem and there is a sophisticated resolution Dialogue - Use of language to create thematic, symbolic and thematic meaning - Dialogue effectively engages the Creativity and Stage Directions - Stage directions are in sufficient detail to show the action for the production - Effective choice and shaping of dramatic and theatrical elements - Effectiveness in engaging the Language conventions - The extent to which the writing exhibits conventional spelling, punctuation, paragraphing, capitalisation, and grammar - Basic use of dialogue - Limited engagement - Limited or no aspects of dramatic action presented - Limited understanding of appropriate conventions - Demonstrates lack of control, exhibiting frequent errors that make comprehension difficult (e.g Incoherent words, switching tense) - Attempts to use dramatic language to create meaning - Dialogue and uses everyday language - Attempts to engage the - Inconsistently uses aspects of dramatic action - Attempts to use theatrical elements to engage the - Uses appropriate conventions; errors are a noticeable fault - Demonstrates emerging control, exhibiting frequent errors that hinder comprehension (e.g spelling of basic words) - Sound use of dramatic language to create theatrical meaning - Dialogue may develop thematic or symbolic meaning inconsistently - Dialogue is inconsistent in its engagement - Uses dramatic action (stage directions, actor movement, setting, lighting, sound, special effects and props) - Uses theatrical elements attempt to engage the - Stage directions are inconsistent or may ignore an area of dramatic action - Uses appropriate conventions; errors occasionally obscure meaning - Demonstrates some control of the conventions, exhibiting errors in using and spelling everyday words - Effective use of dramatic language to create thematic, symbolic and theatrical meaning - Dialogue is effective, engaging and varied - Effective and or imaginative use of dramatic action (stage directions, actor movement, setting, lighting, sound, special effects and props) - Utilises theatrical elements with control to engage the - Uses appropriate conventions; errors are minor and do not obscure meaning - Demonstrates control of the conventions, exhibiting occasional errors only when using sophisticated language - Sophisticated use of dramatic language to create thematic, symbolic and theatrical meaning - Dialogue is highly effective, engaging and varied - Sophisticated and or inspired use of dramatic action (stage directions, actor movement, setting, lighting, sound, special effects and props) - Manipulates theatrical elements with flair and control to thoroughly engage the - Shows creativity and flexibility when using conventions to enhance meaning - Demonstrates control of the conventions with essentially no errors, even with sophisticated language Costume Design - Costume design shows an understanding of the social class, context and vision of the play and is labeled to identify its features - Presents a costume and or mask design but is limited in its connection to the play - Inconsistent labeling of design - Presents a costume and or mask design that shows a developing understanding of the social class, context and vision of the play - Attempts to labels costume and mask design - Presents a costume and mask design that shows a sound understanding of the social class, context and vision of the play - Labels costume and mask design - Presents a costume and mask design that shows an effective understanding of the social class, context and vision of the play - Effectively labels costume and mask design - Presents a costume and mask design that shows a sophisticated understanding of the social class, context and vision of the play - Labels costume and mask design extensively and accurately using a wide range of language.

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