VCAA Bulletin. VCE, VCAL and VET. Supplement 1 VCE No. 95 April Drama Solo performance examination. and

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1 VCE, VCAL and VET VCAA Bulletin Regulations and information about curriculum and assessment for the VCE, VCAL and VET Victorian Certificate of Education Victorian Certificate of Applied Learning Vocational Education and Training No. 95 April 2012 Principal VCE/VCAL/VET Coordinators VCE/VCAL/VET Teachers Supplement 1 VCE 2012 Drama Solo performance examination and Theatre Studies Monologue performance examination This publication is also available online at VCAA 2012

2 Victorian Certificate of Education 2012 DRAMA Solo performance examination Monday 8 October to Wednesday 31 October VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2012 Page 1 of 19

3 2012 DRAMA SOLO PERF EXAM 2 INSTRUCTIONS TO STUDENTS Performance examination conditions 1. The examination will be set and marked by panels appointed by the Victorian Curriculum and Assessment Authority. 2. Victorian Curriculum and Assessment Authority examination rules will apply. Details of these rules are published annually in the VCE and VCAL Administrative Handbook. 3. The performance venue is set annually by the Victorian Curriculum and Assessment Authority. 4. The solo performance will be presented as a single uninterrupted performance and last not more than seven minutes. 5. If a performance goes over the seven minutes time limit the student will be asked to stop. A timing device will indicate when the seven minutes are over. 6. A total of ten minutes per student will be allocated for preparation, performance and clearing the space. No additional time is allowed. When preparing stagecraft for the solo performance, students should be mindful of these restrictions. 7. The performance will use a single clearly lit space. No changes to the lighting grid are allowed. 8. One table and two chairs will be provided in the examination room for students to use in performance if they wish. Any additional props, if required, must be carried in and out of the examination space by the student alone, and within the allotted time. 9. Students are not permitted to bring any objects or substances deemed hazardous or illegal into the performance examination venue. All actual and imitation weapons are prohibited. The use of such items is not permitted in the performance. 10. The use of open flames including candles and matches is not permitted in the performance. 11. Students must ensure that any props, costumes (including footwear) or other aspects of their performance do not, in any way, damage the performance space. 12. Only the panel of assessors and any personnel authorised by the VCAA will be allowed in the examination room with the student during the examination. 13. Students may choose to perform to the assessors as audience or to an imagined audience, or both. 14. Students must not walk behind and/or touch assessors during the examination. 15. The assessors table is for assessment purposes. Students are not to place objects on the assessors table or to use the table in any way as part of their performance. Statement of Intention 1. A pro forma for the 2012 Statement of Intention is published on page Immediately prior to their performance students are required to present three copies of the Statement of Intention to the panel of assessors. The Statement should not exceed 100 words. 3. The purpose of the Statement of Intention is to highlight aspects of the student s interpretation that they would like to bring to the assessors attention, for example: explanation/clarification of decisions made in their interpretation of the prescribed structure give reasons for choices made (for example, for use of costume, prop, accent, symbol). 4. Students should not simply describe their character by rewriting the performance focus. 5. The Statement of Intention will not be assessed. Page 2 of 19

4 DRAMA SOLO PERF EXAM Prescribed structures 1. Students are required to prepare a solo performance using one of the following ten prescribed structures. Marks will not be awarded for performances that do not use one of the prescribed structures. 2. Each prescribed structure is made up of the following: character, stimulus, performance focus, performance style, theatrical convention, dramatic element, reference material. The following explanations should be used when preparing the solo performance. Character the main character to be depicted in the performance. Stimulus the source of information which must be used in the development of the character and be referenced throughout the performance. Performance focus information which provides a context for the character. Students are required to present this information in their performance, incorporating the specific details identified in the opening sentences. These sentences: give background to the character indicate where and when the performance takes place establish the audience provide insight into the emotional state of the character, and three dot points: DP1 begins with the word re-creates and requires students to present material researched directly from the stimulus DP2 begins with the word creates and requires students to invent material which might or could have happened DP3 requires students to move beyond the stimulus and to respond using imagination and creativity. All aspects of the performance focus must be included in the performance. Each aspect of the performance focus does not have to be given equal emphasis during the performance. Unless otherwise indicated, aspects of the performance focus may be performed in any order. Performance style the prescribed performance style(s) is explained in the Terminology section of the examination paper. The prescribed style(s) must be used throughout the performance. Theatrical conventions the following theatrical conventions will be assessed in all performances: disjointed time sequences, transformation of character, transformation of place, transformation of object. In addition, one theatrical convention will be specifically prescribed for each character and it must be used during the performance. Additional conventions may be added as appropriate. Dramatic elements one dramatic element will be specifically prescribed for each character and it must be used during the performance. The dramatic element to be prescribed will be selected from the following list: climax, conflict, contrast, language, mood, rhythm, sound and symbol. Students may use additional elements as appropriate. Focus, space, tension and timing are dramatic elements that are essential to, and must be present in, every performance. Reference material resources are provided as recommendations. This list is not exhaustive and students should undertake research in developing their character(s) for performance. Please note: if a resource is listed under Stimulus, it must be used in the development of the performance. 3. The emphasis in performance must be on action rather than narration doing rather than telling. 4. A Terminology section is provided. Students should consult this for explanations of performance styles and theatrical conventions as prescribed in the examination. Page 3 of 19

5 2012 DRAMA SOLO PERF EXAM 4 Notes for Drama Solo Performance examination 2012 While the VCAA considers all the structures in this examination suitable, teachers should be aware that, in some instances, sensitivity might be needed where particular issues or themes are explored. Teachers should make themselves aware of the issues and themes contained in the structures prior to the commencement of Unit 4 so that they can advise students appropriately. Schools should check local availability of required stimulus material and resources prior to beginning Unit 4. Some materials may not be immediately available. Students and teachers should be aware that websites, including Wikipedia, may contain information that has been altered since the publication of the examination paper. Where dot points in a particular structure ask for dramatic images/key events/experiences/vignettes or the like, at least two instances of the requirement must be evident in the performance. Students and teachers are reminded that, in addition to the one theatrical convention prescribed in each structure, disjointed time sequences, transformation of character, transformation of place and transformation of object must be demonstrated in every performance. When making performance choices, students and teachers need to note that all characters must be portrayed in the gender as identified in the prescribed structure. All enquiries regarding the Drama Solo Performance examination should be forwarded to Kris Allen, Project Manager, Examinations, telephone Page 4 of 19

6 DRAMA SOLO PERF EXAM PRESCRIBED STRUCTURE 1 Character Maisie Dobbs Stimulus The novel Maisie Dobbs Performance focus Create a solo performance based on the character of Maisie Dobbs. Following the successful completion of the case, Maisie updates an excited Lady Rowan on the details. To do this she re-creates a scene which demonstrates how she saved Billy at The Retreat creates a montage of dramatic images that show how her experiences in the war have influenced the way she works creates a scene which explores a challenge faced by a famous woman who chose a career ahead of her time. Performance style Non-naturalistic Theatrical convention Heightened use of language Dramatic element Mood Reference material Maisie Dobbs by Jacqueline Winspear, Penguin Books, Page 5 of 19

7 2012 DRAMA SOLO PERF EXAM 6 PRESCRIBED STRUCTURE 2 Character The Techno Teen Stimulus Performance focus Create a solo performance based on the character of the Techno Teen. Invited to present at a government think-tank into the future of communication technology, the Techno Teen implores those in attendance to accept that Digital communication is not just prevalent in teenagers lives. It IS teenagers lives. To do this she/he re-creates a scene which demonstrates how she/he as a teenager deals with the new-found freedom to communicate creates a montage of dramatic images which show the dark side of being permanently connected to technology creates a futuristic parable which explores a positive impact of an exponential advance in communication technology in the next decade. Performance style Non-naturalistic Theatrical convention Dramatic metaphor Dramatic element Contrast Reference material Page 6 of 19

8 DRAMA SOLO PERF EXAM PRESCRIBED STRUCTURE 3 Character The Newspaper Mogul Stimulus The life and times of William Randolph Hearst Performance focus Create a solo performance based on the person William Randolph Hearst. While directing his legal team to respond to thinly veiled attacks on him in the film Citizen Kane, Hearst angrily demands that his name be cleared. To do this he re-creates a montage of dramatic images which show how he built his media empire creates a scene which shows how far he was prepared to go to prevent the release and distribution of Citizen Kane creates a scene which shows how a future media empire will take yellow journalism to an entirely new level. Performance style Non-naturalistic Theatrical convention Satire Dramatic element Symbol Reference material Citizen Kane, directed by Orson Welles, 1941, [PG] Page 7 of 19

9 2012 DRAMA SOLO PERF EXAM 8 PRESCRIBED STRUCTURE 4 Character Pinocchio Stimulus The Adventures of Pinocchio found at Performance focus Create a solo performance based on the character of Pinocchio. Finding himself trapped inside The Attila of the Sea, Pinocchio tries to convince the Tunny of the need to escape. To do this he re-creates a scene which shows a previous successful escape during his adventures creates a scene which demonstrates what he has learned from his encounters with the Fox and the Cat creates a new fairytale which shows a public figure becoming more impossible to believe the more she/he tries to cover up an indiscretion. Performance style Non-naturalistic with aspects of commedia dell arte Theatrical convention Exaggerated movement Dramatic element Climax Reference material Page 8 of 19

10 DRAMA SOLO PERF EXAM PRESCRIBED STRUCTURE 5 Character The Imposter Stimulus The life and times of Frank Abagnale Performance focus Create a solo performance based on the person Frank Abagnale. While running a workshop for new staff at his security company, Frank marvels at how easily humans can be duped, deceived and defrauded. While doing this he re-creates a montage of dramatic images which demonstrate his success as a confidence trickster creates a scene which shows how he trained FBI agents to identify and catch one type of fraudster creates a scene which explores how another imposter has created a scam to exploit the gullibility of the common man. Performance style Non-naturalistic Theatrical convention Caricature Dramatic element Climax Reference material Catch Me If You Can, directed by Steven Spielberg, 2002, [M] Page 9 of 19

11 2012 DRAMA SOLO PERF EXAM 10 PRESCRIBED STRUCTURE 6 Character The Tourist Stimulus The image found at and the website Performance focus Create a solo performance based on the character of the Tourist. While dealing with the frustrating challenges posed by presenting a slide show Big Things I ve Seen While Camping at the SWAMP (Seriously Wacky And Mostly Pleasant) Camping Grounds, the Tourist re-creates a hilarious moment she/he experienced at one of the Big Icons creates a series of impersonations of characters she/he has met at camping grounds creates a scene which explores an environmental issue affecting tourists in their travels. Performance style Non-naturalistic Theatrical convention Caricature Dramatic element Sound Reference material (Click through to Features pages and then Issues) Page 10 of 19

12 DRAMA SOLO PERF EXAM PRESCRIBED STRUCTURE 7 Character The Hotel Guest Stimulus The film Hotel Rwanda Performance focus Create a solo performance based on the character of the Hotel Guest. While being interviewed by a documentary film-maker, and determined to raise international awareness for the plight of the Rwandans, the Hotel Guest demonstrates the experiences she/he had in Rwanda in To do this she/he re-creates a montage of dramatic images which show what she/he witnessed as the Hôtel des Mille Collines became a safe haven creates a scene which demonstrates how she/he was instrumental in securing an escape route out of Rwanda creates a scene which demonstrates a parallel with another conflict where the world s response has been too little, too late. Performance style Non-naturalistic Theatrical convention Stillness and silence Dramatic element Rhythm Reference material Hotel Rwanda, directed by Terry George, 2004, [M] Page 11 of 19

13 2012 DRAMA SOLO PERF EXAM 12 PRESCRIBED STRUCTURE 8 Character Eleanor of Aquitaine Stimulus The life and times of Eleanor of Aquitaine Performance focus Create a solo performance based on the person Eleanor of Aquitaine. On her return to Fontevraud Abbey in the year 1201, Eleanor attempts to convince the Abbess that she wishes to seek peace by taking the veil, and so leave her colourful past behind her. To do this she re-creates a montage of dramatic images which depict some of her most daring achievements as a powerful woman in the Middle Ages creates a scene which shows how her role in Henry s Revolt of led to her 16-year imprisonment creates a scene which demonstrates a parallel with a future powerful female political leader. Performance style Non-naturalistic with aspects of Elizabethan theatre Theatrical convention Heightened use of language Dramatic element Conflict Reference material Page 12 of 19

14 DRAMA SOLO PERF EXAM PRESCRIBED STRUCTURE 9 Character The Spirit of Colonisation Stimulus The picture book The Rabbits Performance focus Create a solo performance based on the character of The Spirit of Colonisation. While addressing the first meeting of the United Nations Commission on Human Rights in 1946, the Spirit entreats member countries to recognise the rights of Indigenous peoples and to minimise the impact of colonisation. To do this the Spirit re-creates an example of the disruption to the lifestyle and traditions of a people whose ancestral lands were first colonised by a foreign power in the 18th century creates a scene which shows how respectful coexistence could have benefitted both occupying and occupied peoples creates a montage of dramatic images which demonstrate how, in the 21st century, globalisation will result in the gradual spread of one country s cultural influence throughout the world. Performance style Non-naturalistic Theatrical convention Pathos Dramatic element Symbol Reference material The Rabbits by John Marsden and Shaun Tan, published by Lothian Books, Page 13 of 19

15 2012 DRAMA SOLO PERF EXAM 14 PRESCRIBED STRUCTURE 10 Character Karma Stimulus Performance focus Create a solo performance based on the character of Karma. After leaving the college in Chicago, Karma arrives at the Institute for Higher Learning with her siblings Leong and Nga. She uses a quiet moment to impress upon them her need to use her powers responsibly. To do this she re-creates a montage of dramatic images which show how she developed her powers over time creates a scene which shows aspects of her life in Vietnam before her brother discovered his powers dramatically explores another comic book character s misuse of power which led to a link between action and consequence. Performance style Non-naturalistic Theatrical convention Freeze frame Dramatic element Conflict Reference material Page 14 of 19

16 DRAMA SOLO PERF EXAM TERMINOLOGY The explanations listed below provide direction for teachers and students in the development of the Drama Solo Performance examination. Non-naturalistic This term is a broad category for all performance styles that are not dependent on the lifelike representation of everyday life. Non-naturalistic performance styles are not dependent on naturalistic characteristics to establish meaning. In non-naturalistic performance, the actor does not attempt to re-create, on the stage, life as it is lived. Non-naturalistic performance is characterised by a manipulation of character, time, place and object as well as the narrative elements of the drama. Create To enact for an audience situations and conversations that may be informed by material other than the stimulus, such as reference material. The emphasis in the creation must be on action rather than narration doing rather than telling. Re-create To re-enact situations and conversations which are informed by the stimulus. The emphasis in the re-creation must be on action rather than narration doing rather than telling. Caricature Caricature is an exaggeration of a character that is often ludicrous or grotesque. It can be comic, at times derogatory, and with the intention of ridicule. Climax The moment of highest dramatic tension in a performance when things change, or reach a crisis point, and may lead to a resolution. Commedia dell arte A form of theatre characterised by masked types or stock characters, high energy performance, and often includes basic plots, pantomimic acting, buffoonery, juggling and acrobatic feats. Conflict A struggle within a character and/or between characters. Conflict may be between a character and some obstacle. Contrast Highlight differences through the juxtaposition of dramatic action and sound. Disjointed time sequences Dramatic structure that does not unfold chronologically. Past, present and future events in the plot are performed in a non-sequential order. Dramatic metaphor The endowment of a word, object or feeling with an intensity of meaning other than the literal. Emphasis is on isolating specifics within the performance that best provide an enhancement of meaning for the work, or at least indicate the complexity of the intended meaning. Page 15 of 19

17 2012 DRAMA SOLO PERF EXAM 16 Elizabethan theatre Notable conventions of this style of theatre included blank verse using iambic pentameter, the play-withina-play, the soliloquy, the aside and the masque. Acting was stylised and gestured. The actors, known as players, often wore contemporary Elizabethan dress. Fixed scenery was minimal. The players relied more on easily portable props. Exaggerated movement Exaggerated movement includes action that is overstated, drawn larger than life, often for the purposes of ridicule. Freeze frame A freeze frame is a frozen moment of a scene. During a performance the actor freezes action and sound at a premeditated time to enhance dramatic tension and/or to highlight an important moment in a scene. It can be compared to pressing pause on a video at a significant moment in the narrative. Heightened use of language Heightened use of language is poetic and exaggerated use of language. It includes the deliberate choice of words whose syntax, alliteration and rhyming patterns enhance the dramatic statement. Intended meaning is enhanced through the use of non-conventional and non-naturalistic dialogue. Montage In contemporary theatre a montage is a juxtaposition of dramatic images, often presented in rapid succession. The dramatic images are closely linked and presented to create an overall impression, and/or a summary of events/actions, and/or an introduction to events/actions. Mood The emotional feeling created in a performance. Pathos Pathos is a state which evokes a feeling of pity or sadness in the audience; for example, the power of stirring tender or melancholy emotion. Pathos may be associated with comedy and tragedy. Parable A short allegorical story designed to illustrate or teach some truth, principle or moral lesson. Rhythm A regular pattern of sounds, words or actions. Satire The use of wit and comedy to attack, denounce or deride a target. Satire exposes or questions the presence of vice, folly, abuse or pretence. It can be achieved through the manipulation of language, caricature, parody, parable or other comedic theatrical conventions. The satirist laughs at, punishes or questions a target and/or an audience. The target may be an individual or a system. Stillness and silence To be found where there is an absence of sound and absence of movement used to enhance dramatic effect. Page 16 of 19

18 DRAMA SOLO PERF EXAM Sound The use of voice, recorded/live music or noise in order to create an effect or aural accompaniment to action. Symbol Something that suggests something else. Actors may use a prop symbolically or may make a symbolic gesture with their body or voice. Transformation of character The actor manipulates expressive skills to create characters in performance. A change in character therefore requires modification of the focus and manner of use of expressive skills by the actor. Additions of mask or costume may enhance the character transformation but does not constitute transformation unless accompanied by communicable changes in the use of expressive skills. Transformation of object An object(s) is endowed with a variety of meanings by the actor. Transformation of place The actor creates more than one place or setting during the performance and does so without the use of scenery. The actor can communicate transformation of place to an audience through the context they create for the performance and through the use of objects and space in symbolic ways. Transformation of place can be achieved through the transformation of properties (real and imagined) and/or through the use of expressive skills alone. Page 17 of 19

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20 DRAMA SOLO PERF EXAM VCE Drama Solo Performance Examination 2012 STATEMENT OF INTENTION Student number Prescribed structure number Name of character (from prescribed structure) Comment Use the space below to highlight aspects of your interpretation that you would like to bring to the assessors attention, for example: explanation/clarification of decisions made in your interpretation of the prescribed structure give reasons for choices made (for example, for use of costume, prop, accent, symbol) DO NOT SIMPLY REWRITE THE PERFORMANCE FOCUS These comments should not exceed 100 words 3 copies of this completed form must be handed to the assessors on entering the examination room. Page 19 of 19

21 Victorian Certificate of Education 2012 THEATRE STUDIES Monologue performance examination Monday 8 October to Wednesday 31 October 2012 VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2012 Page 1 of 13

22 2012 THEATRE MONO PERF EXAM 2 GUIDELINES FOR STUDENTS AND TEACHERS Performance examination conditions 1. The examination will be set and marked by panels appointed by the Victorian Curriculum and Assessment Authority (VCAA). 2. VCAA examination rules will apply. Details of these rules are published annually in the VCE and VCAL Administrative Handbook. 3. The performance venue is set annually by the VCAA. 4. The monologue will be presented as a single uninterrupted performance and last not more than seven minutes. 5. If a performance goes over the prescribed time limit the student will be asked to stop. A timing device will indicate when the seven minutes is over. 6. A total of ten minutes per student will be allocated for preparation, performance and clearing the space. No additional time can be allowed. Students should be mindful of these time restrictions when preparing stagecraft for the monologue. 7. The performance will use a single clearly lit space. No changes to the lighting grid are allowed. 8. One table and two chairs will be provided in the examination room for students to use in the performance if they wish. Any additional props, if required, must be carried into the examination space by the student alone, and within the allotted time. 9. Students are not permitted to bring any objects or substances deemed hazardous or illegal into the performance examination venue. All actual and imitation weapons are prohibited. The use of such items is not permitted in the performance. 10. The use of open flames including candles and matches is not permitted in the performance. 11. Students must ensure that any props, costumes (including footwear) or other aspects of their performance do not, in any way, damage the performance space. 12. Students are responsible for the cleaning up and removal of any materials they bring into the performance space. 13. Only the panel of assessors and any personnel authorised by the VCAA will be allowed in the examination room with the student during the examination. 14. Students may choose to perform to the assessors as audience or to an imagined audience, or both. 15. Students must not walk behind and/or touch and/or approach assessors during the examination. 16. The assessors table is for assessment purposes. Students are not to place objects on the assessors table or use the table in any way as part of their performance. Statement of Intention 1. A pro forma for the 2012 Statement of Intention is provided on page Immediately prior to their performance, students are required to present three copies of the Statement of Intention to the panel of assessors. The Statement of Intention should not exceed 100 words. 3. The Statement of Intention should contain an elaboration of directional choices made by the student which affect the interpretation of their chosen monologue. 4. The Statement of Intention will not be assessed. Page 2 of 13

23 THEATRE MONO PERF EXAM Practical applications and implications of the examination The monologue is the only aspect of the interpretation of a scene that is to be performed for the examination. The monologue performance should draw on the knowledge and skills developed in the interpretation. The interpretation should inform and contextualise the monologue within the scene and within the play. Some of the directorial choices of the interpretation of the scene may not be apparent in the performance of the monologue. Rather, they may play an important role in the processes used in developing the interpretation of the monologue. Some of the directorial choices and interpretative decisions may be relevant for mention in the Statement of Intention. Monologues 1. Students are to develop a performance from one of the following monologues. The performance monologue should be developed in Unit 4 Outcome Students must select from the list of thirteen prescribed monologues. Marks will not be awarded for performances that do not use one of the monologues. 3. Reading or the replaying of previously recorded lines from the monologue does not constitute a performance. 4. All monologues may be performed by both male and female students. However, all characters must be portrayed in the gender as identified. 5. Students are to deliver all spoken lines allocated to the specified character. Students are not to deliver lines which are omitted including those of other characters and in some instances from the specified character. Text availability Some of the plays containing the set monologues may have limited availability. Teachers will need to ascertain the availability of the set monologues at the earliest opportunity. Notes for 2012 While the VCAA considers all plays on this list suitable for study, teachers should be aware that in some instances sensitivity might be needed where particular issues or themes are explored. Teachers should make themselves aware of the issues and themes contained in the monologues prior to the commencement of Unit 4 so they can advise students appropriately. Any enquiries should be directed to Kris Allen, Project Manager, Examinations, telephone or examinations.vcaa@edumail.vic.gov.au. Students must perform the version of the Monologue as detailed in the examination paper. No other versions will be considered. Students are to consider the stage directions as contained in the monologue when making interpretive and directorial choices. The monologue should be used in conjunction with the full playscript to complete work associated with Outcomes 1 and 2. Where the complete play is different from the edition selected by the VCAA, care should be taken to ensure that the correct scene is studied. Page 3 of 13

24 2012 THEATRE MONO PERF EXAM Monologue choices Page and/or line numbers are provided for assistance to find the relevant passages. These are highly likely to change between editions. As far as possible ISBN numbers have been given where they are available. These will change between editions and reprints. They do, however, offer a guide to teachers wishing to locate editions of the play. Where dialogue has been adapted to a monologue, students may respond freely to their interpretation of the omitted lines. There is no necessity to leave a pause for omitted lines. Monologue 1 Play: Playwright: Character: Gender: The Importance of Being Earnest Oscar Wilde LADY BRACKNELL Female Monologue: From: I feel bound to tell you that you are not down on my list of eligible young men... (page 308) To: Good morning, Mr Worthing! (page 311) Omitting: All lines from Jack and the dialogue sequence between Lady Bracknell and Jack from Lady Bracknell: What between the duties expected of one during one s lifetime... (page 309) to Lady Bracknell: Oh, they count as Tories. They dine with us. Or come in the evening, at any rate. Now to minor matters. (page 310) Specified Scene: From: To: Source: Lady Bracknell: Good afternoon, dear Algernon, I hope you are behaving very well. (page 303) Jack: For goodness sake don t play that ghastly tune, Algy! How idiotic you are! (page 311) Oscar Wilde, The Importance of Being Earnest and Other Plays, 2000, London, Penguin Classics, ISBN Page 4 of 13

25 THEATRE MONO PERF EXAM Monologue 2 Play: Playwright: Character: Gender: The 39 Steps Adapted by Patrick Barlow from the novel by John Buchan, from the movie of Alfred Hitchcock and from an original concept by Simon Corble and Nobby Dimon HANNAY Male Monologue: From: Well ladies and gentlemen I must apologise for my (page 48) To: There! That s all I have to say. Thank you. (page 50) Omitting: Pamela: Hello. (page 48) Note: Specified Scene: Students may choose to incorporate the music of Jerusalem in the scene but this is an option. From: Hannay: Excuse me! I wonder if you can help me I m afraid I m (page 46) To: Heavy 1: Come on come on! (page 54) Source: Patrick Barlow, The 39 Steps, 2010, London: Samuel French, ISBN Monologue 3 Play: Playwright: Character: Gender: The Rain Daniel Keene HANNA Female Monologue: From: People used to give me all kinds of things... (page 3) To: For God s rain (page 10) Omitting: From Hanna: I was just there you see standing there... (page 3) to Hanna: I d grown old by then so terribly old (page 7) and From Hanna: A woman and a man both as dark as Gypsies... (page 7) to Hanna:... as she walked away the heel of her shoe was broken she limped (page 8) Specified Scene: Source: Note: The entire play Daniel Keene, The Rain, 1998, Hobart, Australian Script Centre Available in PDF format. Single or multiple copies can be obtained from the website. Page 5 of 13

26 2012 THEATRE MONO PERF EXAM 6 Monologue 4 Play: Playwright: Character: Gender: Summer of the Seventeenth Doll Ray Lawler BARNEY Male Monologue: From: You dunno what a bloody awful season it s been, (page 23) To: I didn t see him after that till I picked him up at Brisbane a week ago. (page 24) Omitting: Specified Scene: All of Olive s lines and Barney: Oh it wasn t that, (page 23) Barney: Yeah. (page 23) Barney: Well, that s the point. (page 23) Barney: That s what I told him. (page 24) Barney: I dunno. (page 24) Barney: Pretty bad. (page 24) From: Olive: Just your own, then. Don t take Barney s up. (page 20) To: End of Act 1, Scene 1 (page 27) Source: Ray Lawler, Summer of the Seventeenth Doll, 1978, Sydney, Currency Press, ISBN Monologue 5 Play: Playwright: Character: Gender: Saint Joan Bernard Shaw JOAN Female Monologue: From: Ah! if, if, if, if! If ifs and ans were pots and pans there d be no need of tinkers. (page 115) To:... and shewed you the way to fight in earnest. (page 116) Omitting: From: No lines are to be omitted. and Where would you all have been now if I had heeded that sort of truth? (page 119) To: And so, God be with me! (page 119) Omitting: Specified Scene: No lines are to be omitted. From: Well, your Majesty is an anointed king at last. (page 111) To: The end of Scene 5 (page 120) Source: George Bernard Shaw, Saint Joan: A Chronicle Play in Six Scenes and an Epilogue (Penguin Classics, New Edition), 2003, London, Penguin Books, ISBN Page 6 of 13

27 THEATRE MONO PERF EXAM Monologue 6 Play: Playwright: Character: Gender: Shirley Valentine Willy Russell SHIRLEY Female Monologue: From: I hadn t fallen in love with Costas. (page 33) To: I ve come back for the job. The job in your taverna. (page 34) Omitting: Specified Scene: No lines are to be omitted. From: I ll bet y didn t recognise me did y? (page 24) To: Would you like to join me for a drink? (page 36) Source: Willy Russell, Shirley Valentine and One for the Road, 1993, London, Methuen Drama, ISBN Page 7 of 13

28 2012 THEATRE MONO PERF EXAM 8 Monologue 7 Play: Playwright: Character: Gender: That Scoundrel Scapin Molière SCAPIN Male Monologue: From: Your son, sir, is safe, but you yourself are now in very serious danger. (page 96) To: Right, then look out take what s coming to you. (page 100) Omitting: Specified Scene: All lines from Geronte and the following lines from Scapin: I would give a good deal to see you safe in your own house. (page 96) Yes. (page 96) and The dialogue sequence between Geronte and Scapin from Scapin: The brother of the girl Octavio has married. (page 96) to Geronte: You shall have this suit of clothes when I have worn it a bit longer. (page 97) and The dialogue sequence between Geronte and Scapin from Geronte: Ah (page 97) to Geronte: Rely on me I ll keep still. (page 97) and The dialogue sequence between Geronte and Scapin from Geronte: Oh, Scapin, I can t bear any more. (page 98) to Geronte: Well, why didn t you move away to save me from (page 98) and The lines from Scapin from Com you tell me der truth now (page 98) to You von t never do? No. (page 99) From: Beginning of Act 3 (page 94) To: Source and Notes: Geronte: Oh, infamous! The traitor! The fraud! The scoundrel that s how you treat me! (page 100) Molière (translated by John Wood), Five Plays: The Would-be Gentleman; That Scoundrel Scapin; The Miser; Love s the Best Doctor; Don Juan, 1953, Middlesex, Penguin Books or Molière (translated by John Wood), The Miser and Other Plays, 1964/1966, Middlesex, Penguin Books, ISBN or ISBN The edition The Miser and Other Plays: A New Edition does not include the required play. Page 8 of 13

29 THEATRE MONO PERF EXAM Monologue 8 Play: Playwright: Character: Gender: Lost in Yonkers Neil Simon LOUIE Male Monologue: From: I hated that soup worse than you. (page 72) To: Lousy soup but it works... (page 75) Omitting: Note: Specified Scene: All lines from Arty and the following lines from Louie Hey, you re gettin there. You took her on, kid. That took guts. That took moxie. (page 72) That s moxie! Where s Jay-Jay? (page 72) For me? (page 72) But they left a message, right? (page 72) Yeah. Well, that don t mean nothin. A couple a Bronx boys like to talk tough. It s just horsin around. You know what I mean? Huh? (page 73) Then where s the lesson? There s no respect for paper plates. (page 73) I didn t say hate. I didn t like her. That s different. (page 75) Students may choose to add the words Your father? prior to the line Louie: Not a chance. (page 74) and run away after the line Louie: I did. (page 74) From: Beginning of Act 2, Scene 1 (page 67) To: Arty: Artur and Yakob, the gangsters. I can t believe it. (page 77) Source: Neil Simon, Lost in Yonkers, 1993, New York, Plume, ISBN Monologue 9 Play: Playwright: Character: Gender: Lost in Yonkers Neil Simon BELLA Female Monologue: From: No! You have to listen, Momma (page 111) To: I think we ve both said enough for today don t you? (page 114) Omitting: All lines from Grandma Specified Scene: From: Beginning of Act 2, Scene 3 (page 104) To: End of Act 2, Scene 3 (page 114) Source: Neil Simon, Lost in Yonkers, 1993, New York, Plume, ISBN Page 9 of 13

30 2012 THEATRE MONO PERF EXAM 10 Monologue 10 Play: Playwright: Character: Gender: Cahoot s Macbeth Tom Stoppard INSPECTOR Neutral (male or female) Monologue: From: Now let s see who we ve got here. (page 191) To: Would you care to make a statement? (page 193) Omitting: Specified Scene: From: All lines from Macbeth, Cahoot and Hostess Inspector: Look, just because I didn t laugh out loud it doesn t mean I wasn t enjoying it. (pages 190 and 191) To: Easy: Pan-stick-trog. (page 204) Source: Tom Stoppard, Tom Stoppard: Plays 1, 1996, London, Faber and Faber, ISBN Monologue 11 Play: Playwright: Character: Gender: A Woman Alone Franca Rame and Dario Fo WOMAN Female Monologue: From: The baby s crying! Oh my God, what ll I do? (page 19) To: I ll use hot water, that ll be better... (page 22) Omitting: Specified Scene: From: No lines are to be omitted. To: End of the play (page 25) Source: Woman: I went back the next day and the next day and the day after that. (page 16) Franca Rame and Dario Fo, A Woman Alone & Other Plays, 1991, London, Methuen Drama, ISBN Page 10 of 13

31 THEATRE MONO PERF EXAM Monologue 12 Play: Playwright: Character: Gender: Frankenstein, based on the novel by Mary Shelley Nick Dear THE CREATURE Male Monologue: From: If I m a murderer, you made me one. (page 38) To: All I ask is the possibility of love. (page 42) Omitting: Specified Scene: All lines from Victor and Creature: I liked it. (page 39) Creature: Yes, I use it to remember being hunted like a rat, running from human places, finding refuge in the woods. I use it to remember being beaten and whipped. And I was good, I wanted to be good! (page 39) Creature: to in the line You alone have the power to (page 40) Creature: A living creature! (page 41) Creature: Why not? (page 41) Creature: Is it? (page 41) Creature: Because I am lonely! (page 42) From: Victor: Are you here? Where are you? Are you here? (page 37) To: Victor: Thank you. (page 49) Source: Nick Dear, Frankenstein, based on the novel by Mary Shelley, 2011, London, Faber and Faber, ISBN Page 11 of 13

32 2012 THEATRE MONO PERF EXAM 12 Monologue 13 Play: Playwright: Character: Gender: The Two Noble Kinsmen John Fletcher and William Shakespeare SPEAKER OF THE PROLOGUE and SPEAKER OF THE EPILOGUE Neutral (male or female) Monologue: From: New plays and maidenheads are near akin; (page 137) To: Our losses fall so thick, we must needs leave. (page 139) Omitting: No lines are to be omitted. and From: I would now ask ye how ye like the play, (page 328) To: Rest at your service. Gentlemen, goodnight! (page 329) Omitting: Specified Scene: No lines are to be omitted. From: New plays and maidenheads are near akin; (page 137) To: Forward to th temple! Leave not out a jot O th sacred ceremony. (page 150) and From: Oh miserable end of our alliance! (page 324) To: Rest at your service. Gentlemen, goodnight! (page 329) Source: John Fletcher and William Shakespeare, Edited by Lois Potter, The Two Noble Kinsmen, 2007, London, The Arden Shakespeare, ISBN Page 12 of 13

33 THEATRE MONO PERF EXAM VCE Theatre Studies Monologue Performance Examination 2012 STATEMENT OF INTENTION Students should present the assessors with a written Statement of Intention of no more than 100 words. The statement should contain an elaboration of directorial choices made by the student which affect the interpretation of their chosen monologue. The Statement of Intention will be used by the assessors to inform their considerations of the performance. Student number Monologue number Monologue character Students should elaborate their directorial choices under one or more of the following headings. Stages and processes of development, Context, Interpretation, Performance style and conventions, Intended meaning Page 13 of 13

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