VCAA Bulletin. Supplement 4 VCE Drama Solo performance examination. and. Theatre Studies Monologue performance examination.

Transcription

1 No. 12 April 2004 Victorian Certificate of Education Victorian Certificate of Applied Learning SELECTIONS FROM VCE SEASON OF EXCELLENCE VCAA Bulletin Supplement 4 VCE 2004 Drama Solo performance examination and Theatre Studies Monologue performance examination VCAA

2 DRAMA SOLO PERF EXAM Victorian Certificate of Education 2004 DRAMA Solo performance examination Monday 4 October to Sunday 31 October VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2004 Page 1 of 17

3 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 Administrative Handbook. 3. The performance venue is set annually by the Victorian Curriculum and Assessment Authority. 4. The solo performance must not last more than SEVEN MINUTES and will be presented as a single uninterrupted performance. 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 can be 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. 9. Students are not permitted to bring any objects (including actual or imitation weapons) or substances deemed hazardous or illegal in to the performance examination venue. The use of such items is not permitted in the performance. 10. Only the panel of assessors will be allowed in the examination room with the student during the examination. 11. Students may choose to perform to the assessors as audience or to an imagined audience, or both. Statement of Intention 1. A pro forma for the Statement of Intention will be published annually by the Victorian Curriculum and Assessment Authority. 2. Immediately prior to 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: clarify 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. Prescribed structures 1. Students are required to prepare a solo performance using one of the following prescribed structures. 2. Students must select from the list of ten prescribed structures. Marks will not be awarded for performances that do not use one of the prescribed structures. 3. Each prescribed structure is made up of the following: character, stimulus, performance focus, performance style, theatrical conventions, dramatic elements, reference material. 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. Performance focus: information about the character that must be portrayed in the performance. This information is given in an opening sentence(s) and a series of dot points. All of this must be included in the performance. The dot points do not have to be given equal emphasis during the performance, nor do they have to be performed in the same order as in the prescribed structure. Page 2 of 17

4 3 DRAMA SOLO PERF EXAM Performance style: the prescribed performance style is explained in the Terminology section of the examination paper. The prescribed style must be used throughout the performance. Theatrical conventions: two theatrical conventions are given for each prescribed structure and they must be used during the performance. Additional conventions may be added as appropriate. Dramatic elements: the following dramatic elements will be assessed in all performances: focus, space, tension and timing. In addition two dramatic elements will be specifically prescribed for each character. The dramatic elements to be prescribed will be selected from the following list: climax, conflict, contrast, mood, rhythm, sound and symbol. Reference material: resource(s) 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. 4. When a prescribed structure includes the word recreates, students are required to re-enact situations and conversations for an audience. The emphasis in the recreation must be on action rather than narration; doing rather than telling. (See Terminology) 5. 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 17

5 DRAMA SOLO PERF EXAM 4 PRESCRIBED STRUCTURE 1 Character The Player Stimulus The life and times of Queen Elizabeth I Performance focus Create a solo performance based on the character of a Player during the reign of Queen Elizabeth I. In January 1588, while entertaining the Court in the presence of the monarch with a performance of a morality play, the Player presents a scene which contrasts the world of commoners with the world of the Royal Court recreates events in Queen Elizabeth I s reign which prompted the creation of this morality play demonstrates strategies which could be used by the Queen to deal with the demands of opposing forces. Performance style Non-naturalistic, including aspects of morality plays Theatrical conventions Transformation of character, heightened use of language Dramatic elements Contrast, symbol Reference material Page 4 of 17

6 5 DRAMA SOLO PERF EXAM PRESCRIBED STRUCTURE 2 Character The persona of the bow of the Argo Stimulus The Greek myth of Jason and the Argonauts Performance focus Create a solo performance based on the persona of the bow of the ship Argo, the Swift One. A power surge to the interactive display at the archaeological museum where the Argo is on display causes the oracular oak beam to recreate for visitors events which led Argus, the master shipbuilder, to build the Argo contributions by the ship to the Argonauts quest the intervention(s) of the gods in the Argo s journey. Performance style Non-naturalistic Theatrical conventions Transformation of character, disjointed time sequences Dramatic elements Climax, sound Reference material Page 5 of 17

7 DRAMA SOLO PERF EXAM 6 PRESCRIBED STRUCTURE 3 Character Jung Chang Stimulus The newspaper article Beyond the red boundary Performance focus Create a solo performance based on the person Jung Chang, author of Wild Swans. While attempting to convince her publisher of the merits of a proposed biography of Chairman Mao, Jung recreates through a series of vignettes and dramatic images myths that were generated about Mao the nature of family life under his regime valued freedoms she experienced after her arrival in Britain. Performance style Non-naturalistic Theatrical conventions Lyrical and symbolic, exaggerated movement Dramatic elements Contrast, sound Reference material The Age Review cover story, Beyond the red boundary, published 18 October 2003 Wild Swans by Jung Chang Flamingo, HarperCollins Publishers, ISBN Page 6 of 17

8 7 DRAMA SOLO PERF EXAM PRESCRIBED STRUCTURE 4 Character Shaun Stimulus The picture book The Lost Thing by Shaun Tan Performance focus Create a solo performance based on the character of Shaun from the picture book The Lost Thing. On a walk with Pete around the city depicted in the book, Shaun recreates how he infiltrated the building of The Federal Department of Odds and Ends and what he discovered there ways in which Government Ministries and Agencies exert their control how a scientific discovery was manipulated and the impact this is having on humanity. Performance style Non-naturalistic, including aspects of theatre of the absurd Theatrical conventions Exaggerated movement, transformation of object Dramatic elements Mood, contrast Reference material S Tan, The Lost Thing, Lothian, South Melbourne (2000) ISBN Page 7 of 17

9 DRAMA SOLO PERF EXAM 8 PRESCRIBED STRUCTURE 5 Character The Knight Stimulus The film Monty Python and the Holy Grail Performance focus Create a solo performance based on the character of one of the Knights who say Ni from the film Monty Python and the Holy Grail. In an attempt to convince King Arthur that the Knight should become a Knight of the Round Table, he recreates heroic deeds he has performed while being a Knight who says Ni ways he assisted Merlin with the creation of Stonehenge plots he has overheard from King Arthur s courtiers that suggest that all is not well in Camelot. Performance style Non-naturalistic, including aspects of Pythonesque comedy Theatrical conventions Caricature, exaggerated movement Dramatic elements Rhythm, sound Reference material The film Monty Python and the Holy Grail, 1975, directed by Terry Gillam and Terry Jones The Age newspaper Goodweekend Magazine, 1 November Page 8 of 17

10 9 DRAMA SOLO PERF EXAM PRESCRIBED STRUCTURE 6 Character An Oompa-Loompa Stimulus The 1971 film Willy Wonka and the Chocolate Factory Performance focus Create a solo performance based on the character of an Oompa-Loompa. Willy Wonka s chocolate factory, now owned by Charlie Bucket, is being down-sized. An Oompa-Loompa seeks alternative employment in the United Kingdom during the Thatcher era ( ). The Oompa-Loompa recreates for a prospective employer life in Oompa-Loompa land prior to Willy Wonka s arrival skills acquired during the trialing of fantastic confectionary a song containing social commentary on some aspect of the impact of Thatcherism. Performance style Non-naturalistic Theatrical conventions Transformation of character, satire Dramatic elements Contrast, rhythm Reference material The film Willy Wonka and the Chocolate Factory, 1971, starring Gene Wilder, directed by Mel Stuart Charlie and the Chocolate Factory, Roald Dahl (any edition) Any history of the United Kingdom which covers the years Margaret Thatcher was Prime Minister Page 9 of 17

11 DRAMA SOLO PERF EXAM 10 PRESCRIBED STRUCTURE 7 Character The Diva Stimulus The life and times of Lola Montez Performance focus Create a solo performance based on the person Lola Montez. While on board a ship off the coast of Australia in the 1850s, Lola recreates for her fellow passengers some of her show business triumphs past scandals in which it is alleged she has been involved a memorable event from her recent tour of the Australian goldfields. Performance style Non-naturalistic Theatrical conventions Dance, disjointed time sequences Dramatic elements Symbol, conflict Reference material Page 10 of 17

12 11 DRAMA SOLO PERF EXAM PRESCRIBED STRUCTURE 8 Character The Freedom Fighter Stimulus The songs, poetry and dances of apartheid in South Africa Performance focus Create a solo performance based on the character of a Freedom Fighter in South Africa during apartheid. Following the 1976 Soweto student demonstration, a clandestine meeting takes place between foreign journalists and the Freedom Fighter. The Freedom Fighter recreates aspects of life under apartheid rule in South Africa how music and the toyi toyi helped in the peaceful revolution against apartheid examples of propaganda used by Verwoerd s government. Performance style Non-naturalistic Theatrical conventions Song, pathos Dramatic elements Conflict, rhythm Reference material The film Amandla! A Revolution in Four-Part Harmony, 2003 directed by Lee Hirsch The film Cry Freedom, 1987, directed by Richard Attenborough Any history of South Africa which includes Steve Biko, Nelson Mandela and Vuyisile Mini Page 11 of 17

13 DRAMA SOLO PERF EXAM 12 PRESCRIBED STRUCTURE 9 Character The Showman Stimulus The life of Harry Houdini Performance focus Create a solo performance based on the person Harry Houdini. In 1925, while manipulating the press for free publicity for his new show, Harry demonstrates his need for the thrill and the glory of first adventure by recreating experiences he had growing up that led to his interest in performing illusions his part in the first controlled power flight in Australia highlights of new material he has developed. Performance style Non-naturalistic Theatrical conventions Exaggerated movement, transformation of place Dramatic elements Symbol, climax Reference material Page 12 of 17

14 13 DRAMA SOLO PERF EXAM PRESCRIBED STRUCTURE 10 Character Captain Holly Short Stimulus The novel Artemis Fowl by Eoin Colfer Performance focus Create a solo performance based on the character of Captain Holly Short. At a debrief after her latest mission involving Artemis Fowl, Holly recreates for Commander Julius Root how she discovered what the criminal Artemis Fowl was planning and why she broke protocol to pursue him back through time to approximately 800 BCE to the Temple of Artemis at Ephesus the significance to the People and to Artemis, of the artefact he intended to steal from the temple site how Foaly s technology assisted her in her attempt to prevent Artemis from succeeding. Performance style Non-naturalistic Theatrical conventions Transformation of place, disjointed time sequences Dramatic elements Climax, symbol Reference material Artemis Fowl, Eoin Colfer ISBN The Arctic Incident, Eoin Colfer ISBN The Eternity Code, Eoin Colfer ISBN Page 13 of 17

15 DRAMA SOLO PERF EXAM 14 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 recreate on the stage life as it is lived. Non-naturalistic performance is characterised by a manipulation of time and space as well as the narrative elements of the drama. Recreate To re-enact situations and conversations for an audience. The emphasis in the recreation must be on action rather than narration; doing rather than telling. Theatre of the absurd Dramatisations centred on the futility of life. Language is often clichéd or trite. Activity is repetitious and/or meaningless. Character(s) may be inappropriate to the given situation. The tone can be serious and at the same time comic and/or ironic. Morality plays A medieval play form in which characters represent human virtues and vices such as good, evil and so on. The overall intention of the play is to teach a moral lesson. The tone can be both comical and serious. In medieval times the plays were performed by acting troupes. Pythonesque comedy Denoting a type of British humour that is absurd, radical and zany. It tends towards the surreal and was first seen in the 1970s TV comedy show Monty Python s Flying Circus. Sketches were often unpredictable and rarely had a punchline. The style included parodied figures of social classes, political and religious commentary. 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 actors. 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 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/or through the use of objects and space in symbolic ways. Transformation of place can be achieved through the transformation of the properties (real and imagined) and/or through the use of expressive skills alone. Transformation of object An object(s) is endowed with a variety of meanings by the actor. Page 14 of 17

16 15 DRAMA SOLO PERF EXAM Dance Physical movement used to express an emotion, idea or concept, usually rhythmic, and may be accompanied by music. Song Musical interpretation of text using the actor s own voice at the time of performance (not prerecorded). 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. 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. 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. Exaggerated movement Exaggerated movement includes action that is overstated, drawn larger than life; often for the purpose of ridicule. Satire The use of sarcasm, irony and ridicule in denouncing, exposing or deriding vice, folly and abuse. Can be achieved through gesture, tone, word. 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. Comedy A dramatic style associated with such notions as amusement, jollity, gaiety, fun and humour. May include complex and sophisticated techniques sometimes referred to as high comedy, or low comic aspects such as slapstick and bawdiness. Lyrical and symbolic This requires that the student characterise the work with poetic motion. This may be done by the use of verse, dialogue or movement. It may also be achieved through the selection of imagery and action. It is allied to the use of symbol which provides definition for metaphors, gestures or objects and gives specific meanings to the written and performance texts. Vignettes A short scene or sketch based around a character. Page 15 of 17

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18 17 DRAMA SOLO PERF EXAM VCE Drama Solo Performance Examination 2004 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: clarify 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 17 of 17

19 THEATRE MONO PERF EXAM Victorian Certificate of Education 2004 THEATRE STUDIES Monologue performance examination Monday 4 October to Sunday 31 October VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2004 Page 1 of 10

20 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 Administrative Handbook. 3. The performance venue is set annually by the VCAA. 4. The performance will use a single clearly lit space. No changes to the lighting grid are allowed. 5. Only the panel of assessors will be allowed in the examination room with the student during the examination. 6. Students are not permitted to bring any objects (including actual or imitation weapons) or substances deemed hazardous or illegal into the performance examination venue. The use of such items is not permitted in the performance. 7. The monologue will be presented as a single uninterrupted performance and last not more than seven minutes. 8. 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. 9. 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. 10. One table and two chairs will be provided in the examination room for students to use in performance if they wish. 11. Students may choose to perform to the assessors as audience or to an imagined audience, or both. Statement of Intention 1. A pro forma for the Statement of Intention will be published annually by the VCAA. 2. Immediately prior to 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. 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 directional 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 directional choices and interpretative decisions of the interpretation of the scene may be relevant for mention in the Statement of Intention. Page 2 of 10

21 3 THEATRE MONO PERF EXAM Monologues 1. Students are to develop a performance from one of the following monologues. The 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 does not constitute a performance. 4. All monologues may be performed by both male and female students. 5. In all monologues, students are to omit all spoken lines other than those allocated to the specified character. Notes: Schools should note that some monologues and specified scenes may contain a variety of suggestive and/or potentially offensive language. Schools may substitute or delete such language from performances as they deem appropriate. Source materials listed include both Internet references and text references. Certain monologues include both type of reference. Use of either reference is acceptable and they are deemed to be equivalent. Teachers are advised that if they are uncertain whether the standard of the monologue they intend to use (if it is not exactly the one listed) is consistent with that identified in the VCAA monologue list, they should forward the following items to the VCAA: a full copy of the monologue they propose to use a copy of the publication details including publisher, date of publication and series (if any) to which the publication belongs. These items are to be forwarded to: VCE Examinations Unit Victorian Curriculum Assessment Authority 41 St Andrews Place East Melbourne Vic 3002 Please mark the envelope with Attention: Theatre Studies Monologues Page 3 of 10

22 THEATRE MONO PERF EXAM 4 Monologue 1 Play: Playwright: Published source: Character: Tartuffe or The Imposter Moliere Penguin Classics Moliere The Misanthrope and Other Plays (1981), translated by John Wood TARTUFFE Monologue: Act III From: A passion for the beauties which are eternal does not preclude a temporal love reflect that I m not blind and that a man is but flesh and blood. Omitting: Elmire s lines Page reference: Specified scene: From start of Act III to end of Act III Page reference: Internet source: Internet mono from: Love for the beauty of eternal things... (Line 59)... That I m not blind, and man is made of flesh. (Line 137) Omitting: Elmire s lines Monologue 2 Play: Playwright: Published source: Character: Tartuffe or The Imposter Moliere Penguin Classics Moliere The Misanthrope and Other Plays (1981), translated by John Wood ELMIRE Monologue: From: Omitting: Act IV I don t think you ll have any cause to complain but I m going to play a rather unusual role which would force me to share an affection I wanted entirely to myself? Tartuffe s lines Page reference: Specified scene: Page reference: Internet source: From start of Act IV to end of Act IV Act IV Scenes IV and V Internet mono from: And then you ll have, I think, no more to say... (Line 11)... should such a match compel me to share a heart I want all to myself? (Line 52) Omitting: Tartuffe s lines Page 4 of 10

23 5 THEATRE MONO PERF EXAM Monologue 3 Play: Playwright: Published source: Character: Phaedra Racine Penguin Classics Racine Phaedra and Other Plays (1963), translated by John Cairncross PHAEDRA Monologue: Act II Scene V From: Ah, cruel, you have understood only too well Your hand, lend me, if not your arm, your sword. Give me it! Page reference: Specified scene: Act II Scenes II VI Page reference: Internet source: Act II Scene V Internet mono from: Ah! Cruel Prince, too well you understood me Your hatred, lend me then your sword, if not your arm. Quick, giv t. Monologue 4 Play: Playwright: Published source: Character: Phaedra Racine Penguin Classics Racine Phaedra and Other Plays (1963), translated by John Cairncross HIPPOLYTUS Monologue: Act II Scene II From: I hate you, Princess? No. However my aloofness be decried Which, but for you, I never would have shown. Omitting: Aricia s lines Page reference: Specified scene: Act II Scenes II VI Page reference: Internet source: Act II Scene II Internet mono from: To hate you? I, to hate you? So ill, which but for you had ne er been formed. Page 5 of 10

24 THEATRE MONO PERF EXAM 6 Monologue 5 Play: Playwright: Published source: Character: Antigone Jean Anouilh Eyre Methuen (1979), translated by Lewis Galantiere CHORUS Monologue: From: The spring is wound up tight. It will uncoil of itself... Page reference: Specified scene:... For the first time in her life, little Antigone is going to be able to be herself. From: The spring is wound up tight. It will uncoil of itself... Page reference: ANTIGONE: You are mistaken. Quite the contrary. I never doubted for an instant that you would have me put to death. Monologue 6 Play: Playwright: Published sources: Character: Marat/Sade Peter Weiss Marion Boyars Publisher Ltd (1978), English version by Geoffrey Skelton, verse adaptation by Adrian Mitchell HERALD Monologue: Act 1, 4. PRESENTATION From: Already seated in his place here is Marat observe his face... Page reference: Specified scene: From: Page reference: and see this woman after careful thought take up the dagger and cut him short. Homage to Marat. The start of 1. ASSEMBLY The conclusion of 7. CORDAY IS INTRODUCED Page 6 of 10

25 7 THEATRE MONO PERF EXAM Monologue 7 Play: Playwright: Published source: Character: Medea Euripides Penguin Classics Euripides Medea and Other Plays (1968), translated by Philip Vellacott MESSENGER Monologue: From: Page reference: Specified scene: From: Page reference: All this took place in a few moments, perhaps while a fast runner might run a hundred yards... Fortune may come now to one man, now to another, as prosperity increases, happiness never... (Enter a MESSENGER) The end of the play Internet source: Internet mono from: Note that this version is complete, but another text on the mit site is missing some of the concluding dialogue. By this time would a quick walker have made the turn in a course of six plethra and reached the goal for amongst mortals no man is happy; wealth may pour in and make one luckier than another, but none can happy be. Monologue 8 Play: A Midsummer Night s Dream Playwright: Shakespeare Published source: Signet Classic (1987) Character: HELENA Monologue: Act III Scene II From: Line 192 Lo, she is one of this confederacy... Line Tis partly my own fault, which death or absence soon shall remedy. Page reference: Specified scene: Act III Scene II From: The start of Scene II The end of Scene II Omitting: Hermia s lines Page reference: Internet source: Internet mono from: Lines identical to published text Lines identical to published text Page 7 of 10

26 THEATRE MONO PERF EXAM 8 Monologue 9 Play: A Midsummer Night s Dream Playwright: Shakespeare Pulished source: Signet Classic (1987) Character: QUINCE, AS THE PROLOGUE Monologue: Act V Scene I From: If we offend, it is with our good will At large discourse, while here they do remain. Omitting: lines from Theseus, Lysander and Hippolyta (The spoken text of this passage is deliberately short to allow for physical business) Page reference: Specified scene: Act V Scene 1 Page reference: Internet source: Internet mono from: Lines identical to published text Lines identical to published text Monologue 10 Play: Doctor Faustus Playwright: Christopher Marlowe Published source: Signet Classic (1969) Character: DOCTOR FAUSTUS Monologue: Act V Scene ii From: Oh Faustus! Now hast thou but one bare hour to live Come not Lucifer! I ll burn my books! O Mephostophilis! Page reference: Specified scene: Act V Scene ii From: LUCIFER: thus from infernal Dis do we ascend... The end of the monologue Page reference: Internet source: Internet mono from: Lines identical to published text Lines identical to published text (except for spelling of Mephistophilis ) Page 8 of 10

27 9 THEATRE MONO PERF EXAM Monologue 11 Play: Playwright: Published source: Character: Les Liaisons Dangereuses Christopher Hampton Samuel French Ltd (1986) Les Liaisons Dangereuses LA MARQUISE DE MERTEUIL Monologue: Act 1 Scene 4 From: I had no choice, did I, I m a woman Always be sure they think they re the only one. Win or die. Omitting: Valmont s lines Page reference: Specified scene: Act 1 Scene 4 Page reference: Monologue 12 Play: Playwright: Published source: Character: Ruby Moon Matt Cameron Currency Press (2003) Ruby Moon SID Monologue: Scene Three From: Is that you...? Please call me Sid I didn t do anything. But she liked me making her face disappear. Omitting: Sylvie s lines Page reference: Specified scene: Scene Three Page reference: Monologue 13 Play: Playwright: Published source: Character: Ruby Moon Matt Cameron Currency Press (2003) Ruby Moon SYLVIE Monologue: Epilogue From: Grandma Moon wasn t asking to call where Ruby was Dear lady, behold the hands that can make things disappear. Omitting: Ray s lines Page reference: Specified scene: Prologue Page reference: Page 9 of 10

28 THEATRE MONO PERF EXAM 10 VCE Theatre Studies Monologue Performance Examination 2004 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 directional 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 directional choices under one or more of the following headings. Stages and processes of development, Context, Interpretation, Performance style and conventions, Intended meaning " Page 10 of 10

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