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Elaboration (3) ACADRM035

comparing different ways improvisation and scripted drama create characters and action, and evaluating drama from other cultures and considering how they can use specific techniques in their own work

Elaboration (3) ACADRM036

adjusting the weight (heaviness or lightness of movement), speed, use of stillness, levels and movement through space to focus on character and situation and create dramatic action

Elaboration (3) ACADRM037

focusing communication with the audience by, for example, remembering lines, moves and cues in rehearsal and performance

Considering viewpoints – societies and cultures: For example – What are the traditions, customs and conventions of this drama? How does this drama draw from other cultures, times and places? How have you used drama of other times, places and cultures …

Elaboration (3) ACADRM041

Considering viewpoints – meanings and interpretations: For example – What were the actor/director’s intentions in this drama? What are your intentions in the drama you are making? What ideas did you think the drama expressed? How did you engage with the …

Elaboration (3) ACADRM042

analysing and evaluating the structural choices made in their devised drama by documenting their process in records such as journals, blogs, and video or audio recording (with consent of participants)

Elaboration (3) ACADRM043

adapting facial expression, posture, gesture, movement and voice (including accent) to portray age, power and disposition in a specific performance style, such as contemporary Australian styles of Aboriginal and Torres Strait Islander dramatists

Elaboration (3) ACADRM044

performing the role within the underlying dramatic structure

Elaboration (3) ACADRR045

Considering viewpoints – meanings and interpretations: For example – What were the actor/director’s intentions in this drama? What are your intentions in the drama you are making? What ideas did you think the drama expressed? How did you engage with the …

Elaboration (3) ACADRR046

Considering viewpoints – contexts: For example – What is the cultural context in which the drama was developed, or in which it is viewed, and what does it signify? How does this drama relate to its social context and that of its makers and audiences? …

Elaboration (3) ACADRM047

exploring the implied or underlying aspects of character and dramatic action

Elaboration (3) ACADRM049

exploring and rehearsing forms and styles recognised as contemporary styles developed by Aboriginal and Torres Strait Islander dramatists for storytelling

Elaboration (3) ACADRM050

exploring realistic, non-realistic, innovative and hybrid dramatic forms and performance styles

Elaboration (3) ACADRR052

evaluating how ideas and emotions shape the expressive qualities and staging of forms and styles in their own and others’ drama

Elaboration (3) ACAMAM054

experimenting with technologies to capture images, sounds and text

Elaboration (3) ACAMAM055

practising using computer software to add captions to images to enhance meaning in a photo story

Elaboration (3) ACAMAM056

creating, rehearsing and recording a radio play and seeking permission to share it with another class

Elaboration (3) ACAMAR057

identifying features in media artworks, such as shot types, for example, long shot, mid shot and close-up, and discussing what the shots tell the audience about the story

Elaboration (3) ACAMAM058

experimenting with tension to create meaning and sustain representations

Elaboration (3) ACAMAM059

experimenting with ways of formatting and laying out a story using available software and appropriate text conventions for a front page news story

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