DRAMATIC ARTS
2023
, GRADE 12 2023 BREAKDOWN
TERM 1
- Practitioners
- 20th Century Theatre Development
TERM 2
- Technical Development
- Exam Technique
- Essay Skills Development
TERM 3
- Finals Preparation
ITA IPT
Internal Theory Assessment Internal Practical Assessment Exams
37.5% CASS Weighting / 20% SBA 62.5% CASS Weighting Report Weighting 75% (Prelims)
Weighting - Practical Performance Finals Weighting 75%
- Cycle Tests (converted to 20 marks) - 50% Practical
- Planning and Research - Written Component - 50% Theory (80 marks in
Tasks (converted to 5 marks) 120 minutes)
* Prelim Theory 12.5% SBA - Total IPT 25 marks
Weighting
2
,ADDENDUM 4: BASIC DRAMATIC ARTS GLOSSARY
BASIC DRAMATIC ARTS GLOSSARY
Please note: this is a rudimentary glossary of terms and is by no means exhaustive or absolute.
Acting style NATURALISTIC
This acting style is REPRESENTATIONAL.
The actor attempts to reproduce a believable character on stage.
The acting style is subtle, internalised and highly credible.
Theatre practitioners who embody this style are: Stanislavski, Meisner, Hagen, Adler and
Strasberg.
NON-NATURALISTIC
This acting style is PRESENTATIONAL.
The actor does not attempt to reproduce a believable character on stage.
The acting style is often exaggerated, stylised and physical.
Theatre practitioners who embody this style are: Grotowski, Brecht, Artaud.
Ad lib Spontaneous or extemporized speech or conversation.
Agit-Prop Originally a political strategy in which the techniques of ‘agitation’ and ‘propaganda’ are
used to influence and mobilise public opinion by rousing discontent and indignation
among masses of people.
In theatre, a type of political theatre aimed at mobilising the oppressed to fight their
oppression.
(Originally political theatre with a strongly left-wing agenda.)
Aesthetic A set of principles underlying the work of a particular artist or artistic movement.
Alienation or Taking something that is familiar and ‘making it strange’ (de-familiarise) to break an
Alienation-effect or audience’s empathy (i.e. create distance) in order to encourage critical engagement with
Verfremdungseffekt the dramatic action.
Antagonist The opponent or adversary of the main character (protagonist) of a drama; one who
opposes and actively competes with another character in a play, most often with the
protagonist. Antagonist can also be the protagonist’s own inner conflict in opposition to
their goals.
Apron The area between the front curtain and the edge of the stage.
Articulation and/or Not to be confused with ‘diction’, which is word choice. The clear and precise creation of
Enunciation sounds using the organs of articulation (i.e. a speaker’s lips, teeth, tongue, hard and soft
palates).
Aside Lines spoken by an actor to the audience and not supposed to be overheard by other
characters on stage.
Back projection A method of projecting images onto a translucent screen (scrim) from behind. Often used
for projected scenery or special effects. Because the projector is usually close to the
screen/scrim, special lenses are needed to ensure that the image seen by the audience
is large enough.
Backdrop A flat surface the width of the stage, hung upstage of the acting area, upon which
scenery is usually painted.
Backlight Light coming from upstage, behind scenery or actors, to sculpt and separate them from
the background. Can create silhouettes.
Backstage The production area set aside from the main performance space where the performer
may withdraw from the action or non-actors (backstage or production members) can
prepare and support the action.
3
, Black box A one-room theatre, which is a flexible space; interior is painted black, including walls,
floor, and ceiling, and any drapes are also black.
Blackout A lighting cue where all stage lights snap off simultaneously.
Blocking The planning, execution and recording of the where and when of actors’ movement,
grouping or positioning on stage and how this happens in relation to the script. Blocking
is part of preparation and rehearsal.
Box set Creates the illusion of ‘a slice of life’, normally used in Realism. A three-dimensional set,
creating three walls of an interior space, leaving the fourth wall to be imagined by the
actors and audience (i.e. invisible fourth wall). The box set represents a real room with
doors and windows that work.
Business A piece of unscripted action, used to establish a character, fill a pause in dialogue, or to
(Stage business) establish a scene. An author may simply suggest 'business' to indicate the need for
some action at that point in the play.
Cabaret Cabarets is a presentational form of theatre consisting of a series loosely related acts
(monologues, scenes, song, dance, comedy). Often hosted by a flamboyant and
mischievous compere, who will normally perform his or her own songs, crack jokes,
banter with the audience and introduce the acts. The venue generally will be relatively
intimate. Alcohol will be served.
Catharsis The audience experiences catharsis, or is set free from the emotional hold of the action,
after experiencing strong emotions such as pity and fear (pity as empathy and fear as it
could happen to you), and sharing in the protagonist’s troubles. The audience’s emotions
bring about an almost therapeutic sense of release or calm.
Characterisation The process of creating a character through inclusion of all character dimensions
through thought, feeling/emotion, physical action, dialogue, costuming, and makeup.
Actors make decisions about how their character/s will move and speak, what gestures
and habits they might have and what they would wear, based on the style of the play.
*see Acting Style
Chinese theatre Ancient Chinese theatre is a composite performance art that is an amalgamation of
various art forms that existed in ancient China, and evolved gradually over more than a
thousand years, reaching its mature form in the 13th century during the Song Dynasty.
Early Chinese dramas combined mime, stylised movement and a chorus. The chorus
described the action, which was enacted by dancer-actors. Over time Chinese theatre
incorporated various art forms, such as music, song and dance, martial arts, acrobatics,
as well as literary art forms to become traditional Chinese opera.
Chorus A group of performers who sing, dance, or recite in unison; in Greek drama, the chorus
was the group of performers who sang and danced between episodes, narrated off-stage
action and commented on events.
Climax The point of highest dramatic intensity in a series or progression of events in a play,
often forming a turning point in the action, beyond which the major conflict can proceed
no further without a resolution.
Collaboration The act of working together in a joint effort to devise and create theatre. Linked to
ensemble playing and the process of workshopping.
Comedy Comedy appears in numerous forms. In Shakespeare’s time, a comedy was any play
that typically told the story of a likeable character’s rise to fortune. In ancient Greece,
comedies dealt almost exclusively with contemporary figures and problems. Low comedy
is physical rather than intellectual comedy; high comedy is more sophisticated,
emphasising verbal wit over physical action.
4
2023
, GRADE 12 2023 BREAKDOWN
TERM 1
- Practitioners
- 20th Century Theatre Development
TERM 2
- Technical Development
- Exam Technique
- Essay Skills Development
TERM 3
- Finals Preparation
ITA IPT
Internal Theory Assessment Internal Practical Assessment Exams
37.5% CASS Weighting / 20% SBA 62.5% CASS Weighting Report Weighting 75% (Prelims)
Weighting - Practical Performance Finals Weighting 75%
- Cycle Tests (converted to 20 marks) - 50% Practical
- Planning and Research - Written Component - 50% Theory (80 marks in
Tasks (converted to 5 marks) 120 minutes)
* Prelim Theory 12.5% SBA - Total IPT 25 marks
Weighting
2
,ADDENDUM 4: BASIC DRAMATIC ARTS GLOSSARY
BASIC DRAMATIC ARTS GLOSSARY
Please note: this is a rudimentary glossary of terms and is by no means exhaustive or absolute.
Acting style NATURALISTIC
This acting style is REPRESENTATIONAL.
The actor attempts to reproduce a believable character on stage.
The acting style is subtle, internalised and highly credible.
Theatre practitioners who embody this style are: Stanislavski, Meisner, Hagen, Adler and
Strasberg.
NON-NATURALISTIC
This acting style is PRESENTATIONAL.
The actor does not attempt to reproduce a believable character on stage.
The acting style is often exaggerated, stylised and physical.
Theatre practitioners who embody this style are: Grotowski, Brecht, Artaud.
Ad lib Spontaneous or extemporized speech or conversation.
Agit-Prop Originally a political strategy in which the techniques of ‘agitation’ and ‘propaganda’ are
used to influence and mobilise public opinion by rousing discontent and indignation
among masses of people.
In theatre, a type of political theatre aimed at mobilising the oppressed to fight their
oppression.
(Originally political theatre with a strongly left-wing agenda.)
Aesthetic A set of principles underlying the work of a particular artist or artistic movement.
Alienation or Taking something that is familiar and ‘making it strange’ (de-familiarise) to break an
Alienation-effect or audience’s empathy (i.e. create distance) in order to encourage critical engagement with
Verfremdungseffekt the dramatic action.
Antagonist The opponent or adversary of the main character (protagonist) of a drama; one who
opposes and actively competes with another character in a play, most often with the
protagonist. Antagonist can also be the protagonist’s own inner conflict in opposition to
their goals.
Apron The area between the front curtain and the edge of the stage.
Articulation and/or Not to be confused with ‘diction’, which is word choice. The clear and precise creation of
Enunciation sounds using the organs of articulation (i.e. a speaker’s lips, teeth, tongue, hard and soft
palates).
Aside Lines spoken by an actor to the audience and not supposed to be overheard by other
characters on stage.
Back projection A method of projecting images onto a translucent screen (scrim) from behind. Often used
for projected scenery or special effects. Because the projector is usually close to the
screen/scrim, special lenses are needed to ensure that the image seen by the audience
is large enough.
Backdrop A flat surface the width of the stage, hung upstage of the acting area, upon which
scenery is usually painted.
Backlight Light coming from upstage, behind scenery or actors, to sculpt and separate them from
the background. Can create silhouettes.
Backstage The production area set aside from the main performance space where the performer
may withdraw from the action or non-actors (backstage or production members) can
prepare and support the action.
3
, Black box A one-room theatre, which is a flexible space; interior is painted black, including walls,
floor, and ceiling, and any drapes are also black.
Blackout A lighting cue where all stage lights snap off simultaneously.
Blocking The planning, execution and recording of the where and when of actors’ movement,
grouping or positioning on stage and how this happens in relation to the script. Blocking
is part of preparation and rehearsal.
Box set Creates the illusion of ‘a slice of life’, normally used in Realism. A three-dimensional set,
creating three walls of an interior space, leaving the fourth wall to be imagined by the
actors and audience (i.e. invisible fourth wall). The box set represents a real room with
doors and windows that work.
Business A piece of unscripted action, used to establish a character, fill a pause in dialogue, or to
(Stage business) establish a scene. An author may simply suggest 'business' to indicate the need for
some action at that point in the play.
Cabaret Cabarets is a presentational form of theatre consisting of a series loosely related acts
(monologues, scenes, song, dance, comedy). Often hosted by a flamboyant and
mischievous compere, who will normally perform his or her own songs, crack jokes,
banter with the audience and introduce the acts. The venue generally will be relatively
intimate. Alcohol will be served.
Catharsis The audience experiences catharsis, or is set free from the emotional hold of the action,
after experiencing strong emotions such as pity and fear (pity as empathy and fear as it
could happen to you), and sharing in the protagonist’s troubles. The audience’s emotions
bring about an almost therapeutic sense of release or calm.
Characterisation The process of creating a character through inclusion of all character dimensions
through thought, feeling/emotion, physical action, dialogue, costuming, and makeup.
Actors make decisions about how their character/s will move and speak, what gestures
and habits they might have and what they would wear, based on the style of the play.
*see Acting Style
Chinese theatre Ancient Chinese theatre is a composite performance art that is an amalgamation of
various art forms that existed in ancient China, and evolved gradually over more than a
thousand years, reaching its mature form in the 13th century during the Song Dynasty.
Early Chinese dramas combined mime, stylised movement and a chorus. The chorus
described the action, which was enacted by dancer-actors. Over time Chinese theatre
incorporated various art forms, such as music, song and dance, martial arts, acrobatics,
as well as literary art forms to become traditional Chinese opera.
Chorus A group of performers who sing, dance, or recite in unison; in Greek drama, the chorus
was the group of performers who sang and danced between episodes, narrated off-stage
action and commented on events.
Climax The point of highest dramatic intensity in a series or progression of events in a play,
often forming a turning point in the action, beyond which the major conflict can proceed
no further without a resolution.
Collaboration The act of working together in a joint effort to devise and create theatre. Linked to
ensemble playing and the process of workshopping.
Comedy Comedy appears in numerous forms. In Shakespeare’s time, a comedy was any play
that typically told the story of a likeable character’s rise to fortune. In ancient Greece,
comedies dealt almost exclusively with contemporary figures and problems. Low comedy
is physical rather than intellectual comedy; high comedy is more sophisticated,
emphasising verbal wit over physical action.
4
