LESSON PLAN

TOPIC: Responding to ‘Coranderrk’

Aim: Explore the elements of non-naturalistic drama by responding to stimulus in written
analysis’ and devised performances.

In this part of the unit students have just seen the 2017 performance ‘Coranderrk’ and are
at the very beginning stages of developing their devised ensemble performances.
YEAR LEVEL & SUBJECT: Year 10 Drama LESSON DURATION: 100 minutes
NO. OF STUDENTS: 14
VICTORIAN CURRICULUM CONNECTION:
In this lesson and over the duration of this unit students will ‘analyse a range of drama
from contemporary and past times to explore differing viewpoints and enrich their drama
practice’ (VCADRR046).

Students will use stimulus to ‘Improvise with the elements of drama and narrative
structure to develop ideas, and explore subtext to shape devised and scripted
drama’ (VCADRE040).
Aims (Outcomes):
THIS LESSON AIMS TO:

Assist students in using dramatic elements such as rhythm, contrast and space to develop
ideas for their devised performances.
(Explore and Express Ideas)

Expose students to devised drama, discussing the different social, cultural & historical
contexts through written analysis, performance and peer-peer feedback. (Respond and
Interpret)

Encourage students to be reflective, empathetic and accepting of diversity in collaborative

tasks. (Relationship and Diversity- Personal and Social Capability).
OUTCOMES (INDICATORS):

By the end of this lesson, students will have used the non-naturalistic stimulus to explore
the elements of drama by:

 Structuring an analysis on ‘Coranderrk’

 Devising a mini performance responding to ideas presented in ‘Coranderrk’
 Analysing how peers used expressive skills, dramatic elements and/or theatrical
conventions to convey the stimulus.
 Evaluating their own use of the stimulus and dramatic elements

TEACHING MATERIALS AND PREPARATION

Coranderrk 2017 play
Coranderrk play script
2017 ‘Coranderrk’ teaching guide.
http://ilbijerri.com.au/wp-content/uploads/2014/05/Coranderrk_Teachers-
Resource_2017-Tour.pdf
Attached:
 IEP
 Student handout #1 (discussion questions)
 Slide # 1 (analysis questions)
 Student handout #2 (example of adjusted analysis task)
 Student handout #3 (Tips for writing you analysis)
 Student handout #4 (stage plot)
 Ensemble performance structure
 Ensemble performance criteria
ASSESSMENT
This lesson is preparing students for 2 summative assessments:
A written analysis on ‘Coranderrk’
A devised ensemble performance
In the lesson formative assessments will take place by observing class discussions and
performance creation as well as viewing student’s journals (hurdle task). Students will gain
feedback on their written analysis which will assist their upcoming written assessment.
LESSON PROCEDURE

Introduction: Engage TIME Resources Assessment

Set up 2 mins
Have students set up their journals ready to use.

State the aim

Warm up 5 mins
 What’s does tabluea mean?
Teacher demonstrates and asks for alternative words.

 Tabluea activitities:
-Show me a tree
-Show 3 characters or 3 key scenes in ‘Coranderrk’
-Show a theme in Coranderrk- (outcast etc.)
-Show a group you belong to (family, social group, cultural heritage,)
-Show a value that could be/is shared in that group- (hard work, respect)

Extension:
Practice transitioning between each tableau.
 ‘tableaus are a non-naturalistic convention that we can use when devising in drama’
Class analysis 10 mins Whiteboard

 A volunteer to performs one tableau for the class.

 Students and teacher create a dot point analysis on the question:

‘Analyse (student name)’s use of one expressive skill that shows (theme)’

 Teacher breaks down the elements into smaller questions e.g. If facial
expressions were the expressive skills the teacher could ask:

-Describe what (Rupert) is doing with their eyes.

-How does that relate to (Belonging)?

 Students then evaluate the strengths and weaknesses of the analysis.

 Teacher builds success criteria from the student’s evaluation, checking with
the students. (if out of time the teacher can refine this during the next
activity).

Small group discussions 10 mins Handout #1 Formative

assessment-
 Have a student read through the questions on the handout sheet. Clarify any
Observing
terms.
 Debrief in small groups (random selection) discussing questions from the
handout.
Explore
Whole class discussion 13 mins

 Go through the questions as a whole group and get one person to answer
each question.

Note: Teacher keeps a list on the whiteboard (and records this) of terminology
used in class discussions.

Explain

Analysis task- Vocabulary 10 mins Slide #1

 Students see the analysis questions and write 1 or 2 words that they are
unsure of in a sentence.
 With a partner they will share their sentences and came up with a definition.
 Students draw an image that represents their definition.
 As a class we will share some of the definitions.
 Students write down a scale of 1-4 of how well the know their word and keep
this in the journal for next time
Analysis task- Writing/planning time 10 mins Slide #1 Formative
Journal written feedback
 Students are given the option of three questions and three different ways of given later
responding. Individually they use this to analyse an aspect of ‘Coranderrk’.

Elaborate

Devised activity Formative

observing
Part 1 5 mins
In groups of four (teacher selected) students brainstorm the question
‘How might a person’s cultural background or identity impact living in Australia?’

Part 2 12 mins
In pairs students select:
-One dot point from their brainstorm
-Rhythm, contrast or space
-One key features and/or themes from ‘Coranderrk’

Students are guided to improvise with this

Students are reminded of what successes looks like by the teacher using the
assessment criteria for the devised ensemble task (previously given to students)
to prompt questions like:

‘How are non-naturistic conventions contributing to your scene?’

‘How can you improve your performance skills- focus and energy while rehearsing
this scene?’
Peer feedback activity 10 mins Whiteboard Formative
observing
In groups of four again students share their works and analyse each other’s: questions

-Use of rhythm, contrast or space

-Connection with stimulus ‘Coranderrk’

-Use of expressive skills

Evaluation

Self-evaluation/ documentation 10 mins Journals Towards hurdle

task
In their journals students write a self-reflection based on their peer feedback and Whiteboard
mini scene performance.
instructions
Students use stage plots, diagrams and or recordings to help them remember
their scenes for next time.

Instructions

1. Evaluate your use of rhythm, contrast or space

2. Create a stage plot of your movement
3. Explain how your performance linked with Coranderrk (record any
dialogue)
 4. Describe your expressive skills (make use of pictures)
5. Write one goal for how you will enhance the scene next lesson

Class discussion 2 mins

What where some of the non-naturalistic conventions we discussed or performed

today?

Volunteers to share reflections

Volunteers to share goals

OPTIONAL
Adaptations/Differentiation
Extension
The extensions in the warm up is to practice transitioning.

The extensions for the vocabulary task is to create a list of what the word doesn’t mean to
then share with the class.

The extension for the analysis is to check off the handout and the success criteria that they
have completed the task to the best of their ability.
Independent Practice

Students can spend more time on their individual analysis and journal documentation after
class and bring it to the next lesson.

The analysis handout can assist students to independently plan their writing, while the teacher
is with another student or if the student is finishing the task at home.

Discussions about the performance will be ongoing in the following lessons and students will
have more individual time to practice their analysis with different questions.
IEP Student

An example of accommodated work is included. This could be extended next time for instance,
Rupert could label the responses into categories using space elements ‘levels’. Alternatively, to
this or after this Rupert could create his own drawings of the play to annotate.
Individual Education Plan (IEP)

Student’s information

Family name Given name Date of birth

Smith Rupert 20/12/2002

Service information
Name of service Point Cook Senior Secondary College

Address

Phone

Email address admin@pcssc.com

IEP prepared by Alison McLaren

Director/Teacher signature Date

Medical and support information for child

Down Syndrome
Diagnosis or disability
Rupert has some difficulties recalling information- short term
memory.

Medical notes

Support staff/agencies

Contributors to IEP

Name Agency/Relation to child Contact number Signature

Sarah Smith Mother

Ron Smith Father

Alison McLaren Teacher

Carol Deen Integration officer

Child’s profile

Parents/carers expectations

For Rupert to:

 Participate actively in group work

 Work independently on writing tasks

Health and safety information — including a copy of a health plan if applicable

Skills, strengths and interests for learning

Rupert:
 Enjoys collaborating with peers
 Interested in stagecraft- costumes and lighting
 Visual learner
 Imaginative thinking when working with stimulus.

Education adjustments and inclusive strategies

Instructional Accommodations Environmental Accommodations Assessment Accommodations

Providing opportunities for the Strategic seating (front of the class) Additional time
student to think aloud
(verbalisation)

Identifying key vocabulary for Shorter answer questions

explicit instruction

Modelling problem solving Rupert can be given examples to

annotate if he has difficulty
remembering scenes from the
play (see example below).

Chunk tasks into smaller steps

Use visual images

Planning learning goals
Specific learning goals
Participate fully in pair learning
Select own task and work on
short answer questions using at
least 2 key vocabulary correctly.
Contribute to class discussions
Strategies and intentional teaching Evaluation and review
practices notes (dated)
 Model responses for
Rupert e.g. Example
sentences (vocab task)
 Use peer buddy
 Adjusted questions-
short answer and photo
to annotate.
 Give immediate
feedback on vocabulary
use.
 Read worksheet
questions with Rupert.
 Ask Rupert questions in
class discussions,
scaffold with smaller
questions.
Coranderrk Performance Debrief Questions

 Why are we studying Coranderrk?

 Did you sympathise (feel sorry for) with any characters? Why?

 What costumes did the characters’ wear?

 How did the costumes relate to the character’s status?

 How did the performers use their expressive skills – voice, gesture, movement, facial
expression – to create their characters?

 Several actors played multiple (more than one) roles. How did they achieve that?

 What is one idea explored in the play that you found interesting?

 What was the play ‘saying’?

 This play was made by whom? For whom?

 How is space used to indicate the worlds of the commissioners and the witnesses?

 Describe the contrast of these worlds and how it is achieved. E.g. Lighting, sound, space.

 Describe the overall rhythm of the piece.

 Describe the specific rhythms of the worlds (commissioners, witnesses).

 Describe the role the audience plays in the world – how is this achieved?
Coranderrk Analysis Questions

Choose one of the following:

Analyse how rhythm was used to portray the world of the commissioners in Coranderrk.

Describe how one actor used expressive skills to transform characters in Coranderrk.

Analyse how space was manipulated to affect the performer-audience relationship in Coranderrk.

Choose one of the following ways of responding:

 Written response using paragraphs

 Written response using dot points
 Annotated diagram/ picture.
 Analyse how space was manipulated to affect the performer-audience relationship in Coranderrk.

Who are they?

Who are they?

Where are they standing?

What are they doing?

Why is it dark?

Where are they on the stage?

What does this make the
audience think?

Why are they the only ones sitting down?

What is he doing with his body?

What is he doing?

Where is he standing? What does this make the audience think?

Why?
Who is he facing?

How does this make the audience feel?

How does this make the audience feel?
Tips for writing you analysis

1. Chose an example from the play with interesting use of (rhythm, space, or
transformation of character).
2. What? In one sentence briefly describe the scene and indicate what you will be
analysing.
3. How? Describe how the performer’s manipulated (rhythm, space or their
expressive skills).
4. Why? Explain the relevance to (commissioners, the characters selected or the
performer-audience relationship).
5. Find another example and complete steps 1-4.
6. Why? Discuss how this gave meaning to the performance.

Questions one: Rhythm

Consider different aspects of rhythm:

 Pattern of sounds, words or actions

 Pace of dialogue, scene transitions, or scene lengths

Explain how this use of rhythm portrayed the world of the commissioners. This could be
done in a number of ways including:

 Explaining key attributes shared by the commissioners

 Explaining how the commissioners were represented compared to the witnesses
 Explaining key aspects of the commissioner’s daily lives.

Question two: expressive skills

Make sure discuss at least two expressive skills of two characters played by the same actor.
Expressive skills include:

 Voice- tone, pitch, accent, projection, pace, diction, emphasis on words

 Movement- mode (e.g. walking), style (e.g. swagger),
  Gesture- e.g. pointing, waving, twirling hair,
 Facial expression- eyes, eyebrow, mouth/jaw,

Make sure you describe how the actor transitioned.

 Snap- change straight away.

 Morph- Gradually change
 Walk off stage
 Use a prop or costume to show different characters.

Question three: Space

Consider writing about 1-2 of the following aspects of space:

 Proximity- Closeness/distance between actors and other actors, the audience or

sets.
 Levels- Sitting/standing etc.
 Mass- Were a number of actors clustered together?
 Position- Where were the actors on stage? Down stage centre etc.

Actor-audience relationship:

How does the use of space make us feel? E.g. Connected to the action of the play?
Connected to the actors? Distant? On edge? Embarrassed? Etc.

What does the use of space tell us about the character’s status or role? How does this affect
how we feel and or relate to them?
 Stage Plot

UR UC UL

CR C CL

DR DC DL

U= Upstage, furthest away from the audience

D= Down stage, closet to the audience

C= Centre stage

L= Stage left, the performer’s left

R= Stage right, the performer’s right

Year 10 Drama Verbatim Theatre ensemble 2017

In groups of 3-5 using key themes from the stimulus materials create a drama ensemble that
addresses the following question:

‘How might a person’s cultural background or identity impact living in

Australia?’

Styles: Non-naturalistic* with aspects of Verbatim Theatre*

*Non-naturalism is a broad term for all performance styles that are not dependent on the
life-like representation of everyday life. Non-naturalism does not seek to re-create life as it
is lived, but is focused more on passing comment on, or responding to, aspects of the real
world.

*Verbatim Theatre originated in Britain in the 1960’s to give marginalised communities a

voice. It deliberately uses the actual words of people, onstage.

Dramatic elements:

Students are expected to show manipulation of the following dramatic elements:

 Rhythm
 Contrast
 Space
Theatrical Conventions:

Students are expected to incorporate the following conventions:

 Transformation of character
 Transformation of object
 Transformation of place
 Disjointed times (flashback, flash forward)

Stage Craft
Students are encouraged to utilise props, costumes and set pieces available to them.

Stimulus:
‘Coranderrk’ by Andrea James & Giordano Nanni

Script and 2017 performance

‘Outcast Half-Caste’ by Micko Donovan and Mary Deroux

From the album- Mission Songs Project 2017

Year 10 Drama Verbatim Theatre Ensemble 2017

Your ensemble performance will be graded on the following criteria:

1. Contribution to the development of the performance:

Use of play-making techniques (brainstorming, improvising, scripting/documenting,

rehearsing, refining) to explore stimulus material for a devised non-naturalistic
ensemble performance.

2. Use of the performance styles, non-naturalism and verbatim theatre to create the
devised ensemble performance.

3. Use of performance skills (focus, energy) to sustain character and synchronize with
the ensemble.

4. Use of expressive skills in performance to realize characters:

 Voice (pitch, pace, projection, tone, emphasis)

 Movement
 Facial expression
 Gesture

5. Use and manipulation of the selected dramatic elements, conventions and stagecraft
within the devised non-naturalistic ensemble performance.