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