7–10Drama 7–10 Syllabus

Figure 1 is an overview of Drama 7–10 showing that knowledge, understanding and skills are built through engagement with 3 interrelated practices: Making, Performing and Appreciating which are the focus areas.

Image long description: Organisational diagram of Drama 7–10. The focus areas Making, Performing and Appreciating are positioned vertically across the 3 content groups Dramatic contexts, Dramatic processes and Dramatic elements connected by one line, intersecting them.

Focus areas

Drama is created through the interrelated practices of:

Making: the roles, responsibilities and approaches of the maker when creating dramatic work. It involves exploration and dramatic play with dramatic conventions, processes and elements to shape intention, experience and meaning. Makers generate, interpret and shape original works and the works of others.

Performing: the roles, responsibilities and approaches of performers when staging and performing dramatic work. Performers craft narrative, sensory, emotional and aesthetic journeys and experiences for an audience by applying elements of drama, performance and production to different forms and styles.

Appreciating: the roles, responsibilities and approaches of the dramatic practitioner and audience. Appreciators describe, analyse and make informed judgements about works of drama and theatre, both in progress and as finished products. They develop understanding of their own and others’ perspectives to strengthen aesthetic knowledge and reflective practice.

Content groups

The content within the focus areas of Making, Performing and Appreciating is organised into 3 content groups: Dramatic Contexts, Dramatic Processes and Dramatic Elements.

Dramatic contexts

Dramatic Contexts are influences on the development of dramatic works and approaches. Contexts develop in connection with and in response to one another.

In Stages 4 and 5 students build their practice through the study of:

• artistic, cultural, social and personal contexts
• identities, values and perspectives
• dramatic conventions, forms and styles
• Aboriginal and Torres Strait Islander Cultural Knowledges
• language
• devised and scripted works.

Dramatic processes

Dramatic Processes are ways in which dramatic practitioners shape meaning and experiences. The key processes are:

• embodied
• collaborative
• safe
• creative and critical
• improvising
• devising.

Dramatic elements

Dramatic Elements are the tools dramatic practitioners explore, apply and interpret to shape dramatic meaning and audience engagement. The key dramatic elements are:

• Elements of drama: role, character, focus, tension, situation, space, time, structure, language, moment, atmosphere, belief and symbol
• Elements of performance: dynamics, clarity, energy and expression in voice and movement
• Elements of production: set, costume, lighting, props, sound and technologies.

Drama may be studied as a 100-hour or a 200-hour course.

Students may commence the elective study of Drama at different points and may progress at different rates across Years 7–10.

Course numbers:

• 200-hour elective: TBA
• 100-hour elective: TBA
• 200-hour Life Skills elective: TBA
• 100-hour Life Skills elective: TBA

For each 100 hours of elective study, students are required to make, perform and appreciate:

• at least one group-devised performance
• at least one scripted work.

Teachers should research the dramatic works that they select to use as a part of students’ learning. This allows teachers to identify potential areas for targeted teaching. Research may include previewing a performance, educator’s notes from a theatre company, reviews of a live performance work, promotional materials, scripts and recorded dramatic works.

Exclusions: Students may not access Life Skills outcomes and other outcomes from the same subject.

NESA is committed to working in partnership with Aboriginal Communities and supporting teachers, schools and schooling sectors to improve educational outcomes for Aboriginal children and young people.

In Drama, consideration of the dynamic and evolving Cultural Knowledges of Aboriginal and/or Torres Strait Islander works, practices and practitioners are informed by principles and protocols. Cultural Knowledge holders include Aboriginal and/or Torres Strait Islander dramatic practitioners who have created dramatic works and experiences as well as Communities, families and people who own the Cultural Knowledges.

Community roles, such as Elders, men and women, may influence the ways that dramatic action can be embodied and shared with audiences. In Drama, students should be taught respectful protocols for making, performing and appreciating drama developed by or in collaboration with Aboriginal and/or Torres Strait Islander dramatic practitioners and local Communities. The sites and locations of customary and ceremonial Aboriginal and Torres Strait Islander performances hold Cultural significance.