Posted: June 5th, 2015

NOTICE OF FORMAL ASSESSMENT – KEDRON STATE HIGH SCHOOL

NOTICE OF FORMAL ASSESSMENT – KEDRON STATE HIGH SCHOOL

Check Date:   Week beginning June 1

Date Set:        Week beginning May 25
Conditions: Script, draft and task sheet to be submitted to teacher on due date. Monologues may be submitted digitally on USB or CD. Students are responsible for the filming of their monologues. Some audio-visual equipment will be available in school time. Students who are unable to film their monologue by the due date or whose digital copy is corrupt or missing will be required to deliver their monologue live to the class.
Please save files in: MP4, wmv, FLV or AVI format.

The monologue should be filmed in one unedited shot. Post-production editing should not be applied to the file.

Length:

3-4 minutes

Access to resources:

Open access to resources; simple costuming and props allowed

Feedback:

One formal draft with written feedback

BACKGROUND:
A study of a play reveals much more than simply words on a page. In this unit you have analysed the characters, concepts and themes in Romeo and Juliet. You will now use the knowledge of these to create a monologue from the perspective of one of the characters.

TASK:
Create and perform a dramatic monologue from the perspective of a character in Romeo and Juliet. It should:

•    be consistent with the character’s perspective in the play;
•    explore the character’s motivation for making certain decisions or acting in a particular manner;
•    and/or discuss the relationships with other characters

ROLES AND RELATIONSHIPS:
Students as dramatic performer to entertain an informed audience

GUIDELINES:

Opening:
•    A hook that sets off the monologue – it sets the context for what the character is talking about and engages the audience.
•    Establishment of who the character is
•    The time and place in which the monologue is taking place
•    Who the character is speaking to – is it an interior monologue (speaking to themselves) or exterior monologue (speaking to another character – note that the other character does not speak, nor do you allow ‘spaces’ for that character to speak).

Exploration/development leading to climax includes structural points such as:
•    Elaboration and clarification of the issue/event
•    Weighing up choices and considering what others might think about these choices
•    Reflecting on events/actions that have already taken place and commenting on them
•    Planning out how a situation will be resolved

Closure:
•    Coming to a decision about what actions the character will take
•    Deciding that it is too big a dilemma but being reassured that the matter has been fully explored
•    A curtain line: a final sentence which clearly signals to the audience the end of the monologue.

Remember, the monologue is not simply a recount of events. It is imperative that you explore the character’s motivations and by doing so create subtle and complex representations of the events, characters and concepts in the play. The monologue should reflect the underpinning ideas, attitudes and values expressed in the play.

Language Features:
You will need to make language choices that reflect the character’s perspective but you do not have to use Shakespearean language or use iambic pentameter (the rhyme scheme used by Shakespeare).

You should use a range of aesthetic features such as: evocative language and figurative devices to explore the character’s perspective and situation.

You should make reference to and include aspects of the play’s language in your monologue. Being able to create original language that is adapted from  that used in the play and applying it to your character monologue will show an excellent understanding of the text.
Dimension    A    Key questions
1. Understanding and responding to contexts
Exploitation of a range of genre patterns and conventions to achieve specific purposes
Can I clearly identify all of the appropriate structural elements that are listed in the guidelines?

Discerning selection, organisation and synthesis of relevant and substantive subject matter to support opinions and perspectives
Have I clearly responded to what the task is asking of me by including relevant subject matter?

Is it clear who my character is and what the issue or problem is that they are attempting to overcome?
Manipulation and control of roles of the speaker/signer and relationships with audiences    Does what I say suit how this character would act in this context?

Is it clear who my character is speaking to/about?

Have I expressed myself in a way that reflects the character’s mood, status and perspective?
2. Understanding and controlling textual features    A discerning combination of a range of grammatically accurate language structures for specific effects
Have I included a variety of sentence structures to create a response in my audience?
Discerning use of mode- appropriate cohesive devices to develop and emphasise ideas and connect parts of texts

Do the ideas within my monologue flow in a logical order?

Have I sign posted different ideas and thoughts clearly?

Discerning use of a wide range of apt vocabulary for specific purposes    Have I included specific vocabulary to suit this character in this situation?
Discerning use of mode-appropriate features to achieve specific effects:

Spoken features:
Pronunciation, phrasing and pausing, audibility and clarity, volume, pace, silence
Non-verbal features:
Facial expressions, gestures, proximity, stance, movement    Have I made written notes on my script to include the following:
–    Pronunciation
–    Phrasing
–    Pausing
–    Volume
–    Pace
–    Silence
–    Facial expressions
–    Gestures
–    Proximity
–    Stance  and
–    Movement

Have I rehearsed the monologue in front of others to check the audibility and clarity of what I am saying?

Have I played back my video file to ensure it is audible and is visible?
3.  Creating  and  evaluating meaning    Discerning manipulation of the ways ideas, attitudes and values underpin texts and influence audiences
Does my monologue include ideas which are expressed in the text and clearly position my audience?

Does my character’s monologue reveal values and attitudes that are reflected in the original text?

Subtle and complex creation of perspectives and representations of concepts, identities, times and places
Does my monologue have a clear creation of character perspective and setting?

Have I made subtle and well thought-out references to the original text?

Have I subtly incorporated the concepts explored in the play?
Discerning use of aesthetic features to achieve specific purposes in texts.     Have I used language that makes my audience feel a certain way about my character’s situation? Have I included figurative language?

Have I organised suitable setting, props and costumes to position my audience?

The student work has the following characteristics:
Dimension    A    B    C    D    E
Understanding and responding to contexts    Exploitation of a range of genre patterns and conventions to achieve specific purposes.

Discerning selection, organisation and synthesis of relevant and substantive subject matter to support opinions and perspectives.

Manipulation and control of roles of the speaker/signer and relationships with audiences.    Effective control of a range of genre patterns and conventions to achieve specific purposes.

Effective selection, organisation and synthesis of relevant subject matter to support opinions and perspectives.

Establishment and control of roles of the speaker/signer and relationships with audiences.    Use of genre patterns and conventions to achieve purposes.

Selection, sequencing and organisation of  relevant subject matter to support opinions and perspectives.

Establishment and maintenance of roles of the speaker/signer and relationships with audiences.    Use of aspects of genre patterns and conventions to achieve some purposes.

Selection and organisation of subject matter to support opinions or perspectives.

Establishment of some roles of the speaker/signer and relationships with audiences.    Use of aspects of genre patterns and conventions.

Selection of some subject matter to state an opinion.

Use of roles of the speaker/signer.
Comment:

Understanding and controlling textual features    A discerning combination of a range of grammatically accurate language structures for specific effects.

Discerning use of spoken cohesive devices to develop and emphasise ideas and connect parts of texts.

Discerning use of a wide range of apt vocabulary for specific purposes.

Discerning use of verbal and non-verbal features to achieve specific effects:
•    pronunciation,
•    phrasing and pausing
•     audibility and clarity
•     volume
•    pace
•    silence
•    facial expressions
•    gestures
•    stance    Control of a range of grammatically accurate language structures to achieve effects.

Effective use of spoken cohesive devices to develop and maintain ideas and connect parts of texts.

Effective use of a range of apt vocabulary for specific purposes.

Effective use of verbal and non-verbal features to achieve effects:
•    pronunciation,
•    phrasing and pausing
•     audibility and clarity
•     volume
•    pace
•    silence
•    facial expressions,
•    gestures
•    stance    Use of a range of mostly grammatically accurate language structures to achieve purposes.

Use of spoken cohesive devices to link ideas and connect parts of texts.

Use of suitable vocabulary for purposes.

Suitable use of verbal and non-verbal  features to achieve purposes:
•    pronunciation,
•    phrasing and pausing
•     audibility and clarity
•     volume
•    pace
•    silence
•    facial expressions
•    gestures
•    stance    Inconsistency in the use of grammar and language structures to meet a purpose.

Use of some spoken cohesive devices to connect parts of texts

Use of vocabulary that varies in suitability for a purpose

Use of verbal and non-verbal features that vary in suitability:
•    pronunciation
•    phrasing and pausing
•     audibility and clarity
•     volume
•    pace
•    silence
•    facial expressions
•    gestures
•    stance    Grammar and  language structures that impede meaning

Some connections between parts of texts

Use of vocabulary that distracts  from purpose

Features that distract from meaning:
•    pronunciation
•    phrasing and pausing
•     audibility and clarity
•     volume
•    pace
•    silence
•    facial expressions
•    gestures
•    stance
Comment:

Creating and evaluating meaning:
CREATING
Discerning manipulation of  the ways ideas, attitudes and values underpin texts and influence audiences

Subtle and complex creation of  perspectives and representations of concepts, identities, times and places

Discerning use of aesthetic features to achieve specific purposes in texts    Effective manipulation of  the ways ideas, attitudes and values underpin texts and influence audiences

Effective creation of  perspectives and representations of concepts, identities, times and places

Effective use of aesthetic features to achieve specific purposes in texts    Appropriate use of  the ways ideas, attitudes and values underpin texts and influence audiences

Creation of  perspectives and representations of concepts, identities, times and places

Use of aesthetic features to achieve purposes in texts    Use of  ideas, attitudes and values that underpin texts

Creation of  some perspectives and representations of concepts, identities, times and places

Use of aesthetic features to achieve some purposes in texts    Use of  ideas in texts

Creation of  some concepts, identities, times and places

Use of some aesthetic features in texts
Comment: