VCE, VCAL and VET
VCAA Bulletin
Victorian Certificate of Education Victorian Certificate of Applied Learning Vocational Education and Training
Regulations and information about curriculum and assessment for the VCE, VCAL and VET
No. 69 April 2009
Principal VCE/VCAL/VET Coordinators Supplement 1
VCE 2009
Drama
Solo performance examination
and
Theatre Studies
Monologue performance examination
This publication is also available online at
www.vcaa.vic.edu.au
© VCAA 2009
VCE/VCAL/VET Teachers
Victorian Certificate of Education
2009
DRAMA
Solo performance examination
Monday 5 October to Thursday 29 October
© VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2009
Page 1 of 19
2009 DRAMA – SOLO PERF EXAM
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INSTRUCTIONS TO STUDENTS
Performance examination conditions
1. The examination will be set and marked by panels appointed by the Victorian Curriculum and Assessment
Authority.
2. Victorian Curriculum and Assessment Authority examination rules will apply. Details of these rules are
published annually in the VCE and VCAL Administrative Handbook.
3. The performance venue is set annually by the Victorian Curriculum and Assessment Authority.
4. The solo performance must not last more than seven minutes and will be presented as a single uninterrupted
performance.
5. If a performance goes over the seven minutes time limit the student will be asked to stop. A timing device
will indicate when the seven minutes are over.
6. A total of ten minutes per student will be allocated for preparation, performance and clearing the space.
No additional time can be allowed. When preparing stagecraft for the solo performance, students should
be mindful of these restrictions.
7. The performance will use a single clearly lit space. No changes to the lighting grid are allowed.
8. One table and two chairs will be provided in the examination room for students to use in performance if
they wish. Any additional props, if required, must be carried in and out of the examination space by the
student alone, and within the allotted time.
9. Students are not permitted to bring any objects or substances deemed hazardous or illegal into the
performance examination venue. All actual and imitation weapons are prohibited. The use of such items
is not permitted in the performance.
10. The use of open flames including candles and matches is not permitted in the performance.
11. Students must ensure that any props, costumes (including footwear) or other aspects of their performance
do not, in any way, damage the performance space.
12. Only the panel of assessors and any personnel authorised by the VCAA will be allowed in the examination
room with the student during the examination.
13. Students may choose to perform to the assessors as audience or to an imagined audience, or both.
14. Students must not walk behind and/or touch assessors during the examination.
Statement of Intention
1. A pro forma for the Statement of Intention will be published annually by the Victorian Curriculum and
Assessment Authority.
2. Immediately prior to performance students are required to present three copies of the Statement of Intention
to the panel of assessors. The Statement should not exceed 100 words.
3. The purpose of the Statement of Intention is to highlight aspects of the student’s interpretation that they
would like to bring to the assessors’ attention, for example:
• explanation/clarification of decisions made in their interpretation of the prescribed structure
• give reasons for choices made (for example, for use of costume, prop, accent, symbol).
4. Students should not simply describe their character by rewriting the performance focus.
5. The Statement of Intention will not be assessed.
Page 2 of 19
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2009 DRAMA – SOLO PERF EXAM
Prescribed structures
1. Students are required to prepare a solo performance using one of the following ten prescribed structures.
Marks will not be awarded for performances that do not use one of the prescribed structures.
2. Each prescribed structure is made up of the following: character, stimulus, performance focus, performance
style, theatrical conventions, dramatic elements, reference material. The following explanations should be
used when preparing the solo performance.
• Character – the main character to be depicted in the performance.
• Stimulus – the source of information which must be used in the development of the character and be
referenced throughout the performance.
• Performance focus – information about the character that must be portrayed in the performance. This
information is given in opening sentences and a series of dot points. All aspects of the performance
focus must be included in the performance. Each aspect of the performance focus does not have to
be given equal emphasis during the performance. Unless otherwise indicated aspects of the performance
focus may be performed in any order.
• Performance style – the prescribed performance style(s) is explained in the Terminology section of the
examination paper. The prescribed style(s) must be used throughout the performance.
• Theatrical conventions – the following theatrical conventions will be assessed in all performances:
disjointed time sequences, transformation of character, transformation of place, transformation of object.
In addition two theatrical conventions will be specifically prescribed for each character and they must
be used during the performance. Additional conventions may be added as appropriate.
• Dramatic elements – two dramatic elements will be specifically prescribed for each character and they
must be used during the performance. The dramatic elements to be prescribed will be selected from the
following list: climax, conflict, contrast, language, mood, rhythm, sound and symbol. Students may
use additional elements as appropriate. Focus, space, tension and timing are dramatic elements that
must be present in every performance.
• Reference material – resources are provided as recommendations. This list is not exhaustive and
students should undertake research in developing their character(s) for performance. Please note: if a
resource is listed under Stimulus, it must be used in the development of the performance.
3. When a prescribed structure includes the term re-creates, students are required to use material found in
the stimulus.
4. The emphasis in performance must be on action rather than narration; doing rather than telling.
5. A Terminology section is provided. Students should consult this for explanations of performance styles
and theatrical conventions as prescribed in the examination.
Page 3 of 19
2009 DRAMA – SOLO PERF EXAM
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Notes for Drama Solo Performance examination 2009
• Schools should check local availability of required stimulus material and resources prior to beginning Unit
4. Some materials may not be immediately available.
• Students and teachers should be aware that websites, including Wikipedia, may contain information that has
been altered since the publication of the examination paper.
• Where dot points in a particular structure ask for images/key events/experiences/vignettes or the like, at least
two instances of the requirement must be evident in the performance.
• Students and teachers are reminded that, in addition to the two theatrical conventions prescribed in
each structure, disjointed time sequences, transformation of character, transformation of place and
transformation of object must be demonstrated in every performance.
• When making performance choices, students and teachers need to note that all characters must be portrayed
in the gender as identified in the prescribed structure.
• While the VCAA considers all the structures in this examination suitable, teachers should be aware that, in
some instances, sensitivity might be needed where particular issues or themes are explored. Teachers should
make themselves aware of the issues and themes contained in the structures prior to the commencement of
Unit 4 so that they can advise students appropriately.
• All enquiries regarding the Drama Solo Performance Examination should be forwarded to Kris Allen, Project
Manager Assessment, telephone 9225 2356.
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2009 DRAMA – SOLO PERF EXAM
PRESCRIBED STRUCTURE 1
Character
Scout
Stimulus
The novel To Kill a Mockingbird
Performance focus
Create a solo performance based on the character of Scout (Jean Louise Finch).
Accepting life membership of the Law Society of America in 2009 for her work in the legal representation of
minorities, Scout challenges young lawyers to share her belief in the goodness of people. To do this she
• re-creates one or more examples from her childhood which show that the innocence of children can be wiser
than the wisdom of adults
• demonstrates her involvement in the legal defence of Rosa Parkes after the bus incident in 1955
• creates a montage of dramatic images which shows significant steps forward and/or back in the acceptance
of minorities in the US during her lifetime.
Performance style
Non-naturalistic
Theatrical conventions
Flashback, dramatic metaphor
Dramatic elements
Contrast, symbol
Reference material
The novel To Kill a Mockingbird by Harper Lee, any edition
The film To Kill a Mockingbird, 1962, directed by Robert Mulligan, starring Gregory Peck [PG]
http://www.michaelariens.com/legalhistory/timeline.htm
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2009 DRAMA – SOLO PERF EXAM
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PRESCRIBED STRUCTURE 2
Character
Achilles
Stimulus
The legend of Achilles
Performance focus
Create a solo performance based on the character of Achilles.
At an audition for Ancient Greece’s ‘Next Top Model’, the seemingly invulnerable Achilles attempts to convince
the audition panel of his worth to be a contestant on the show. To do this Achilles
• re-creates one or more significant moments from his life before he became involved in the Trojan War
• re-creates an example of the gods’ involvement in his adventures
• demonstrates how he as the ‘ideal’ man is superior to Renaissance Man, and to the ‘ideal’ man of the 21st
century.
Performance style
Non-naturalistic with aspects of Greek Theatre
Theatrical conventions
Exaggerated movement, fatal flaw
Dramatic elements
Language, sound
Reference material
http://malaspina.edu/~johnstoi/clas101/troy.htm
http://thanasis.com/achilles.htm
http://en.wikipedia.org/wiki/Polymath
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2009 DRAMA – SOLO PERF EXAM
PRESCRIBED STRUCTURE 3
Character
Sylvia
Stimulus
The film The Truman Show
Performance focus
Create a solo performance based on the character of Sylvia (Lauren Garland).
At a reunion of cast and crew members marking the 10th anniversary of Truman Burbank’s escape from the
constructed world called ‘Seahaven’, Sylvia
• re-creates one or more significant moments from Truman’s life as a reality television show character
• creates a major difficulty she experienced in helping Truman adapt to the real world outside ‘Seahaven’
• creates dramatic images which demonstrate how The Truman Show was influenced by George Orwell’s novel
1984.
Performance style
Non-naturalistic
Theatrical conventions
Pathos, flashback
Dramatic elements
Climax, mood
Reference material
The film The Truman Show, 1998, directed by Peter Weir [PG]
The novel 1984 by George Orwell, any edition
http://en.wikipedia.org/wiki/The_Truman_Show
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2009 DRAMA – SOLO PERF EXAM
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PRESCRIBED STRUCTURE 4
Character
Norman
Stimulus
The novella The Uncommon Reader
Performance focus
Create a solo performance based on the character of Norman Seakins.
Under interrogation by officials from the Prime Minister’s Department, the innocuous Norman seeks to justify
his partnership with the Queen in Pub Trivia competitions. To do this he
• re-creates moments from his meteoric rise from kitchen hand at Buckingham Palace to the Queen’s
amanuensis
• demonstrates the influence of Philip Larkin’s poem ‘The Trees’ on the Queen’s management style
• creates an example of political intrigue typified by conflict between senior public servants and elected
politicians.
Performance style
Non-naturalistic
Theatrical conventions
Heightened use of language, caricature
Dramatic elements
Contrast, symbol
Reference material
The novella The Uncommon Reader by Alan Bennett, published by Allen & Unwin (2007)
http://www.royal.gov.uk/output/Page1.asp
http://www.poetryconnection.net/poets/Philip_Larkin/4815
http://www.yes-minister.com/
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2009 DRAMA – SOLO PERF EXAM
PRESCRIBED STRUCTURE 5
Character
Anastasia
Stimulus
The life and legend of Grand Duchess Anastasia Romanova
Performance focus
Create a solo performance based on the person Anastasia Romanova.
In attempting to prove her identity to officials at the Bank of England, and therefore her entitlement to the
Romanov fortune, Anastasia
• re-creates a montage of dramatic images which depict her life prior to the Russian Revolution of 1918
• creates a significant moment in her life after her escape from the Bolshevik assassins
• creates one or more examples of the essential role Royalty plays in enriching the daily lives of the common
people.
Performance style
Non-naturalistic
Theatrical conventions
Exaggerated movement, stillness and silence
Dramatic elements
Climax, symbol
Reference material
http://en.wikipedia.org/wiki/Grand_Duchess_Anastasia_Nikolaevna_of_Russia
http://anomalyinfo.com/articles/ga00007.shtml
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2009 DRAMA – SOLO PERF EXAM
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PRESCRIBED STRUCTURE 6
Character
Dennis
Stimulus
The novel The Loved One
Performance focus
Create a solo performance based on the character of Dennis Barlow, the pet mortician.
On his return to England, Dennis seeks to persuade a financial backer to bankroll the People and Pets Paradise
Park, his new project combining the best features of Whispering Glades Memorial Park and the Happier Hunting
Ground. To do this he
• re-creates a montage of dramatic images depicting services offered at Whispering Glades and/or the Happier
Hunting Ground which have inspired him
• creates vignettes of the type of staff best suited to dealing with people and pets, pre- and postmortem
• demonstrates his vision for the future of the funeral business.
Performance style
Non-naturalistic with aspects of Comedy
Theatrical conventions
Satire, exaggerated movement
Dramatic elements
Contrast, mood
Reference material
The novel The Loved One by Evelyn Waugh, published by Little Brown & Co (1948)
The film Death at a Funeral, 2007, directed by Frank Oz [M]
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2009 DRAMA – SOLO PERF EXAM
PRESCRIBED STRUCTURE 7
Character
The Spirit of the Painting
Stimulus
The painting Lucrezia Borgia, Duchess of Ferrara located in the National Gallery of Victoria
Performance focus
Create a solo performance based on the character of the Spirit of the Painting.
Inspired by recent efforts to correct the misrepresentation which has caused it to languish in dark rooms for
so long, the Spirit of the Painting seizes an opportunity at its renaming in 2008 to promote its identity to an
interested media contingent. While doing so, the Spirit introduces
• the Sitter, who creates a montage of dramatic images from her life
• the Artist, who demonstrates the significance of a clue he incorporated into the painting
• the Art Detective, who explores mysterious parallels which connect the painting to Johannes Vermeer’s The
Girl with a Pearl Earring.
Performance style
Non-naturalistic
Theatrical conventions
Pathos, lyrical
Dramatic elements
Symbol, contrast
Reference material
http://www.ngv.vic.gov.au/media/mediaReleases/121/display
http://girl-with-a-pearl-earring.20m.com/
http://www.theage.com.au/news/entertainment/arts/art-detective-says-the-brother-did-it/2008/11/26/1227491634890.
html
http://www.dragonrest.net/histories/lucrezia.html
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2009 DRAMA – SOLO PERF EXAM
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PRESCRIBED STRUCTURE 8
Character
Little Edie
Stimulus
The life and times of Edith Bouvier Beale
Performance focus
Create a solo performance based on the person Little Edie (Edith Bouvier Beale).
While trying to convince an inspector from the Suffolk County Health Department not to condemn Grey Gardens,
Little Edie justifies the validity of her lifestyle choices by
• re-creating a montage of dramatic images from her life prior to 1952
• re-creating an example from her hermit-like life that demonstrates the intense relationship between mother
and daughter
• creating one or more parallels between herself and a central female character in a Tennessee Williams’
play.
Performance style
Non-naturalistic with aspects of Cabaret
Theatrical conventions
Pathos, fatal flaw
Dramatic elements
Conflict, mood
Reference material
http://www.greygardensonline.com/index.html
http://en.wikipedia.org/wiki/Edith_Bouvier_Beale
The documentary film Grey Gardens, 1975, directed by David and Albert Maysles [PG]
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2009 DRAMA – SOLO PERF EXAM
PRESCRIBED STRUCTURE 9
Character
Albert
Stimulus
The illustrated children’s novel The Magic Pudding
Performance focus
Create a solo performance based on the character of Albert, the Magic Pudding.
At an AGM dinner for the Amalgamated Society of Puddings, a proud, passionate and posturing Albert produces
pandemonium by proposing himself as perpetual president of the society. He
• re-creates scenes which show how the current pudding owners, Bill Barnacle and Sam Sawnoff, came to
possess him and a difficulty they face trying to keep him
• creates a new fable where he shares an adventure, with Tim the Tasmanian Tiger and Erik the Echidna, which
provides a moral lesson relating to greed
• creates one or more musical excerpts from his new radio advertising campaign which addresses a global
health issue by encouraging responsible eating.
Performance style
Non-naturalistic
Theatrical conventions
Song, heightened use of language
Dramatic elements
Conflict, sound
Reference material
The illustrated children’s novel The Magic Pudding by Norman Lindsay, any edition
http://en.wikipedia.org/wiki/Fable
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2009 DRAMA – SOLO PERF EXAM
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PRESCRIBED STRUCTURE 10
Character
The British Explorer
Stimulus
The song Mad Dogs and Englishmen
Performance focus
Create a solo performance based on the character of the British Explorer.
Invited to present to the Society for the Reintroduction of Colonial Misadventure, the somewhat inept British
Explorer arouses considerable enthusiasm from those gathered. The Explorer does this by
• re-creating contrasting examples which show how different cultures deal with the heat during the hottest
part of the day
• creating his or her involvement in Henry Stanley’s successful locating of Doctor David Livingstone in Africa
in 1871
• creating one or more examples from history where British Colonialism ignored local knowledge and customs
and imposed its own cultural behaviours onto a foreign landscape.
Performance style
Non-naturalistic
Theatrical conventions
Song, satire
Dramatic elements
Rhythm, climax
Reference material
Mad Dogs and Englishmen by Noel Coward, 1931
http://www.leoslyrics.com/listlyrics.php?hid=oHWKwEtvZ0o%3D
http://www.youtube.com/watch?v=HPnJM3zWfUo
http://en.wikipedia.org/wiki/Mad_Dogs_and_Englishmen_(song)
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2009 DRAMA – SOLO PERF EXAM
TERMINOLOGY
The explanations listed below provide direction for teachers and students in the development of the Drama
Solo Performance examination.
Non-naturalistic
This term is a broad category for all performance styles that are not dependent on the lifelike representation of
everyday life. Non-naturalistic performance styles are not dependent on naturalistic characteristics to establish
meaning. In non-naturalistic performance, the actor does not attempt to re-create, on the stage, life as it is lived.
Non-naturalistic performance is characterised by a manipulation of character, time, place and object as well as
the narrative elements of the drama.
Create
To enact for an audience situations and conversations that may be informed by material other than the stimulus,
such as reference material. The emphasis in the creation must be on action rather than narration; doing rather
than telling.
Re-create
To re-enact situations and conversations which are informed by the stimulus. The emphasis in the re-creation
must be on action rather than narration; doing rather than telling.
Caricature
Caricature is an exaggeration of a character that is often ludicrous or grotesque. It can be comic, at times
derogatory, and with the intention of ridicule.
Cabaret
Cabaret is a form of entertainment featuring an intimate style often in non-traditional theatre venues such as
restaurants or nightclubs. The performers are usually introduced by a master of ceremonies and performances
can include a number of elements such as song, enacted scenes, movement, dance, comedy and satire. While
focused on entertainment, the content intends to communicate a particular social and/or political message. The
costumes and props are often kept simple due to the multiple roles the performers portray.
Climax
The moment of highest dramatic tension in a performance when things change, or reach a crisis point, and may
lead to a resolution.
Comedy
A dramatic style associated with such notions as amusement, jollity, gaiety, fun and humour. May include
complex and sophisticated techniques sometimes referred to as ‘high’ comedy, or ‘low’ comic aspects such as
slapstick and bawdiness.
Conflict
A struggle within a character and/or between characters. Conflict may be between a character and some
obstacle.
Contrast
Highlight differences through juxtaposition. This can include dramatic action, expressive skills and
stagecraft.
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2009 DRAMA – SOLO PERF EXAM
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Disjointed time sequences
Dramatic structure that does not unfold chronologically. Past, present and future events in the plot are performed
in a non-sequential order.
Dramatic metaphor
The endowment of a word, object or feeling with an intensity of meaning other than the literal. Emphasis is
on isolating specifics within the performance that best provide an enhancement of meaning for the work, or at
least indicate the complexity of the intended meaning.
Exaggerated movement
Exaggerated movement includes action that is overstated, drawn larger than life; often for the purposes of
ridicule.
Fatal flaw
An imperfection, shortcoming or weakness in a character (for example, excessive pride or ambition) which leads
them to make a certain choice(s) in a given situation. The choice(s) made results in the character’s downfall.
Flashback
A time-shifting technique that takes the narrative back in time from the current point the story has reached. It
enables comparisons and/or contrasts between past and present perceptions of the same event. It can also be
used to show developments in a character and/or to highlight the shifts in understanding that occur over time.
Greek Theatre
There are two principal dramatic forms: tragedy and comedy. Themes are usually concerned with the relationship
of mankind to the gods and with general moral judgments. The actors play different roles within the performance
often using large colourful masks to aid transformation of character and so they can be clearly seen. Movement
is often lyrical and rhythmic and heightened language such as verse and song are used. Choruses make lyrical
and judgmental comment on the action of the play and often speak in unison.
Heightened use of language
Heightened use of language is poetic and exaggerated use of language. It includes the deliberate choice of words
whose syntax, alliteration and rhyming patterns enhance the dramatic statement. Intended meaning is enhanced
through the use of non-conventional and non-naturalistic dialogue.
Language
The use of verbal and vocal sounds to enhance dramatic meaning.
Lyrical
Achieved by the use of verse, heightened language, song or movement; including the use of poetic imagery.
Montage
In contemporary theatre a montage is a juxtaposition of dramatic images and/or vignettes, often presented in
rapid succession. The dramatic images and/or vignettes are closely linked and presented to create an overall
impression, and/or a summary of events/actions, and/or an introduction to events/actions.
Mood
The emotional feeling created in a performance.
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2009 DRAMA – SOLO PERF EXAM
Pathos
Pathos is a state which evokes a feeling of pity or sadness in the audience, for example the power of stirring
tender or melancholy emotion. Pathos may be associated with comedy and tragedy.
Rhythm
A regular pattern of sounds, words or actions.
Satire
The use of wit and comedy to attack, denounce or deride a target. Satire exposes or questions the presence
of vice, folly, abuse or pretence. It can be achieved through the manipulation of language, caricature, parody,
parable or other comedic theatrical conventions. The satirist laughs at, punishes or questions a target and/or an
audience. The target may be an individual or a system.
Song
Musical interpretation of text using the actor’s own voice at the time of performance (not pre-recorded).
Sound
The use of voice, recorded/live music or noise in order to create an effect or aural accompaniment to action.
Stillness and silence
To be found where there is an absence of sound and absence of movement used to enhance dramatic effect.
Symbol
Something that suggests something else. Actors may use a prop symbolically or may make a symbolic gesture
with their body or voice.
Transformation of character
The actor manipulates expressive skills to create characters in performance. A change in character therefore
requires modification of the focus and manner of use of expressive skills by the actor. Additions of mask or
costume may enhance the character transformation but does not constitute transformation unless accompanied
by communicable changes in the use of expressive skills.
Transformation of object
An object(s) is endowed with a variety of meanings by the actor.
Transformation of place
The actor creates more than one place or setting during the performance and does so without the use of
scenery. The actor can communicate transformation of place to an audience through the context they create
for the performance and through the use of objects and space in symbolic ways. Transformation of place can
be achieved through the transformation of properties (real and imagined) and/or through the use of expressive
skills alone.
Vignette
A short scene or sketch based around a character.
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2009 DRAMA – SOLO PERF EXAM
VCE Drama
Solo Performance Examination 2009
STATEMENT OF INTENTION
Student number
Prescribed structure number
Name of character (from prescribed structure)
Comment Use the space below to highlight aspects of your interpretation that you would like to bring to the assessors’
attention, for example:
• explanation/clarification of decisions made in your interpretation of the prescribed structure
• give reasons for choices made (for example, for use of costume, prop, accent, symbol)
DO NOT SIMPLY REWRITE THE PERFORMANCE FOCUS
These comments should not exceed 100 words
3 copies of this completed form must be handed to the assessors on entering the examination room.
Page 19 of 19
Victorian Certificate of Education
2009
THEATRE STUDIES
Monologue performance examination
Monday 5 October to Thursday 29 October
© VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2009
Version 2 – May 2009
Page 1 of 11
2009 THEATRE – MONO PERF EXAM
2
Version 2 – May 2009
GUIDELINES FOR STUDENTS AND TEACHERS
Performance examination conditions
1. The examination will be set and marked by panels appointed by the Victorian Curriculum and Assessment
Authority (VCAA).
2. VCAA examination rules will apply. Details of these rules are published annually in the VCE and VCAL
Administrative Handbook.
3. The performance venue is set annually by the VCAA.
4. The monologue will be presented as a single uninterrupted performance and last not more than seven
minutes.
5. If a performance goes over the prescribed time limit the student will be asked to stop. A timing device will
indicate when the seven minutes is over.
6. A total of ten minutes per student will be allocated for preparation, performance and clearing the space.
No additional time can be allowed. Students should be mindful of these time restrictions when preparing
stagecraft for the monologue.
7. The performance will use a single clearly lit space. No changes to the lighting grid are allowed.
8. One table and two chairs will be provided in the examination room for students to use in performance if
they wish. Any additional props, if required, must be carried into the examination space by the student
alone, and within the allotted time.
9. Students are not permitted to bring any objects or substances deemed hazardous or illegal into the
performance examination venue. All actual and imitation weapons are prohibited. The use of such items
is not permitted in the performance.
10. The use of open flames including candles and matches is not permitted in performance.
11. Students must ensure that any props, costumes (including footwear) or other aspects of their performance
do not, in any way, damage the performance space.
12. Only the panel of assessors and any personnel authorised by the VCAA will be allowed in the examination
room with the student during the examination.
13. Students may choose to perform to the assessors as audience or to an imagined audience, or both.
14. Students must not walk behind and/or touch assessors during the examination.
Statement of Intention
1. A pro forma for the Statement of Intention will be published annually by the VCAA.
2. Immediately prior to performance students are required to present three copies of the Statement of Intention
to the panel of assessors. The Statement of Intention should not exceed 100 words.
3. The Statement of Intention should contain an elaboration of directional choices made by the student which
affect the interpretation of their chosen monologue.
4. The Statement of Intention will not be assessed.
Practical applications and implications of the examination
• The monologue is the only aspect of the interpretation of a scene that is to be performed for the
examination.
• The monologue performance should draw on the knowledge and skills developed in the interpretation.
• The interpretation should inform and contextualise the monologue within the scene and within the play.
• Some of the directional choices of the interpretation of the scene may not be apparent in the performance of
the monologue. Rather, they may play an important role in the processes used in developing the interpretation
of the monologue.
• Some of the directional choices and interpretative decisions may be relevant for mention in the Statement
of Intention.
Page 2 of 11
Version 2 – May 2009
3
2009 THEATRE – MONO PERF EXAM
Monologues
1. Students are to develop a performance from one of the following monologues. The performance monologue
should be developed in Unit 4 Outcome 1.
2. Students must select from the list of twelve prescribed monologues. Marks will not be awarded for
performances that do not use one of the monologues.
3. Reading does not constitute a performance.
4. All monologues may be performed by both male and female students. However, all characters must be
portrayed in the gender as identified by the playwright.
5. In all monologues, students are to omit all spoken lines other than those allocated to the specified
character(s).
Text availability
Some of the plays containing the set monologues may have limited availability. Teachers will need to ascertain
the availability at the earliest opportunity.
Notes:
• While the VCAA considers all the monologues in this examination suitable, in some instances, sensitivity
might be needed where particular issues or themes are explored. Teachers should note that some specified
scenes may contain a variety of suggestive and/or potentially offensive language. Teachers should make
themselves aware of the issues and themes contained in the monologues prior to the commencement of
Unit 4 so that they can advise students appropriately.
• Page numbers are a guide only. They may vary between editions and reprintings.
• All enquiries regarding the Theatre Studies Monologue performance examination should be forwarded to Kris
Allen, Project Manager, Assessment, telephone 9225 2356 or email allen. kristin. m@edumail. vic. gov. au
• Teachers are advised that if they are unable to access the edition(s) cited, they must ensure that the edition
chosen is consistent with that identified in the VCAA monologue list.
If the edition, or translation, chosen is different from the one(s) cited, teachers must forward the following
items to the VCAA by Friday 14 August:
– a full copy of the monologue they propose to use
– a copy of the publication details including publisher, date of publication and series (if any) to which
the publication belongs.
These items are to be forwarded to:
VCE Examinations Unit
Victorian Curriculum and Assessment Authority
41 St Andrews Place
East Melbourne Vic 3002
Please mark the envelope with Attention: Theatre Studies Monologues
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2009 THEATRE – MONO PERF EXAM
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2009 Monologue choices
Page and line numbers are provided for assistance to find the passages, rather than prescription. They are highly
likely to change between editions. Where dialogue has been adapted to monologue, students may respond freely
to their interpretation of the omitted lines. There is no necessity to leave a pause for omitted lines.
As far as possible ISBN numbers have been given where they are available. These will change between editions
and reprints. They do, however, offer a guide to teachers wishing to locate editions of the play.
Monologue 1
Play:
Playwright:
Character:
Who’s Afraid of Virginia Woolf?
Edward Albee
MARTHA
Monologue:
This monologue consists of two parts.
From:
Hey, hey . . . Where is everybody . . . ? (start of Act 3, page 109)
To:
CLINK! . . . CLINK! . . . CLINK! . . . CLINK! (page 110)
And:
resume at You’re all flops. (page 111)
To:
while Martha-poo sits there with her dress up over her head . . .
suffocating – (page 112)
Omitting:
All lines from Martha and from Nick between the two speeches
Specified Scene:
From:
To:
Sources and Notes:
Start of Act 3 (page 109)
NICK [with great rue]: Christ. (page 115)
Penguin Plays (1976)
ISBN 0140480617
Monologue 2
Play:
Playwright:
Character:
Who’s Afraid of Virginia Woolf?
Edward Albee
GEORGE
Monologue:
From:
To:
Omitting:
When I was sixteen and going to prep school, (Act 2, page 61)
he has . . . not . . . uttered . . . one . . . sound. (page 62)
All lines from Nick
Specified Scene:
From:
To:
Sources and Notes:
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Start of Act 2 (page 58)
MARTHA [Sticking her head in]: Hey! (page 65)
Penguin Plays (1976)
ISBN 0140480617
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2009 THEATRE – MONO PERF EXAM
Monologue 3
Play:
Playwright:
Character:
Oh What a Lovely War
Charles Chilton and Joan Littlewood
SERGEANT MAJOR
Monologue:
From:
To:
Now then you lousy lot, (page 28)
Oh my God look at that! (page 31)
Specified Scene:
From:
To:
Sources and Notes:
French Officer: The battlefield is unbelievable: heaps of corpses, (page 27)
End of the Sergeant Major’s monologue (page 31)
Methuen: First published 1965, ISBN 0413302105
Students are reminded that, even though the monologue refers to a rifle and bayonet being used, no weapons
or imitation weapons are to be brought into the Assessment Centre.
The revised versions of this play do not contain the monologue. Teachers and students are advised to look for
the edition above. Editions published after 2000 are unlikely to contain the prescribed monologue.
Monologue 4
Play:
Playwright:
Character:
Mother Courage
Bertolt Brecht
MOTHER COURAGE
Monologue:
From:
To:
Omitting:
That’s how it goes. (page 30)
You’re not to start exhibiting yourself till it’s peacetime. (page 32)
All lines by Swiss Cheese and the Chaplain
Specified Scene:
From:
To:
Sources and Notes:
Scene 3, A morning, three days later (page 30)
Mother Courage: . . . He’s not that stupid. And don’t you twist his shoulder!
(page 35)
Methuen from Collected Plays, Translated by John Willet
ISBN 0413307904
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Monologue 5
Play:
Playwright:
Character:
Oedipus Rex/King Oedipus
Sophocles
TEIRESIAS
Monologue:
From:
To:
Omitting:
King, though you are, one right (page 36, lines 442–463)
When you can prove me wrong then call me blind (page 38, lines 482–496)
All lines by Oedipus
Specified Scene:
From:
To:
Sources and Notes:
Enter Teresias (page 34)
“Exeunt” (bottom of page 38)
Penguin Classics (1950) translation by EF Watling
http://www.ancient-mythology.com/greek/oedipus_rex.php
ISBN 0140440038
Many versions of this play are available but it is advisable that students use a translation by EF Watling.
Monologue 6
Play:
Playwright:
Character:
Women of Troy
Euripides
CASSANDRA
Monologue:
From:
To:
Mother, wreathe a triumphal garland round my head (page 102, line 353)
A tongue tuned to the holy muse of prophecy (page 103, line 416)
Specified Scene:
From:
To:
Sources and Notes:
Hecabe: Hephaestus! In our weddings . . . (page 101)
Cassandra goes out with Talthybius (page 105)
Penguin Classics “The Bacchae” and Other Plays, translated by Philip Vellacott
(1973)
Many versions of this play are available but it is advisable that students use a translation by Philip Vellacot.
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Monologue 7
Play:
Playwright:
Character:
Monologue:
From:
To:
Specified Scene:
From:
To:
Sources and Notes:
7
Zigzag Street
Philip Dean (adapted from the novel by Nick Earls)
RICHARD
(To the Audience) I basically blew my University days in the pursuit of one girl
(page 1)
I can’t believe I pursued that girl for all that time when it would never have worked.
(page 2)
Beginning of the play (page 1)
Richard. Dick. Miniature Dick. Jeff’s little joke. (page 6)
Currency Press, Sydney, 2004
ISBN 0868197302
Monologue 8
Play:
Playwright:
Character:
Bombshells
Joanna Murray-Smith
MARY O’DONNELL
Monologue:
From:
To:
Omitting:
No-one can sing or dance like me (page 18)
What did he say? (page 20)
All lines from the Announcer
Specified Scene:
From:
To:
Sources and Notes:
2009 THEATRE – MONO PERF EXAM
Start of monologue (page 18)
End of monologue (page 23)
Currency Press, Sydney, 2004
(also available through Malthouse Theatre)
ISBN 8681975133
Note: This monologue specifies a ‘showtune not unlike Macavity the Mystery Cat’ from Cats. Due to copyright,
students are advised not to use the actual melody of Macavity but to devise another melody for use in the
performance.
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Monologue 9
Play:
Playwright:
Character:
Six Characters in Search of an Author
Luigi Pirandello
THE STEPDAUGHTER
Monologue:
From:
To:
(Running over and addressing The Producer) Do you mind? (page 62)
Father and son together! (page 64)
Specified Scene:
From:
To:
Sources and Notes:
Monologue 10
Play:
Playwright:
Character:
Monologue:
From:
To:
Omitting:
Specified Scene:
From:
To:
Sources and Notes:
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Stepdaughter: Let him go (page 62)
Son: Once and for all, let’s have done with it (page 66)
Heinemann Educational Books London
ISBN 0435207202
Teachers and students are advised that the prescribed monologue has been translated
by Frederick May. In other translations the monologue is quite different.
The Real Inspector Hound
Tom Stoppard
MOON
Stage Direction: Moon stares blankly ahead (page 9)
(Beat) Sometimes I dream of Higgs. (page 11)
All lines of the dialogue exchange between Birdboot and Moon.
Beginning of the play (page 9)
(For Mrs Drudge has entered.) (page 12)
Faber and Faber Limited for Faber Paperbacks, Great Britain (1979)
ISBN 0571047270
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Monologue 11
Play:
Playwright:
Character:
The Resistible Rise of Arturo Ui
Bertolt Brecht
PROLOGUE AND EPILOGUE
Monologue
From:
To:
And:
To:
(Prologue) Friends, tonight we’re going to show –
Is known to our whole continent.
(Epilogue) Therefore learn to see and not to gape
The womb he crawled from is still going strong.
Specified Scene:
From:
To:
Sources and Notes:
2009 THEATRE – MONO PERF EXAM
The start of the play (page 5)
End of Scene 1b (page 16)
Methuen Modern Plays, Methuen Publishing Limited, London,
ISBN 0-413-47810-6
Translation copyright by Stefan S Brecht (1981)
or Brecht Collected Plays 6 – Metheun
ISBN 0-413-685-802
Monologue 12
Play:
Playwright:
Character:
Henry the Fifth
William Shakespeare
CHORUS
Monologue:
From:
To:
(Prologue) Now entertain conjecture of a time
Minding true things by what their mockeries be
Specified Scene:
From:
To:
Sources and Notes:
Chorus and Act IV, Scene 1
End of Act IV Scene 2
Signet Classic Shakespeare, 1965.
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Version 2 – May 2009
Version 2 – May 2009
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2009 THEATRE – MONO PERF EXAM
VCE Theatre Studies
Monologue Performance Examination 2009
STATEMENT OF INTENTION
Students should present the assessors with a written statement of intention of no more than 100 words. The
statement should contain an elaboration of directional choices made by the student which affect the interpretation
of their chosen monologue. The Statement of Intention will be used by the assessors to inform their considerations
of the performance.
Student number
Monologue number
Monologue character
Students should elaborate their directional choices under one or more of the following headings.
Stages and processes of development, Context, Interpretation, Performance style and conventions, Intended
meaning
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