F-10 Curriculum (V8)
F-10 Curriculum (V9)
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Screenwriting is the act of writing what's known as a script or screenplay for film, television and web series. It involves a special set of rules that makes it different from a book or play. This module of Film It covers formatting, scene writing, script structure, themes, and character. Writing the script is part of ...
Students explore screenwriting for video drama.
Tune in and tune up your acting skills with these fun drama warm up games that will strengthen you vocally, physically and imaginatively.
Engage the body to tell stories and entertain audiences. Explore the techniques of expressive physical movement to communicate ideas and create dramatic meaning. Students devise a story using mime, movement and gesture.
This cross-curriculum resource is designed to introduce Stage 2, 3 and 4 students to the design thinking process through a series of videos and interactive activities. This resource is also downloadable as a SCORM file: the downloaded version will only work if you upload it to a webserver, such as Moodle or Canvas.
This class develops your vocal skills for performance. Write a Slam Poem or a Rap and then perform them for an audience.
Discover the dramatic style of musical theatre through performance. Explore the origins and theatrical conventions and techniques of musical theatre as a performance style. Students will create a character performance based on a musical theatre piece.
Develop and build engaging characters through stereotypes and using through role play and improvisation using voice, body and dialogue. Perform a devised character scenario to engage an audience.
This resource is designed to support Stage 4 drama students in understanding the characteristics of good radio plays and learning to use vocal expression to create clear and engaging characters. They will rehearse, perform and record a short radio play that can be shared with an audience.
A fresh and fun approach to Hip Hop theatre exploring, words, rhythm, movement, voice and creative writing. Drop The Mic Hip Hop Theatre class aims to develop voice, rhythm, physicality and character skills.
Discover the dramatic form and acting styles of melodrama through the exploration of stock characters and how to act in a melodrama style with large emotions and gestures. Perform various characters through a scripted performance.
Explore characterisation through observation, status and movement to communicate meaning. Students will create a character through performance.
Learn the fundamentals of lighting design with lighting designer Lincoln Gidney. Explore how to apply stage lighting conveys meaning and apply this knowledge and understanding to design lighting or a scene.
Students will develop expressive movement skills to perform a Lip Sync Challenge. They will explore character, rhythm, movement, sound and tension and reflect on their own performance skills.
See how effective comedy is in communicating ideas and engaging an audience. Good performances will have moments of humour and seriousness in order to provide variety and interest in the stories being told.
This resource for students explains the importance, when writing narratives, of showing your reader rather than telling, with an example, ways of achieving this, and some follow-up activities
Do you enjoy reading spooky stories? Listen to Rebecca Lim as she describes how her half-memories, reading experiences and imagination come together to inspire her.
How do you draw a giant rainstorm? Bronwyn Bancroft loves Australian nature. She knows how to paint the weather, the land, and the animals. In this interview she speaks about what it's like to live in a country town when a storm hits.
Watch this clip to learn where Sally Rippin finds inspiration for her writing. What does she say about where story ideas come from? Sally talks about noting down ideas in a notebook and remembering how particular experiences made her feel. What does she say about turning ideas into stories? Why not try keeping a notebook ...
Watch as Hannie Rayson describes her early desire to write multidimensional, complex roles for women in her plays. What was this in response to? Why is it important for audiences to see female characters as well as male characters driving drama in plays?