F-10 Curriculum (V8)
F-10 Curriculum (V9)
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Listen as David Williamson explains where he finds inspiration for his plays. What are his aims as a playwright?
This unit uses various arts practices as the stimuli for exploring the safety message of Stop, Look, Listen, Think. Students create woven artworks to incorporate safety messages; they collaboratively develop a play about safety; and explore rap as a music form and combined with dance convey a safety message in a performance.
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 class develops your vocal skills for performance. Write a Slam Poem or a Rap and then perform them for an audience.
Develop skills in characterisation through personal storytelling through monologues.
This unit uses the idea of track safe behaviours as the stimulus for Arts activities including the lines on a platform to explore artworks that use line as medium; dramatising safe behaviours through role play; and exploring sounds and music associated with trains in order to compose and perform music that simulates a train ...
This unit uses dance, drama, visual arts and music to communicate student-created safety messages. Using a community-based scenario, students devise an improvised drama and choreograph a dance to highlight the importance of safe track-side behaviours; they use artworks to explore the effect of colour before creating a cartoon-based ...
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.
How do you come up with ideas to write about? Watch this clip to find out how Australian playwright and screenwriter Hannie Rayson begins her writing process. She begins with a "big question" - if you were writing a play, what big question would you ask?
Stars of stage and screen learn about breathing, and where the voice comes from to enhance their performances. You will go through some exercises in preparation for using your voice effectively, as well as experiment with tongue twisters.
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.
Stars of stage and screen learn about breathing, vocal warms and how to use different accents to enhance their performances. You will go through some exercises in preparation for using your voice effectively and learning to use the Standard American Accent.
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.
This resource explores the perspectives of the Aboriginal people of Kamay Botany Bay and the men aboard the HMB Endeavour upon their meeting in 1770. It will also help students to understand the history of Australia's Aboriginal peoples and why their stories of the past are equally important to hear. Note to Aboriginal ...
Learn about different circus skills and create a short performance.
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.
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.
An alien-themed creative arts resource exploring music, visual arts and drama. Students discover futuristic sounds, create art and act like an alien.
Create and experiment with puppets made out of paper!
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?