Contemporary Teacher Leadership Assignment 1 Report

Master of Teaching Secondary

School of Education Penrith Campus

Hanan Assaad 18312876

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Contents
ABSTRACT: ................................................................................................................................................... 1
EXECUTIVE SUMMARY............................................................................................................................... 2
OBJECTIVE AND CONTEXT..................................................................................................................................... 2
GOALS ................................................................................................................................................................ 3
RECOMMENDATIONS ................................................................................................................................. 3
BACKGROUND OF UNIT ............................................................................................................................. 4
COMPARATIVE TABLE OF UNIT ALTERATIONS ..................................................................................... 5
RECOMMENDATIONS ..................................................................................................................................8
RECONSTRUCTED PROGRAM DOCUMENTATION ................................................................................. 11
SCOPE AND SEQUENCE ..................................................................................................................................... 19
CONCEPT MAP ................................................................................................................................................... 20
ASSESSMENT TASK AND MARKING CRITERIA ..................................................................................21
REDESIGNED UNIT WITH UBD................................................................................................................. 23
REFERENCES ................................................................................................................................................... 32
APPENDIX.................................................................................................................................................... 35

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Abstract:
The following report will provide an evaluation of the educational program for Stage 4; year 7 English Drama “The Play’s the Thing” that has
been taught at Chifley College Bidwill Campus as the Term 4 unit. This report will evaluate the existing teaching unit “The Play’s the Thing” in
relation to students critical and creative thinking and ethical understanding, pedagogical modals for literacy, and numeracy. The report will
provide justified recommendations with persuasive reasoning through evidence-based research. The targeted areas which will be presented for
improvement and adjustments are the General Capabilities (GC) Cross-Curriculum priorities and Literacy and Numeracy development through
the improvement of sequencing of learning. The areas of proposed changes are aimed to provide improvement for student learning in the class.
All suggested changes will be influenced by using Understanding by Design (UbD) framework, for areas of improvement.

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Executive Summary
Objective and Context
This report has been evaluated and designed for the English faculty at Chifley College: Bidwill Campus, in Western Sydney. Chifley College
Bidwill Campus offers a comprehensive education for students across years 7 to 12. The school runs streamed classes for English. It has around
630 students with a highly diverse population, including approximately 10% Indigenous students and about 30% from Pacific Island
backgrounds. It also has a support unit with classes in Years 7 to 10 for students with learning disabilities. The core values of the school are
'responsibility, learning and respect', an emphasis on students being guided in taking responsibility for the decisions they make about their
learning and behaviour. Additionally, the socioeconomic status within the school is relatively low, with 82% of parents in the bottom quarter of
earners. In terms of female and male students, the school is quite even respectively with 51% female and 49% male.
The unit that will be evaluated was previously taught to year 7 English students with lower streamed students at Chifley College: Bidwill. The
year 7 class that was taught this programme consisted mainly of students from a LBOTE, and socioeconomic factors impacting the students
within the classroom environment.

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Reference: Statistics and tables above are retrieved from the MySchool Website. Retrieved from: https://myschool.edu.au/school/41838/profile/2018

Goals
The goal that has been represented in this report is aimed to create a more culturally responsive classroom, which will assist in student’s literacy
and numeracy capabilities, through the implementation of Understanding by Design framework (UbD). The incorporation of strategies for
numeracy priorities through learning will also be addressed.
- Encourage students learning through inquiry-based approach, to develop and enhance their understanding of drama and writing through
drama.
- The recommendations that have been presented suggest that through culturally responsive pedagogy and ICT integration, students’
reading, interpreting, writing and creativity skills will enhance through the adjustments made.
- Improving the sequence of learning to ensure that a coherent programme be taught and experienced through learning.
- Student’s engagement with the content and lessons will in turn develop their understanding of drama and all the elements that is
associated with drama.
- Therefore, the report aims to improve literacy standards and challenge students through culturally responsive pedagogy and differentiated
learning.

Recommendations
- Create inclusive classrooms that have a diverse range of abilities such as, different SES, LBOTE, Gifted and Talented.
- Understanding by Design (UbD) framework be utilised when planning and constructing content
- Strengthen general capabilities in literacy, numeracy, critical and creative thinking, and ethical understandings.

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- Through the implementation of Information and communication technology (ICT), Culturally responsive pedagogy’s, Inquiry based
learning, and student-centred pedagogy.
- Improve differentiation and teacher awareness of student’s engagement.
- Improve student’s connection with unit. Make lessons relatable, through improved discussion and inquiry-based learning/ teaching.
- Improve the layout of the unit outline so that the outcomes have meaningfully been understood and coherent.

Background of Unit
The following report will provide an evaluation of the educational program for Stage 4; year 7 English Drama “The Play’s the Thing” that has
been taught at Chifley College: Bidwill as the Term 4 unit. It is presented as a unit that will enhance students “Exploring writing through
Drama” (Appendix, Scope and Sequence) and indicates that “This unit provides students with an opportunity to experience drama texts and
activities. It should aim to be more practical than theoretical and offer students opportunities to perform in front of others and conduct peer
evaluation and assessment” (Appendix, Unit Outline).

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Comparative Table of Unit Alterations
Area of Strengths of the area Concerns of the area of
consideration of consideration consideration
Understanding the Students should have an
playscript. Students opportunity to create their own
develop on Features of scripts while they explore the
Literacy a Playscript. This is a features of a playscript.
perfect way to explore
For students to master the idea
scripts.
and the features of Drama, they
should develop confidently the
main features. Experimental
approaches of creating and
writing should be set.
Front of House Drama No mention of ICT. This task
activities. Create has been suggested twice
flyers/ brochures/ however if this is implemented
pamphlets etc. after the Novel study we can
reduce the load and do this
activity with relation and
connection to the novel.
History of drama over This area is a great way to
the past 2000 years incorporate numeracy at its
finest. However, the unit does
Suggested Changes to
counteract concerns
Differentiate learning through
culturally responsive pedagogy
and choice theory. ICT,
differentiation, cross-curriculum
priorities, general capabilities.
The main concern is that the unit
has described this a “exploring
writing through drama. However,
in the unit there is very limited
writing expectations.
Therefore, the suggestion of a
weekly journal entry to be made.
Having the opportunity to do this
activity earlier in the unit will
achieve students to maintain their
engagement with the novel/ play
that they have been reading.
Using a Timeline. This helps
students make connections
between the present and the past
Research support for the
changes suggested.
Journal Writing; An essential tool
of learning by Jack Thomson
(2009), suggests the use of
journals as a great tool for students
to develop their conceptual
understandings of the content,
within their own comfort and
dialect.
Research supports that the best
way to understand new
information and concepts is by
talking and writing about them.
Using ICT composing, responding
and presenting to peers can
enhance students imaginative and
critical thinking. (Department of
Education and Training, 2003).
Integrating general numeracy
capabilities essentially deepens
students’ overall academic
achievement, as students are using
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Numeracy not suggest a timeline or any in a visually appealing and a range of skills to, enhance
active numerical tasks. chronological way. learning (Department of Education
and Training, 2003).
“students working in small groups
can construct timelines and other
graphical support” (Egbert &
Simich-Dudgeon, 2001).

The strength in this This activity is one that should
activity is that by be developed after students do
Creating props the novel study. Student should
students can use them have the opportunity to create
in future props that they will later use for
performances. presenting in front of peers in
recreation of their scripts.
Identifying and using numeracy,
and measurement, can be highly
resourceful in this activity.
However, teachers must be
strategic on planning when this
activity will be implemented.
The area suggested for change is
to focus this creative task into a
chance to incorporate general
numeracy. This task can be easily
mis-interpreted by students as a
time waster, however, by creating
props in a process of measurement
can be a process of numerical
understanding.
Measurement activities can assist
students to meditate and shape
their thinking skills. (Geiger,
Forgasz, Goos, & Bennison,
2014).
The integration of numeracy and
literacy capabilities across all
Curriculum areas promotes higher-
order thinking (Mcclelland, 2018).

Transforming a This task is limited and requires Whilst students have the Critical and creative thinking is a
narrative into a differentiation. opportunity to create the transcript vital element that enhances
Critical and playscript. This allows by using the novel, students students self-directed thinking in
Creative students to explore should have the opportunity the making evaluated choices and
Thinking ideas and possibilities have higher expectations. strategic decisions. (Atwell , 2015)
in a critical and Therefore, students should be
creative way required to create a twist in the
story. Add a new character for
example.

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Lack of tasks that The unit suggests that it explores Students will be required to have a The exploration of writing can
develop students writing through Drama. journal that focuses on free hand/ increase students literacy
critical and creative However, writing tasks very thought writing. And creating capabilities. Through the
thinking limited. transcripts and using the new implementation of critical and
knowledge that they have gained creative writing. (Johnston, and
to their best of their ability in Johnston, 1993). Therefore,
creating transcripts. Students are students higher-order thinking is
to pose questions to the teacher in stimulated.
this journal.

The unit lacks to show Ethical understanding is an
areas that students will important component across all
Ethical have the opportunities the syllabus. English should
Understanding to explore ethical provide students with the
understanding opportunity to strengthen their
capacity for ethical
understanding.
Incorporate Aboriginal and Torres
Strait Islander History’s in Drama
and Theatre. Students are to create
scripts on real or virtual worlds.
The journal Task also allows
students to discuss issues about
the content and ask questions that
will be private between the
student and teacher.
Richards (2010) suggest that
ethical understanding through
literary improves students empathy
and understanding of content.
Richards states that “the study of
English and English literature
allows, encourages, even requires,
an exploration of meaning that is
personal, a unique creation
between the reader and the text.”
(p.4)

Understanding The overall unit does However, the unit does not seem Adjustments have been made in UbD framework requires teachers
by Design seem to have been to have coherent or cohesive order to make the outcomes to be understanding and supportive
developed in a approach. achievable and what they will be of the initiative. Which will result
backwards mapping assessed on be meaningful. in teacher’s re-evaluating and
approach transforming their practice and
Through the refurbished unit, pedagogy where necessary.
creativity has been embedded and (Trapani, & Annunziato, Anthony,
an inquiry-based approach p. 6. 2016).
incorporated by having weekly
journal entries.

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Recommendations
The programme which has been evaluated, is greatly influence by the UbD framework, the unit recommends that the UbD framework be utilised
when planning and constructing content. Thus, the report recommends that the unit approaches the focus study through differentiating learning
and implementing culturally responsive pedagogy, to stimulate and develop students’ literacy and numeracy capabilities, critical and creative
thinking skills and personal and social capabilities, through the UbD framework. The programme being evaluated has presented a limited
emphasise on students meaningful learning. This is discussed by McTighe and Seif (2011) that teachers should not only emphasise the
development of student’s factual knowledge but also create meaningful learning by facilitating deep conceptual framework of concepts and
ideas.
The programme which is being taught at Chifley College: Bidwill is programmed to be taught in streamed classrooms. The programme that is
being evaluated has been built with a UbD framework, nevertheless, there are areas within the unit that can be modified which in turn will create
cohesion within the overall outcomes that will be met throughout the learning experience of the students. Research suggest that having inclusive
classrooms that range with abilities can create empathetic citizens and students be prepared to comprehend real world issues that they face in
society (Petrescu, 2013). Therefore, I am suggesting that the year 7 English classroom should consist of a diverse range of students and should
not stream the classrooms. Having students with mixed abilities in the classroom creates an inclusive and diverse classroom environment; with
students that range in their strengths and come with different background knowledge to apply towards content (Petrescu, p. 150. 2013)
Additionally, this report will emphasise on differentiation as a key adjustment and applying William Glasser’s (1998) choice theory for students
to develop resilience and understanding of the content. By applying choice theory teachers address the needs of their students to create a positive
classroom culture. The limitation of group work within the programme limits the students to have a sense of belonging. Therefore, during the
“Project based learning” students have the opportunity to create props that will be used further only in the unit, and when students work in
groups they develop a sense of belonging that will enhance their feeling as a valued classroom citizen (Glasser, 1998). Culturally responsive
pedagogy is a fundamental tool towards enhancing student engagement. “As agents of change, teachers need to be multi-culturally aware of
differences among students and promote cultural understanding to enable them to become sensitive to other students from other cultures and to
eventually be able to live harmoniously in a multicultural community.” (Maasum, Maarof, & Ali, p.101. 2014). Through implementation of this
pedagogy teachers help students increase their ethical understanding. The report recommends that the school implement culturally responsive
pedagogy through the use of ICT, differentiation, and inquiry-based learning. Active learning is then achieved, and students develop their
understanding of the content as students’ role of the learning process is emphasised. This essentially complies with the New South Wales
Authority (NESA) Cross Curriculum priorities and general capabilities and assists students in achieving the broad learning outcomes defined in
the NSW Syllabus.
Literacy and numeracy general capabilities are a vital aspect for students to achieve successful outcomes. Therefore, it is a primary factor that
has been embedded within the curriculum standards of students’ general capabilities. The goal of this unit is to experience writing through

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drama; however, this falls short as the exposure of writing has not been emphasized within the original unit. Consequently, this has led to the
edited version of the unit, the added journal for students to write weekly in. This strategy produces student to think critically and creatively as
they have the chance write what they feel fits best in conclusion of the weeks content being taught. This journal is to be used as a mechanism to
enhance students love for writing. (Atwell, 2015). The journal is to be collected by the teacher and must not write over students work, though,
must provide feedback on their literacy.
Furthermore, numeracy capabilities also an important aspect in achieving successful outcomes, and the unit previous unit does not indicate
specific tasks that emphasise the stimulation of higher order thinking in students. Hence, the idea of creating a timeline/ storyboard that shows
the history of drama and how it has progressed and changed over the years. Research “indicate that too many Australian students fail to meet
numeracy benchmarks and identify a decline in Australia’s overall standing as a nation” (Geiger, Forgasz, Goos, & Bennison, p. 239. 2014).
Teachers must provide tasks that enhance students understanding on how data is represented an interpreted into texts, “by developing their skills
to identify, analyse and synthesise numerical information” (Department of Education and Training, 2003).
Information and communication technology capability (ICT) has also been limited in this unit. ICT, enables students to develop and apply
knowledge, understanding and skills of ICT in their composing, responding and presenting, and merges with critical and creative thinking, which
leads to higher order thinking by students (Department of Education and Training, 2003). Unfortunately, the unit does not show or indicate any
use of ICT. Therefore, the edited version has changes in the activity “Front of House Drama activities” this is now an ICT activity. Students will
develop skills and enhance in creating and communicating their ideas and information. Through ICT activities, differentiation should be
implemented as not all students are confidant to use computers to create their flyers/ brochures/ pamphlets etc.
Drama can be utilised as a key component to achieve students understanding ethical issues. The edited version of the unit adopts a key vision
and respect on the understanding of Aboriginal and Torres Strait Islander Drama and Theatre. This will lead into students’ own histories and
how they can appropriately represent through drama Ethical understanding’s that involve moral issues, dilemmas or decisions. (Department of
Education and Training, 2003).
As mentioned earlier this unit has shown some elements that coincide with Understanding by design (UbD) framework however, it is as though
that was the desired framework the staff wanted to work from. However, the unit lacks in certain areas that makes the elements that achieve
desired results by the students very limited. UbD by Grant Wiggins and Jay McTighe provides a framework that systematically addresses these
key issues in a practical manner (Wiggins and McTighe, 1999). Applying all the above recommendations creates a unit that specifically focuses
on achieving the desired results by focusing on the enduring concepts through achieving the following outcomes:
 EN4-4B makes effective language choices to creatively shape meaning with accuracy, clarity and coherence. (this will be practiced
throughout the term, via their diary entries)

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 EN4- 5C thinks imaginatively, creatively, interpretively and critically about information, ideas and arguments to respond to and compose
texts. (whilst they create their own scripts and transform stories into scripts)
 EN4-7D demonstrates understanding of how texts can express aspects of their broadening world and their relationship within it. (through
their literacy and numeracy and also the ethical understandings tasks)
 EN4-9E uses, reflects on and assesses their individual and collaborative skills for learning. (formative assessment is an ongoing practice.
Students have the opportunity to read other peers transcripts)
The above outcomes collaboratively create meaningful assessment through informal checks in class, observational, discussions, and through
open-ended assessment which is displayed by the implementation of the weekly journals. It is supported by research that the application of
backwards design process should be applied beyond the lesson plan and therefore, whilst evaluating the unit outline framework of UbD has been
applied to achieve student’s knowledge to be applied the following year (Roth, 2017).

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Reconstructed Program Documentation

Year 7 English Unit: The Play’s the Thing Teacher:

Unit Overview:

Students experience play reading, learning about dramatic techniques, and performance of a scene in groups. This unit includes
peer and self-assessment.

Outcomes: General Capabilities: Formative Assessment:

 EN4-4B makes effective language choices to creatively Creative & o Monologue

shape meaning with accuracy, clarity and coherence Critical Thinking o Play script
o Performance
 EN4- 5C thinks imaginatively, creatively, interpretively
Ethical Assessment: Yearly Exam
and critically about information, ideas and arguments
Understanding
to respond to and compose texts. Complete short answer questions
 EN4-7D demonstrates understanding of how texts can followed by composing a short
express aspects of their broadening world and their play script based on a provided
Difference &
relationship within it Diversity stimulus.
 EN4-9E uses, reflects on and assesses their individual and
collaborative skills for learning

Quality Teaching:
Intellectual Quality Quality Learning Significance
Environment

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Metalanguage Engagement Knowledge
integration
Students’ self
regulation Inclusivity

GC, CC Teaching and Learning Strategies: Resources Asses Registration

& OL sment
for
learni
ng

Introduction:
The Demon
KWL Chart/Mind map:
SSR

Headmaster
 What I know about plays?
 Have you ever watched a play? No Big
 What form of entertainment do we have today? (link to Drama as a form of Drama Class
entertainment) Acts

 Conventions of Drama – Characters, Performance Area, Dramatic Tension, Words and language
and Movement/Position
 Introduction to key terminologies: Create Glossary page in workbooks . teacher to explain
each concept
M  Characters, dialogue, duologue, props, stage direction,

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Create a timeline with students and go through the transformation of Drama over the
past 2000 years using images to show the transformation of stages/costumes/ and
modern theatre.
 Ancient Greek
 Roman
 Medieval
 Renaissance
 Elizabethian
 French/Italia
 18th/19th Century theatre
 Modern Theatre

***Cross-curriculum priorities
E -Aboriginal and Torres Strait Islander histories and Cultures
Drama In
- students explore the different drama genres that Aboriginal and Torres Strait Islander Society
Drama / theatre provides.

Students engage in real or virtual world issues and create scripts to be passed on to be
marked by peers. Create your
own theatre
box
 Warm up drama games:
 Charades
 What Am I telling you: Students have to guess what the leader is saying through the use
of body language. The leader cannot verbally express their message. E.g. “I am hungry”

Students are required to keep a journal for Drama. They are to make journal entries at the
end of each week in relation to the content and activities that they have completed in that
week. They are encouraged to also take scenes/ short scenarios and create scripts for drama.

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Understanding the Playscript: scene structure

 Features of a Playscript: Teachers are to go through the various features of a playscript and as a
class annotate an example (or use colour highlighters to identify each feature on the example) Example

M  Add terms to Glossary page. Teacher explains Short

 Character list Playscript
 Set and costume details
 Stage directions
 Props list
 Lighting details
 Scene descriptions
 Dialogue
 Students are to distinguish the purpose of the two columns on a playscript:
 (Left) Characters
 (Right) Dialogue
 Read various playscripts as a class and allocate students with specific character roles. If students
are confident, get a safe performing area so they can perform the play, incorporating the
movement within the play.
 Transforming a narrative into a playscript:
 Read a short story as a class. Students are to then highlight the various characters in the
short story in different colours. Followed by highlighting the dialogue of each character
with their specific colour. Re-write the story as a transcript on a template.
 Once students have the skills to transform a narrative into a playscript, get the students
to create a transcript for selected key events from their class novel.
 Storyboard:
 Select a scene from the play and sequence the scenes on a storyboard
 Modifying playscripts: Students are to read various plays and adjust the play by:
 Including an extra character

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Re-work the ending of the play
KI
 Short Stories
 Include an additional scene
Storyboard
Template

Students are to keep up with journal entries teachers must provide written feedback into the
student’s journal entries and drama scripts.
Dramatic Forms: Students are to explore the various dramatic forms and show examples of:
KI
Commedia dell'Arte: Character Shape

https://www.youtube.com/watch?v=JJEwuurzDe4

 Students explore these dramatic forms through roleplay (General capabilities)

 Mimes:
 Define
Key
 Key elements in mime elements in
 Show a variety of mime shows/short clips Mime
 What is the story about?
 Read a segment of a novel. Students are to mime the scene. Mime
Example:
 Musical:
The car
 Define
 Brainstorm: Examples of musicals (Grease, The Wizard of Oz, The sound of music, Lion
King, Frozen, Annie, Mamma Mia etc.)
 Timeline of Musicals
 Features of a musical BBC: Musical
 Ballet: Theatre
 Define: What is ballet?

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 History of ballet
 Elements of Ballet: pointe Shoes, Tutus and ballet dancers
 Monologues:
 Definition: A monologue is a speech presented by a single character, most often to Timeline of
express their mental thoughts aloud, though sometimes also to directly address another Musicals
character or the audience.
 Look at a variety of monologues and explain what the character’s thoughts are. Then,
describe how they are expressing their thoughts. What is
o Balcony Scene from Romeo and Juliet Ballet/Histor
y of Ballet
o Alice from Alice in Wonderland
o Huck from The Adventures of Huckleberry Finn Timeline of
Project Based Learning: Creating Props / group work Australian
Ballet
Students tasks involve measurements and graphical and statistical concepts in creating props.
1. Balcony
Based on what drama text the class is focussing on, students can make props to use for Scene from
performances. These include: Romeo and
Juliet
 Cardboard swords
2. Alice in
 Masks
Alice in
Flows with the … dramatic form
Wonderland
Commedia dell'Arte: Character Shape
3. Huck from
https://www.youtube.com/watch?v=JJEwuurzDe4
The
Students are to keep up with journal entries teachers must provide written feedback into the Adventures
of
student’s journal entries and drama scripts.
Huckleberry
Finn

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Formative Tasks:

 Play Script: Students are to read a short story and transform it into a play script OR select a
segment of the short story to write a scene. Short storis can include:
 Jack and the Beanstalk
 Three Little Pigs
 Three Billy Goats Gruff
 Monologue: Students are to read Smart Ice-Cream by Paul Jennings then, select a character
from the short story and create a monologue.
Practical activities:
E
 Role play:
 Students are to role play various monologues, duologues,
 Drama Games:
 Mime Scenarios
 Portraits:
Students are given a scenario where they have to pose and illustrate.

Students are to keep up with journal entries teachers must provide written feedback into the
student’s journal entries and drama scripts.
Novel Study:

 Acting out the novel: Select a specific chapter/scene from the novel:
 Transform the narrative into a playscript
 Students are to act out the scene
 Compare the role play to the chapter being read. Which one was more entertaining?
Were there aspects in the scene which were modified in the play?
 Character study:

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 Create a character profile
 What I like/dislike about the character
 My favourite character is… because…
 Sketch of what the character will look like (provide a description of the character from
the novel)
 Relating the characters to people they know.
Students are to keep up with journal entries teachers must provide written feedback into the
student’s journal entries and drama scripts.
Front of House Drama Activities: Create the following:

 Flyers
 Brochures/pamphlets
 Advertisement Posters
 Show various posters for different shows. Get students to discuss the design, images,
colour etc.
 Create your own poster for a specific show
 Tickets: Blank
 Provide an example of ticket and highlight the various information that need to be Ticket
displayed on it e.g. Show title, date, time, venue, seating, show time etc. Template
 Programme/schedule of the show

Students are to keep up with journal entries teachers must provide written feedback into the
student’s journal entries and drama scripts.

Evaluation:

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Scope and Sequence
Personal Voices: Biography /
Autobiography
1 3
Extension: Wide Reading, research
1-11
CC: ATSI & Asia
GC: Intercultural Understanding
OL: Difference & Diversity, Civics &
Citizenship
Poetry: Common Module – Belonging
2 Responding Visual and Print Texts
1-10 Personal and Public Voices
CC: ATSI & Sustainability
GC: Intercultural understanding,
Personal and Social Capability
OL: Difference & diversity
Fiction: Narratives
Focus on literary techniques,
Character development, Novel
1-10
structure and Themes.
Close-Study of a Novel / Wide
Reading - Students respond to text
both personally and analytically
CC: ATSI
GC: Creative & Critical Thinking,
Intercultural understanding and
Personal & Social Capability
The Play’s a Thing!
4 Exploring writing through Drama.
1-10 Drama: Games and Plays
CG: Creative and Cultural Thinking,
Ethical Understanding
OL: Difference and Diversity
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Concept Map
Connections Critical and Creative thinking

World Cross-curriculum priorities General Capabilities Ethical understanding

ICT
Aboriginal and Torres Strait Islander histories and cultures Creativity

Numeracy
Props
Intercultural understanding Literacy
stage
Performance Dramatic Conventions
styles Key Terms
Audience
Practical Techniques
Historical

Plays

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Assessment Task and Marking Criteria
With respect to UbD framework it is evident that the assessment task that has been developed for year 7 English has been produced to assess
certain areas that have been studied throughout the unit. The unit provides opportunities for students to engage in questioning and dialogue, self-
assessment, peer assessment and reflection. These activities assist students to become clear about their own learning and understanding of
Drama.

Bidwill Campus Assessment Task

This task is Faculty: English Subject: Drama Exam

Task Number: 4 Year: 7

Date Given: Term 4, Week 2, 2018 Date Due: Term 4, Week 4, 2018 (see below)

worth 25 % of your yearly assessment.

Student Name ……………………………………... Class ……………

Outline/Description of Task:
This is an end of year, in class exam conducted over one English Period.
Part A: Students are to complete comprehension questions based on an extract from an unseen play. /10
Part B: Students are to compose a play script based on a stimulus provided. /15

The following allocated times for the exam for each class:
 Class: 7ENGB Thursday, period 4, 08 /11 /18
 Class: 7ENGU Friday, period 4, 09 /11 /18
 Classes: 7ENGN & 7ENGA Friday, period 2, 09 /11 /18
 Class: 7ENGY Thursday, period 3, 08/11/18

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Syllabus Outcomes Being Assessed
2A: A student effectively uses a widening range of
processes, skills, strategies and knowledge for
responding to and composing texts in different media
and technologies.
5C: A student thinks imaginatively, creatively,
interpretively and critically about information, ideas and
arguments to respond to and compose texts.
6C: A student identifies and explains connections
between and among texts
9E: A student uses, reflects on and assesses their
individual and collaborative skills for learning
What will it look like?
Student is able to use language appropriate to the
required text type and includes appropriate drama
features in the response.
Student creatively composes an imaginative and
appropriate play script based on the given text.
Student uses relevant information and ideas based on the
extract in their play script.
Student is able to use their knowledge of Drama to identify
textual features and incorporate the skills for learning in
the written responses.
22
 `

Redesigned Unit with UbD

Literacy

Numeracy

Critical and Creative Thinking

Ethical Understanding

Understanding by Design

Adjustments Italics

Year 7 English Unit: The Play’s the Thing Teacher:

Unit Overview:

This unit provides students with an opportunity to experience drama texts and activities. It should aim to be more practical than
theoretical and offer students opportunities to perform in front of others and conduct peer evaluation and assessment.

Students experience play reading, learning about dramatic techniques, and performance of a scene in groups. This unit includes
peer and self-assessment.

Outcomes: General Capabilities: Formative Assessment:

 EN4-4B makes effective language choices to creatively o Monologue

shape meaning with accuracy, clarity and coherence o Play script

23
 `
 EN4- 5C thinks imaginatively, creatively, interpretively o Performance
and critically about information, ideas and arguments Assessment: Yearly Exam
Creative &
to respond to and compose texts.
Critical Thinking Complete short answer questions
 EN4-7D demonstrates understanding of how texts can
followed by composing a short
express aspects of their broadening world and their
Ethical play script based on a provided
relationship within it Understanding stimulus.
 EN4-9E uses, reflects on and assesses their individual and
collaborative skills for learning
Difference &
Diversity
Quality Teaching:
Intellectual Quality Quality Learning Significance
Environment

Metalanguage Engagement Knowledge

integration
Students’ self
regulation Inclusivity

GC, CC Teaching and Learning Strategies: Resources Assessment Regis

& OL for learning tratio
n

24
`
Introduction:
The Demon
KWL Chart/Mind map:
SSR

Headmaster
 What I know about plays?
 Have you ever watched a play? No Big
 What form of entertainment do we have today? (link to Drama as a form of Drama Class
entertainment) Acts

 Students write a PEEL paragraph on what they will like to explore through drama
 Conventions of Drama – Characters, Performance Area, Dramatic Tension, Words and language
and Movement/Position
 Introduction to key terminologies: Create Glossary page in workbooks . teacher to explain

M each concept
 Characters, dialogue, duologue, props, stage direction,
 History of Drama: Teachers may go through the transformation of Drama over the past 2000
years and show exemplar images of the stages and costumes to demonstrate how the modern
theatre has developed.
 Create a timeline with students and go through the transformation of Drama over the
past 2000 years using images to show the transformation of stages/costumes/ and
modern theatre.
 Ancient Greek
 Roman
 Medieval
 Renaissance
 Elizabethian
 French/Italia
 18th/19th Century theatre
 Modern Theatre

25
`
 Create a play box theatre: Students can create various forms of theatres from a recycled box Drama In
and label the performance areas: Society
 Proscenium stage
 Thrust stage
 Theatre-in-the-round stage

***Cross-curriculum priorities
Create your
-Aboriginal and Torres Strait Islander histories and Cultures
own theatre

E - students explore the different drama genres that Aboriginal and Torres Strait Islander
Drama / theatre provides
box

*Students are required to keep a journal for Drama. They are to make journal entries at the
end of each week in relation to the content and activities that they have completed in that
week. They are encouraged to also take scenes/ short scenarios and create scripts for drama
 Warm up drama games:
 Charades
 What Am I telling you: Students have to guess what the leader is saying through the use
of body language. The leader cannot verbally express their message. E.g. “I am hungry”
Understanding the Playscript: scene structure

 Features of a Playscript: Teachers are to go through the various features of a playscript and as a
class annotate an example (or use colour highlighters to identify each feature on the example) Example

M  Add terms to Glossary page. Teacher explains Short

 Character list Playscript
 Set and costume details
 Stage directions
 Props list
 Lighting details

26
`
 Scene descriptions
 Dialogue
 Students are to distinguish the purpose of the two columns on a playscript:
 (Left) Characters Short Stories
 (Right) Dialogue
 Read various playscripts as a class and allocate students with specific character roles. If students
are confident, get a safe performing area so they can perform the play, incorporating the
movement within the play.
 Transforming a narrative into a playscript:
 Read a short story as a class. Students are to then highlight the various characters in the
short story in different colours. Followed by highlighting the dialogue of each character
with their specific colour. Re-write the story as a transcript on a template.
 Once students have the skills to transform a narrative into a playscript, get the students
to create a transcript for selected key events from their class novel.
Storyboard

KI  Storyboard:
Template
 Select a scene from the play and sequence the scenes on a storyboard
 Modifying playscripts: Students are to read various plays and adjust the play by:
 Including an extra character
 Re-work the ending of the play
 Include an additional scene

Dramatic Forms: Students are to explore the various dramatic forms and show examples of:
KI
Commedia dell'Arte: Character Shape

https://www.youtube.com/watch?v=JJEwuurzDe4

 Students explore these dramatic forms through roleplay (General capabilities)

 Mimes:

27
`
 Define
 Key elements in mime
Key
 Show a variety of mime shows/short clips
elements in
 What is the story about? Mime
 Read a segment of a novel. Students are to mime the scene.
 Musical: Mime
Example:
 Define
The car
 Brainstorm: Examples of musicals (Grease, The Wizard of Oz, The sound of music, Lion
King, Frozen, Annie, Mamma Mia etc.)
 Timeline of Musicals
 Features of a musical
 Ballet: BBC: Musical
 Define: What is ballet? Theatre
 History of ballet
 Elements of Ballet: pointe Shoes, Tutus and ballet dancers
 Monologues:
 Definition: A monologue is a speech presented by a single character, most often to
Timeline of
express their mental thoughts aloud, though sometimes also to directly address another
Musicals
character or the audience.
 Look at a variety of monologues and explain what the character’s thoughts are. Then,
describe how they are expressing their thoughts.
What is
o Balcony Scene from Romeo and Juliet
Ballet/Histor
o Alice from Alice in Wonderland y of Ballet
o Huck from The Adventures of Huckleberry Finn
Students are to keep up with journal entries teachers must provide written feedback into the Timeline of
Australian
student’s journal entries and drama scripts.
Ballet

28
`
Project Based Learning: Creating Props (this has been done straight after 1. Balcony
Scene from
studying dramatic forms instead of the end of the unit.) Romeo and
Juliet
Students tasks involve measurements and graphical and statistical concepts in creating props.
2. Alice in
Based on what drama text the class is focussing on, students can make props to use for
Alice in
performances. These include: Wonderland

 Cardboard swords 3. Huck from

 Masks The
Flows with the … dramatic form Adventures
Commedia dell'Arte: Character Shape of
Huckleberry
https://www.youtube.com/watch?v=JJEwuurzDe4 Finn

Students are to keep up with journal entries teachers must provide written feedback into the
student’s journal entries and drama scripts.

Front of House Drama Activities: Create the following: To be done after Novel study

 Flyers
 Brochures/pamphlets
 Advertisement Posters
 Show various posters for different shows. Get students to discuss the design, images,
colour etc.
 Create your own poster for a specific show
 Tickets: Blank
 Provide an example of ticket and highlight the various information that need to be Ticket
displayed on it e.g. Show title, date, time, venue, seating, show time etc. Template
 Programme/schedule of the show

29
`
Formative Tasks: this is better to be done earlier then at the end of unit
that way the teacher can help students understanding early enough
before summative assessments.

 Play Script: Students are to read a short story and transform it into a play script OR select a
segment of the short story to write a scene. Short storis can include:
 Jack and the Beanstalk
 Three Little Pigs
 Three Billy Goats Gruff
 Monologue: Students are to read Smart Ice-Cream by Paul Jennings then, select a character
from the short story and create a monologue.
Students are to keep up with journal entries teachers must provide written feedback into the
student’s journal entries and drama scripts.

Practical activities:
E
 Role play:
 Students are to role play various monologues, duologues,
 Drama Games:
 Mime Scenarios
 Portraits:
 Students are given a scenario where they have to pose and illustrate.
Novel Study: (Do before Dramatic forms)

 Acting out the novel: Select a specific chapter/scene from the novel:
 Transform the narrative into a playscript
 Students are to act out the scene

30
`
 Compare the role play to the chapter being read. Which one was more entertaining?
Were there aspects in the scene which were modified in the play?
 Creativity:
 Create a flyer to sell the novel
 ICT: Create a trailer for the novel using PowerPoint or Windows Movie Maker
 Sell the product: Students are to present a 30 second to 1 minute presentation which
sells the novel.
 Create an alternate book cover
 Character study:
 Create a character profile
 What I like/dislike about the character
 My favourite character is… because…
 Sketch of what the character will look like (provide a description of the character from
the novel)
 Relating the characters to people they know.
Students are to keep up with journal entries teachers must provide written feedback into
the student’s journal entries and drama scripts.
Evaluation:

31
`

References
Australia, D. (2007). Aboriginal and Torres Strait Islander Guidelines for Drama/Theatre Education. Retrieved from

https://dramaaustralia.org.au/assets/files/ATSIguidelinesFinalSept07.pdf

Atwell, N. (2015). In the middle : A lifetime of learning about writing, reading, and adolescents (Third ed.).

Stafford, S. (2016). Differentiation. In Editor’s Boas, E., & Gazis, Susan, editor of compilation. (2016). The artful English teacher: Over a

hundred strategies for the English classroom. (pp. 61-80). Australian Association for the Teaching of English: AATE.

Cox, S. (2008). Differentiated Instruction in the Elementary Classroom. The Education Digest, 73(9), 52-54.

Danielson, L. (2008). Making reflective practice more concrete through reflective decision making. The Educational Forum, 72(2), 129-137.

Retrieved from https://search-proquest-com.ezproxy.uws.edu.au/docview/220691452?accountid=36155

Department of Education and Training. (2003). Quality teaching in NSW public schools. Retrieved from: http://www.darcymoore.net/wp-

content/uploads/2012/02/qt_EPSColor.pdf

Egbert, J., & Simich-Dudgeon, C. (2001). Providing support for non-native learners of English in the social studies classroom: Integrating verbal

interactive activities and technology. The Social Studies, 92(1), 22-25.

Geiger, V., Forgasz, H., Goos, M., & Bennison, A. (2014). Devising Principles of Design for Numeracy Tasks. Mathematics Education

Research Group of Australasia. https://files.eric.ed.gov/fulltext/ED572608.pdf

Glasser, W. (1998). Choice theory in the classroom (Rev. ed.). New York: HarperPerennial.

32
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Johnson, D. W., & Johnson, R. T. (1993). Creative and critical thinking through academic controversy. The American Behavioral

Scientist, 37(1), 40. Retrieved from https://search-proquest-com.ezproxy.uws.edu.au/docview/1306753602?accountid=36155

Maasum, Maarof, & Ali. (2014). Addressing Student Diversity via Culturally Responsive Pedagogy. Procedia - Social and Behavioral

Sciences, 134(C), 101-108.

McClelland, J. (2018). Supporting our teachers is key. The Sydney Morning Herald (Sydney, Australia), p. 5.

McTighe, J. & Seif, E. (2011 ). Teaching for Meaning and Understanding: A Summary of Underlying Theory and Research. Pennsylvania

Educational Leadership, 24, (1), 6-14.

Mirabelle Walker & Judith Williams (2014) Critical evaluation as an aid to improved report writing: a case study, European Journal of

Engineering Education, 39:3, 272-281, DOI: 10.1080/03043797.2013.858105

Petrescu, C. (2013). INCLUSIVE EDUCATION. Euromentor Journal, 4(2), 149-152. Retrieved from https://search-proquest-

com.ezproxy.uws.edu.au/docview/1449574691?accountid=36155

Richards, M. (2010). Literary Journeys to Ethical Understanding, ProQuest Dissertations and Theses. ISBN: 978-0-494-69489-3

Roth, D. (2007). Understanding by Design: A Framework for Effecting Curricular Development and AssessmentReview of: Understanding by

Design by WigginsG., McTigheJ. 2nd ed.2006 Association for Supervision and Curriculum Development Alexandria, VA 0-13-195084-3

Retail price: $33.00. CBE—Life Sciences Education, 6(2), 95-97.

Taylor, M. (2000). Nancie Atwell's "In the Middle" and the Ongoing Transformation of the Writing Workshop. The English Journal,90(1), 46-

52. doi:10.2307/821730

33
`
Trapani, B., & Annunziato, Anthony. (2016). Efficacy of Understanding by Design Implementation Plan: Evaluated through Teacher

Perceptions and Practices, ProQuest Dissertations and Theses.

Wiggins, Grant P., Wiggins, Grant P., author, McTighe, Jay, & Association for Supervision Curriculum Development. (2005). Understanding by

design (Expanded 2nd ed., Gale Reference). Alexandria: ASCD.

34
 `
Appendix
Year 7 English Unit: The Play’s the Thing Teacher:

Unit Overview:

This unit provides students with an opportunity to experience drama texts and activities. It should aim to be more practical than theoretical
and offer students opportunities to perform in front of others and conduct peer evaluation and assessment.

Outcomes: General Capabilities: Formative Assessment:

 EN4-4B makes effective language choices to creatively o Monologue

shape meaning with accuracy, clarity and coherence o Play script
o Performance
 EN4-7D demonstrates understanding of how texts can
express aspects of their broadening world and their
relationship within it
Assessment: Yearly Exam
 EN4-9E uses, reflects on and assesses their individual and
collaborative skills for learning Complete short answer questions
Creative &
followed by composing a short play
Critical Thinking
script based on a provided stimulus.
Quality Teaching:
Ethical
Intellectual Quality Quality Learning Significance
Environment
Understanding

Metalanguage Engagement Knowledge

integration
Students’ self Difference &
regulation Inclusivity Diversity

35
 `

GC, CC Teaching and Learning Strategies: Resources Assessment for Regi

& OL learning strati
on

Introduction:
The Demon
KWL Chart/Mind map:
SSR

Headmaster
 What I know about plays?
 Have you ever watched a play? No Big
 What form of entertainment do we have today? (link to Drama as a form of Drama Class
entertainment)
Acts
 Conventions of Drama – Characters, Performance Area, Dramatic Tension, Words and language
and Movement/Position
 Introduction to key terminologies:
 Characters, dialogue, duologue, props, stage direction,
 History of Drama: Teachers may go through the transformation of Drama over the past 2000

M years and show exemplar images of the stages and costumes to demonstrate how the modern
theatre has developed.
 Ancient Greek
 Roman
 Medieval
 Renaissance
 Elizabethian
 French/Italia
 18th/19th Century theatre
 Modern Theatre
 Create a play box theatre: Students can create various forms of theatres from a recycled box
and label the performance areas:

36
`
 Proscenium stage
 Thrust stage
 Theatre-in-the-round stage
 Warm up drama games:
 Charades
 What Am I telling you: Students have to guess what the leader is saying through the use
of body language. The leader cannot verbally express their message. E.g. “I am hungry”
Drama In
Society

Create your
own theatre
box

E
Understanding the Playscript:

Example
 Features of a Playscript: Teachers are to go through the various features of a playscript and as a
M Short
class annotate an example (or use colour highlighters to identify each feature on the example)
Playscript
 Character list
 Set and costume details
 Stage directions

37
`
 Props list
 Lighting details
 Scene descriptions
 Dialogue
 Students are to distinguish the purpose of the two columns on a playscript:
 (Left) Characters
 (Right) Dialogue
 Read various playscripts as a class and allocate students with specific character roles. If students
are confident, get a safe performing area so they can perform the play, incorporating the
movement within the play.
 Transforming a narrative into a playscript:
 Read a short story as a class. Students are to then highlight the various characters in the
short story in different colours. Followed by highlighting the dialogue of each character
with their specific colour. Re-write the story as a transcript on a template.
 Once students have the skills to transform a narrative into a playscript, get the students
to create a transcript for selected key events from their class novel.
 Storyboard:
 Select a scene from the play and sequence the scenes on a storyboard
 Modifying playscripts: Students are to read various plays and adjust the play by:
 Including an extra character
KI  Re-work the ending of the play
 Include an additional scene
Short Stories

38
`

Storyboard
Template

Dramatic Forms: Students are to explore the various dramatic forms and show examples of:
KI
 Mimes:
 Define
 Key elements in mime
 Show a variety of mime shows/short clips
 What is the story about? Key
 Read a segment of a novel. Students are to mime the scene. elements in
 Musical: Mime

 Define Mime
 Brainstorm: Examples of musicals (Grease, The Wizard of Oz, The sound of music, Lion Example:
King, Frozen, Annie, Mamma Mia etc.) The car
 Timeline of Musicals
 Features of a musical
 Ballet:
 Define: What is ballet?
BBC: Musical
 History of ballet
Theatre
 Elements of Ballet: pointe Shoes, Tutus and ballet dancers

39
`
Timeline of
Musicals

What is
Ballet/Histor
y of Ballet

Timeline of
 Monologues: Australian
 Definition: A monologue is a speech presented by a single character, most often to Ballet
express their mental thoughts aloud, though sometimes also to directly address another
character or the audience.
 Look at a variety of monologues and explain what the character’s thoughts are. Then,
describe how they are expressing their thoughts.
o Balcony Scene from Romeo and Juliet
o Alice from Alice in Wonderland
o Huck from The Adventures of Huckleberry Finn

1. Balcony
Scene from
Romeo and
Juliet

2. Alice in
Alice in
Wonderland

40
`
3. Huck from
The
Adventures
of
Huckleberry
Finn

Front of House Drama Activities: Create the following:

 Flyers
 Brochures/pamphlets
 Advertisement Posters
 Show various posters for different shows. Get students to discuss the design, images,
colour etc.
 Create your own poster for a specific show
 Tickets:
 Provide an example of ticket and highlight the various information that need to be
displayed on it e.g. Show title, date, time, venue, seating, show time etc.
 Programme/schedule of the show

Blank
Ticket
Template

Practical activities:
E
 Role play:
 Students are to role play various monologues, duologues,
 Drama Games:
 Mime Scenarios
 Portraits:

41
`
 Students are given a scenario where they have to pose and illustrate.

Novel Study:
 Acting out the novel: Select a specific chapter/scene from the novel:
 Transform the narrative into a playscript
 Students are to act out the scene
 Compare the role play to the chapter being read. Which one was more entertaining?
Were there aspects in the scene which were modified in the play?
 Creativity:
 Create a flyer to sell the novel
 ICT: Create a trailer for the novel using PowerPoint or Windows Movie Maker
 Sell the product: Students are to present a 30 second to 1 minute presentation which
sells the novel.
 Create an alternate book cover
 Character study:
 Create a character profile
 What I like/dislike about the character
 My favourite character is… because…
 Sketch of what the character will look like (provide a description of the character from
the novel)
 Relating the characters to people they know.
Project Based Learning: Creating Props/ group work

Based on what drama text the class is focussing on, students can make props to use for
performances. These include:

 Cardboard swords

42
`
 Masks

Formative Tasks:
 Play Script: Students are to read a short story and transform it into a play script OR select a
segment of the short story to write a scene. Short stories can include:
 Jack and the Beanstalk
 Three Little Pigs
 Three Billy Goats Gruff
 Monologue: Students are to read Smart Ice-Cream by Paul Jennings then, select a character
from the short story and create a monologue.

Paul
Jennings -
Smart Ice-
cream

Evaluation:

43
`

44