61 67709 English AC Yr7 05 Web PDF

5
THE PLAYS THE

THING
UNIT
The BIG question
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How does drama tell stories?

Key learnings
Plays are unique and imaginative ways of telling stories about our lives
and our communities.
In order to understand plays, we need to know about their structure,

language and characters.
We can use our bodies, voices and minds to perform plays and influence
the way an audience sees, hears and understands the story.
Students will:
examine the features of dramatic text
explore characters and language in context
perform as characters in a story
use the skills of the playwright.
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Knowledge, understanding and skills
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<Unit opener image>

<Insert Figure 5.0.1 Shutterstock:
street theatre two, image ID:34296832>
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Exit, stage left . . .

Act 2, Scene 2: Juliets Balcony
O Romeo, Romeo! Wherefore art thou, Romeo?
Deny thy father and refuse thy name . . .
romeo
[aside] Shall I hear more, or shall I speak at this?
juliet
Tis but thy name that is my enemy.

Whats in a name? That which we call a rose
By any other name would smell as sweet . . .
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juliet
Son of Zeus you must thwart

the flesh-eating horses of
Thrace!
Oh-oh these guys are
meanies.
Prepare to vamoose, son of Zeus!
[Enter the horses,
horses, ushered by
hera.
hera. The horses are not very
bright.]
They call us the flesh-eating
horses . . .
Oooooohhhh . . .
Because we eat flesh!
[to the audience] These guys really
enjoyed Year 8 said it was the
best sixyears of their lives.
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horses
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chorus a/b
chorus c/d
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narrator
Romeo and Juliet

by William Shakespeare
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all
horses
hercules
[fighting for air] Glug. Glug. Glug.

Christos, katabini nero
nero. [Christos, hes breathing water!]
Theo, I got you. Mitera, xero ti kano. [Mama, I know what Im doing.] Theo, head up. Up!
[spluttering] Dad. Why cant I float? Theyre going to laugh at me at big school.
Theo, tha isse entaxi. [Theo, youll be alright.]
Theo, no worries. We got one month to big school. I teach you swim so good you
school champion cup butterfly. Year Two Thousand, you swim Olympic Game
for Australia.
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theo
theos mum
theos dad
theo
theos mum
theos dad
Hercules Has Some Fun

by Richard Yaxley
Small Poppies
by David Holman
124
English is . . . Year 7
How is drama part of our lives?

NEED TO KNOW
conflict the struggle of
opposing forces in the
plot of a literary work
Tuning in
eLesson:
The English is . . . team
explores how drama
tells stories.
Searchlight ID: eles-1580
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1 Think and say why: Look at the images in the collage opposite. Describe each
image. How might it relate to the idea of telling a story?
2 Read and say why: Now read the texts. How are they different? How are they the
same? What kind of story does each text appear to be telling?
3 Recall and say why: What kinds of drama have you recently seen or been part of?
Make a list that covers the last year of your life. For example, have you seen a play
performed at school or elsewhere? Watched a TV show or YouTube clip? Been to
the movies? Had an argument? Listened to someones story? Played a story-based
computer game? Enjoyed a song about someones life?
Why would you call these events or experiences dramatic?
4 Find out and share: Choose from the topics below and perform a quick internet
search to find out a few facts about drama through history and across the world.
Report your findings to the class, either verbally or using presentation software
such as Prezi.. You might be able to include some online video-clips of these types of
drama in action.
Drama in ancient Greece
Noh plays in Japan
Commedia DellArte in Italy
Corroborees of Indigenous Australians
Shadow puppets in Indonesia
5 Write your own definition of the word drama. Consider whether drama is more than
simply storytelling.
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Drama seeks ways to tell stories by creating or recreating peoples lives on stage or
screen. These ways vary a great deal, as you will notice from the words and images
opposite. However, the key element of conflict between people will always be present.
Drama can tell stories by using actors, puppets or invented characters, in real worlds
or fantasy worlds. It can incorporate dance, movement, image, song or words. These
stories can be further developed by adding music, sets, digital effects, lights and sound.
Drama is a dynamic and powerful method of storytelling that has been part of all
cultures, from ancient times to the present, across all the continents. As a form of
storytelling, drama is common to all people; it is a universal way of communicating.
LANGUAGE link
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Word building with suffixes

Like many words, drama belongs to a word family. Other similar words can be built from the
original, like cousins of the main member of the family.
Two words that can be made from drama are:
dramatist (noun) a person who writes plays
dramatic (adjective) having to do with drama.
We can build new words by adding a suffix (a letter or group of letters) to the end of the main
word. For example, we added ist (meaning someone concerned with) to drama to get dramatist.
Suffixes often change the word class of the main word. For example, if we add the suffix ic to
the noun drama we get the adjective dramatic.
Use a dictionary to find another word in the drama family that has been formed using a
suffix, then use it in a sentence.
Knowledge Quest 1
Quest
Suffixes
UNIT 5 The Plays The Thing
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5.1 UNDERSTANDING PLAYS AS TEXTS

What are the key features of a play?
dramatic devices different

techniques used for presenting
plays on a stage to make
them more interesting for the
audience
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The playscript
Richard Yaxleys play Snagglewort is about the power of advertising. The first part
of scene 1 is reproduced below, with explanations of the main features of a play
alongside for easy reference.
Before you read the extract, your teacher may ask you to complete the following
Ready to Read activities.
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READY TO READ
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scan to glance over a text

before reading it thoroughly,
in order to quickly find
particular features or
anticipate difficult words
narrative the literary term for

story
playscript the text of the play,

written to be performed
theatre the place where

plays are usually performed.
It contains a stage, dressing
rooms, seating for the audience
and an entrance or foyer.
You have probably watched many dramas on television or seen many movies that
have dramatic elements. But have you seen a play? A play is a story performed by
actors in a theatre. It starts with a playscript, which has a number of key features.
Some of these features, such as the development of a narrative, are similar to
features found in other texts such as short stories. Other features are unique to
plays. All of these features need to work together for the playscript to be successful
as a text.
The most significant difference between playscripts and other written texts is
that playscripts are meant to be performed. The words on the page are not there to
be read silently and alone, as we might read a novel. They are meant to be spoken
aloud and interpreted for an audience of listeners. Onstage, different dramatic
devices bring the words to life.
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play a story performed by

actors in a theatre
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NEED TO KNOW
from Snagglewort
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Look at the illustration that appears with this text. Describe what you see.
Does this text look different from other story texts? Think about the use of
italics, headings and brackets. What else looks different?
Now scan the text and list any unfamiliar words. Use a dictionary to find out
meanings for these words, and refer to your list as you read.
by Richard Yaxley
Character list (in order of appearance)
Nikki: schoolgirl, outwardly brash but inwardly shy
Omar: schoolboy, health-conscious and generally sincere
Bob: schoolboy, laid-back and a bit gloomy
Sascha: schoolgirl, enthusiastic and talkative
Crowd: excited shoppers (any number)
The character list provides names

and brief information about each
character that appears in the play.
This helps the actors understand
their character. (3)
Scene 1
Plays are generally organised into

scenes. These can be numbered or
given individual titles. (9)
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5
10
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The play begins with its title and the

playwrights (authors) name. (1,2)
omar, nikki and bob are sitting on three seats lined evenly across
the stage. They are in a schoolyard with a lunchbox balanced on each of
their laps. As the curtain opens, nikki reaches in and holds up a very
healthy-looking salad sandwich.
The setting is where the scene takes

place. It is written to be performed.
Note the use of words such as stage,
schoolyard and curtain. (11,12)
20
bob
Whenever a characters name

is used unless it is said by
another character the name
is written in capital letters. (14)
Stage directions are instructions
to the actors about what to do.
They are usually in brackets
and often written in italic to
separate them from the spoken
text. (1819)
Specific items that are needed
for performance, such as the
lunch boxes and Bobs pie, are
known as props: an abbreviated
form of the phrase stage
properties. (24)
25
omar
[to the audience] Mmm. Crispy lettuce, creamy cheese,

tangy tomato and exotic Spanish onion, all served within
two slices of a fresh wholemeal loaf which has been
lightly spread with a low-fat no-cholesterol yet still tasty
margarine. Thanks, Mum! [She eats with relish. OMAR holds
up a semi-peeled banana and speaks to the audience.]
Mmm. The humble banana Natures own energyrefresher great for a snack-sized shot of goodness to
help you zing your way through the day. Thanks, Gran! [He
eats, with similar relish. bob watches them both sceptically, then
extracts a slice of pie from his lunch box.]
A cold pie. Last weeks leftovers. Congealed gravy, truckloads
of gristle and a few skerricks of the meat that Whiskas
rejected. About as tasty as a microwaved cardboard box. [He
eats; makes a disgusted face.]
[sarcastically] Gees, thats good! Thanks, Dad!
[sascha enters from the right. She is in a state of great
excitement.]
Hey! Hey guess what! Guess whats happened!
Your mother finally went to the hairdresser and got rid of
the wet wombat look?
The Federal Government has announced that, until the end
of time, there will be nothing but sport on TV?
This pie will only keep me in hospital for three months, not
four?
No! No its Snagglewort!
[synchronised] What?
Snagglewort!
[still synchronised] Thats what we thought you said! [They
all freeze except for nikki who comes forward and addresses
the audience.]
Snagglewort! Its been advertised on TV, on the Net, on
radio and billboards, everywhere for months now.
[Singing badly] Oh Snagglewort, oh Snagglewort, oh how I
want a Snagglewort!
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nikki
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40
sascha
others
sascha
others
nikki
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Actors make entrances and

exits, usually from the right
or left side of the stage (from
the actors point of view). This
is an example of writing for
performance, and shows how
the writer must visualise the
play on stage as they write it.
(30)
Synchronised speaking,
freezing and speaking directly
to an audience are dramatic
devices, used to make the
performance more interesting.
The inclusion of dramatic
devices is a key feature of
playwriting. (40,43,44)
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45
Sometimes stage directions will

refer to the emotion required
by the actor, rather than an
actual movement. (29)
bob
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omar
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sascha
nikki
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30
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Activities . . .
UNDERSTANDING the features of a playscript
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Getting started
1 a How many characters are there in the scene?
b What are their names?
c Are there any characters mentioned who are not actually in the scene?
2 The four main characters are described in turn as brash, sincere, gloomy and
enthusiastic. Find out what each of these words means.
3 Is this scene mostly about:
a the difficulties of having lunch at school
b a group of friends arguing
c a new invention?
How do you know?
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Working through
4 a Where does the scene take place?
b Should the description of the setting contain more details?
c What might be the disadvantage of providing more details?
(like this).
this Why?
5 Some parts of the scene are written in italic type (like
6 List all the props in this scene. Think of another prop you could add that would
fit in. Where would it be placed or which character would use it?
7 What are the two main purposes of stage directions?
8 Explain your understanding of synchronised speaking and freezing.
9 What features of this script tell you that it has been written to be performed,
rather than read passively?
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Going further
10 This section of the play does not tell us what a Snagglewort is. Invent your own
Snagglewort, using your own choice of media (digital model, hand drawing,
actual model). Consider what it looks like, what it does and why people want it
so much. Would you like a Snagglewort? How would you convince others that
they should have a Snagglewort?
ANALYSING the features of a playscript
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Now read the scene below from a play entitled The Time Machine, and then answer
the questions that follow.
from The Time Machine

by Richard Yaxley
Scene 2
[Inside a lounge-room. joy is dusting when her daughter jilly enters, pushing a
large box.]
joy
jilly
joy
jilly
joy
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Is that it?
Thats it.
A time-machine. Looks a bit weak. Does it work?
Yes, it does. Simply set the dial, press the red button, press the
green and hey presto youre in history.
Hm. And how exactly do you get out of history?
joy
jilly
joy
knight 1
knight 2
joy
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joy
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jilly
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jilly
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joy
jilly
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Easy. Set the

dial, press the
green button,
press the red
and hey presto
youre home
again.
Just like that?
Just like that.
Okay then, little
miss Im-atime-travellerso-Im-special,
show me.
Sure. Just step
inside.
In there?
Yes.
Oooh, I dont know. Is it clean or is it like your bedroom?
Its clean . . .
[They step inside the box.]
Set the dial red, green, GO!
[Explosions and smoke. Enter caveman.]
Oooh, look! Hes not wearing a shirt!
Mum, hes from the Palaeolithic Age. People were primitive.
Just like that family from next door. They dont wear shirts.
Or much else, for that matter.
[The caveman makes primitive noises.]
He sounds like them too.
[caveman exits as two knights enter from the other side, swordfighting.]
Have at thee, you cur!
Take that! And that!
Whats this? Here, stop that!
[The knights freeze.]
Ooh feel the power!
Were in medieval times, Mum. They were always fighting.
Just like Woolworths on a Saturday morning. [To the knights]
Okay, you can go now.
[Exit knights. joy is pleased with her new-found power.]
Anyway, now you know it works, so we should go home. Ill just
set the dial . . .
Here, let me have a go!
Mum, no. No, not that one, thats the future
Oh stop blathering, you silly girl!
Mum, thats light years away
Green, red GO!
Nooooo!
[Explosions and smoke.]
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jilly
jilly
joy
jilly
joy
jilly
joy
jilly
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Getting started
11 Does this text look similar to Snagglewort? If so, how?
12 How many characters are there? What are their names?
13 Is this text fictional (story) or factual? How do you know?
Working through
14 Study The Time Machine and create a checklist to show whether it includes the
following features of a playscript.
Title
Setting
Entrances
Character names in
capitals or small capitals
Dialogue
Exits
Stage directions
Dramatic devices
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Props
How are plays structured?
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Going further
15 In groups, discuss what will happen in the next scene of The Time
Machine.. What action will take place? Who will be involved?
Use your answers to improvise the scene and act it out.
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There are many different ways to structure a play, depending on how many scenes or
acts (groups of scenes) the playwright decides to use. One thing, however, does not
change: the need for conflict.
Imagine watching a television show where all the characters speak nicely to and like
each other. No-one disagrees or argues, and everyone supports each other the whole
time. Realistic? No. Interesting? Not at all!
Like all stories, plays need conflict. Conflict occurs when characters disagree because
they have different beliefs about what has happened, what is happening and what
should happen.
Here is a familiar story that has been broken into acts and scenes. In each scene the
major conflict, as well as other narrative elements, has been highlighted.
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READY TO READ
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This story is entitled The Three Little Pigs. Do you already know this story?
What happens?
Look in the column headed Action. Make a list of characters. Are there any
characters that you did not expect to be in this story?
The story of the three little pigs is a fairytale. Fairytales have special
characteristics. They often:
begin with Once upon a time
include talking animals as characters
involve good and evil, where good always wins
have good characters who live happily ever after.
Scan this version of The Three Little Pigs. Does it have these characteristics?
from The Three Little Pigs

by Richard Yaxley
Acts Scenes Action
1
Once upon a time there was a mother pig who had three little pigs.
She did not have enough money or food to look after them, so she
sent them out to seek their fortunes.
The orientation of the story

shows us the main characters
and setting.
The first little pig found some straw and built a house with it.
Just after the house was built, along came a wolf. He knocked
at the door of the little pigs house and called, Little pig, little pig,
let me come in!
But the little pig answered, No, no! Not by the hair of my
chinny chin chin!
So the wolf said, Then Ill huff and Ill puff, and Ill blow your
house in!
So he huffed and he puffed until he blew the house in, and then
he ate up that little pig.
The mother is in conflict with

society; she is poor so the pigs
have to look after themselves.
The second little pig found some sticks and built a house with them.
Just after the house was built, along came the wolf. He knocked
at the door of the little pigs house and said, Little pig, little pig,
let me come in!
chinny chin chin!
house in!
So he huffed and he puffed until he blew the house in, and then
he ate up that little pig.
Further tension (often called

rising tension) occurs because of
the same conflict between the
second little pig and the wolf.
The pig wants to live in his stick
house and the wolf wants to
destroy it so he can eat the pig.
The third little pig found some bricks and built a house with them.
Just after the house was built, along came the wolf. He knocked
at the door of the little pigs house and said, Little pig, little pig,
let me come in!
chinny chin chin!
house in!
So the wolf huffed and he puffed and he puffed and he huffed,
and he huffed and he puffed, but he couldnt blow this third little
pigs house down.
The tension rises further

because of conflict between
the third little pig and the wolf.
The pig wants to live in his brick
house and the wolf wants to
destroy it so he can eat the pig.
This time, however, he cant
do it.
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Tension is created by conflict

between the first little pig and
the wolf. The pig wants to live
in his straw house and the wolf
wants to destroy it so he can eat
the pig. This is the first major
complication in the story.
Repetition provides a cohesive

tie (link) from scene to scene,
and helps with audience
involvement.
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ONE
Narrative elements
TWO
When he found that with all his huffing and puffing he could not
blow this little pigs house down, he was very angry indeed. He
decided to climb up on the roof of the little pigs house and go
down the chimney to get the pig.
When the little pig heard the wolf on the roof of his house and
saw what he was about, he made a fire in his fireplace, filled a
big pot with water, and hung it over the fire. Just as the wolf was
coming down the chimney, the little pig lifted the lid off the big
pot of boiling water, and in fell the wolf.
And that is how it came about that this little pig lived happily
ever after in his snug little brick house.
Finally the tension reaches its

highest point (called the climax
of the story) because the conflict
between the third little pig and
the wolf needs to be resolved.
Either the wolf or the pig must
win. In this case, it is the pig (a
symbol of goodness) who wins
over the wolf (a symbol of evil).
The resolution of the story is
that the third pig lives happily
ever after. Happily ever after is a
special characteristic of fairytale
endings.
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Activities . . .
UNDERSTANDING the structure of a play
Getting started
1 Match each feature to its correct definition in the columns below.
Definition
Orientation
A new event in a story, which causes further conflict
Conflict
The high point of the story. All the complications and conflict have been
directing us to this moment.
Tension
The beginning of the story, where we find out about characters, place and
time
Complication
The feeling created by conflict. This makes us want to find out what will
happen in the rest of the story.
Symbol
What happens when characters disagree about what is happening
Climax
The end of the story; what happens to the remaining characters
Resolution
When a character represents an emotion or idea, that character becomes

a ___________ .
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Feature
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2 Complete each of the following sentences:

a Tension in the story is created when _________________________________________.
b This tension builds when ___________________________________________________.
c The tension reaches its climax when _________________________________________.
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Working through
3 What is the most important conflict in this story? How do you know?
4 The story is divided into acts and scenes.
a What is the difference between an act and a scene?
b Why has the writer chosen to finish Act 1 at the point where the wolf cannot
blow down the third little pigs house? Would you change this point? Why or
why not?
c Should Act 2, Scenes 1 and 2 be combined into one? Why or why not?
5 Write down responses to the following if questions and discuss them with a
group:
a If the mother pig was rich, would the story be different?
b If the first little pig had invited the wolf in for dinner, would the story be
different?
c If the third little pig had been a weak, scared character, would the story have
been different?
d If the wolf had accepted defeat by the third little pig, would the story have
been different?
These questions highlight the need to have characters who are in conflict with
each other. For example, a wolf who accepted defeat would have stopped the
conflict. The story would have become uninteresting.
Going further
6 The story does not tell us what happened to the mother pig. Write a paragraph
that fills in this gap in the story.
7 In drama, it is necessary to have characters who are in conflict with themselves
or with other characters. What would happen to the dramatic impact of The
Three Little Pigs if the wolf had accepted defeat?
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ANALYSING the structure of a play

Below is Act 1, Scene 1, of the story, written as a playscript.
from The Three Little Pigs

by Richard Yaxley
Scene 1
mother
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pigs
first pig
second pig
pigs
third pig
pigs
first pig
second pig
third pig
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mother
third pig
first pig
second pig
third pig
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second pig
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second pig
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first pig
mother
first pig
Oh dear, oh dear, theres nothing here. Nothing to eat, no

bread, no meat, nothing to keep my family replete.
[Enter first pig, happily. He sits at the table.]
Hallo, hallo, what food is there?
Nothing my love, the cupboard is bare.
Oh no.
[Enter second pig, happily. He sits at the table.]
Nothing my sweet, the cupboard is bare.
Oh no.
[Enter third pig, happily. He sits at the table.]
Nothing my child, the cupboard is bare.
Oh well. Time to go.
[He stands and goes to the door.]
Piggy three, talk to me. Where do you think youre going?
Please Mother, dont be sore. The problem is were very poor.
[getting up to go] Its true, its right, its very clear . . .
[getting up to go] We havent eaten food this year.
[Pause.]
I know. Im sorry. Theres just nothing about, and
what . . . with the drought . . . I should try harder to fill the
larder . . . but since your father turned to bacon, Im having
awful trouble making . . . ends meet.
[chorusing] We know, we know . . .
Its time to go.
We really should be . . .
Independent . . .
Living in three houses . . .
Resplendent . . .
Mother dear, dont worry about us!
Well be right!
Well catch the bus!
[mother hugs them all.]
Farewell my children, adios, goodbye. I hope you find a nice
hot pie.
Yum!
Be strong, be good, be proud, be willing . . .
Yes!
[quietly] But stay away from the wolf, that murderous
villain.
[A drumbeat. Lights down.]
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mother
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Inside a kitchen. There is a table with four empty plates on it. mother pig enters
unhappily. She opens cupboards, searching for food. There is none to be found.
mother
pigs
mother
pigs
mother
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Getting started
Part of the story has been transformed into a playscript as Act 1 Scene 2.
8 Why are some sections of the text written in italic, and other sections not?
9 Draw a map of the room, as it is described in the first two lines. Include furniture
and other items, including doors and windows.
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Working through
10 In a group, read the scene aloud.
11 How has the writer established conflict in the story?
12 Are the pigs different characters? In what ways?
13 How does the mothers final line set up the next part of the story?
14 What is the purpose of the drumbeat at the end?
15 The writer has chosen to write the dialogue of the play in rhyme. Suggest why
this might have been done. What effect does this have when the play is read
aloud? Read it aloud before answering.
RESPONDING to the structure and features of a playscript
Read the following extract from a playscript, and then answer the questions that
follow.
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from The Blue Coat
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by Richard Yaxley
Inside a department store: the male clothes section. matt, a teenager, is browsing
with his new girlfriend jen.. She sees a blue coat and goes to it.
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This ones nice.

[looking up]] I dont like blue.
I think blue would suit you.
It can suit me as much as it wants, I still dont like blue. My mother
used to insist that I wear blue when I was a kid. Blue pants, blue
shirts, blue socks, even a pair of blue shoes. My granddad used
to call me True Blue. It became this weird familyjoke. I hated it.
[Pause.] So, because of all that, I dont like blue.
Its a good coat.
Jen, its blue. Hey, why dont we
[ignoring him] Good cut. Strong material. Lining to keep you warm.
Extra pockets. And look, fiftyper cent off. Half-price; thats
Jen
Amazing. You know, this really is a great coat. Most guys would love
a coat like this. Theyd even be grateful to the person who showed
them this coat
Its blue! I hate blue!
Your eyes are blue.
My eyes are green!
They look blue to me.
I think I know the colour of my own eyes.
Are you sure about that? You cant exactly look at them and check,
can you? Besides, there are some things you just cant see, no matter
how hard you look.
[Pause. matt looks away.]
Want a coffee?
If Lucy had said to buy the coat, youd have done it.
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jen
matt
jen
matt
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jen
matt
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matt
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matt
jen
matt
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matt
jen
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matt
jen
matt
jen
matt
jen
matt
jen
matt
jen
AT
matt
jen
matt
jen
[sighing] Forget Lucy. I have.

What was her favourite colour?
Does it matter?
Yes. It matters a lot. Answer the question.
What was Lucys favourite colour?
[Pause.]
Blue.
I know. I also know that you wont wear
this beautiful blue coat because it reminds
you too much of your ex-girlfriend. That
family stuff it was rubbish.
No it wasnt! I just dont like blue.
Wrong. You dont like being reminded of Lucy, which also means
that you havent forgotten her, not really.
I have! I
Not only that, youre still upset because she left you.
No! Its not I dont know. A bit, I suppose.
A bit what?
A bit . . . upset.
So where does that leave me?
Jen, you and I
Are going nowhere. Unless . . .
Unless what?
Unless you buy that blue coat. Buy it, and wear it. For me.
[Pause.]
You mean it?
Sure do.
[They stare at each other for a long time.]
AL
matt
jen
matt
jen
PL
E
Getting started
16 How many characters are in this playscript? What are their names?
17 Look at the illustration. What information about the play does it add?
SA
Working through
18 Jen wants Matt to buy the blue coat because of its qualities: colour, cut,
strength, general appearance. Is there another reason why she wants him to buy
it? If so, what is that reason?
19 Is Matt telling the truth about his hatred of the colour blue? How do we know?
20 Is the conflict between the two characters really about the blue coat? Explain.
21 What line tells us that Jen is talking about something else, not the coat?
22 Below are three possibilities for the next part of the scene. What will happen if:
a Matt refuses to buy the coat
b Lucy walks into the store
c Matts mother walks into the store?
Going further
23 Choose (a), (b) or (c) from question 22. Write the next part of the scene,
using dramatic devices that have already been modelled in this unit.
24 In groups, read the new scenes aloud. Do the words given to the
characters sound right? Are there other words, lines or ideas that
can be added? Discuss and then edit your scenes as required.
135
Wordsmith . . .
WHAT IS SUBTEXT?
Jen, its blue. Hey, why dont we

[ignoring him]
[ignoring
him Good cut. Strong material. Lining to keep you warm.
EV
Matt
Jen
AL
AT
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LY
Writers, including playwrights, are able to use words to mean more than they might
appear to say on the surface. They have a subtext in mind when they write. Subtext
refers to the hidden meaning below or behind the surface meaning of a word, phrase
or sentence. Literally translated, subtext means underneath the words.
Writers use subtext to develop all aspects of their story: plot, characters,
relationships, and particularly themes (the underlying messages that the writer is
trying to convey). It adds to the conflict and the rising tension.
There are many examples of subtext in The Blue Coat.. One example occurs when Jen
says: Most guys would love a coat like this. Theyd even be grateful to the person who
showed them this coat.
The surface meaning of these two sentences is that most males would like the coat,
and they would also like her for taking the time to point it out. The subtext, or hidden
meaning, is that Matt is being ungrateful and Jen is not happy with his behaviour.
Our ability to understand subtext is as important as our ability to understand the
words themselves, as well as social cues such as tone, gesture and expression. This is
because the same statement can have different subtexts. For example, the statement
What a great day this has turned out to be could have subtexts such as:
The day has actually been awful (a sarcastic subtext, where the hidden meaning is
the opposite of the surface meaning) OR
I really enjoyed today because I went shopping with Matt (a subtext based upon
additional information).
In playscripts, we can also find subtext in the directed action. For example, early in
The Blue Coat,, Matt tries to cut off any further discussion of the coat.
The stage direction for Jen, [[ignoring him], clearly indicates a subtext that she wants
to continue the conversation so that the issue of their relationship can be resolved.
SA
PL
E
OVER TO YOU
1 In The Blue Coat

Coat, Jen says, there are some things you just cant see, no matter how
hard you look. What is the subtext for this statement?
2 Straight after Jens statement, we see the following stage direction:
[Pause. MATT looks away.] What is the subtext of:
a the pause
b Matt looking away?
3 Suggest two different subtexts for each of the following statements:
a You know what I mean.
c Look at him.
b Where were you?
d Shes wearing a hat.
My view . . .
After working through this sub-unit, do you think that plays are an effective way
of telling stories? Would you prefer to read a story in a book or online, or view
it live, as a play? Revisit the definition of drama that you wrote on page 125 and
decide whether it needs any adjustment.
136
5.2 UNDERSTANDING CHARACTERS IN PLAYS

How do plays make us engage with their characters?
NEED TO KNOW
All plays contain characters: people who love and hate, argue and make up, make
good and bad decisions, just as real people do. Reading, watching and performing
plays allows us to step inside the lives of characters and study how and why they
behave as they do. In this way, we can find out more about ourselves and about
people generally, as we learn to understand the complicated but wonderful thing that
is humanity.
character an imagined person

in a story or play
LY
Desire and obstacle
Minor
Major
Everybody has desires, or things that they want in life. One way of classifying these
desires can be seen in the diagram below:
AT
Abstract
Concrete
IO
Desires
SA
PL
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EV
AL
Our desires can be major or minor, and concrete or abstract. For example, Jeremiahs
desires are:
a new car (major/concrete)
to have fun tonight (minor/abstract).
In contrast, Jennys desires are:
world peace (major/abstract)
to get her bracelet fixed (minor/concrete).
Concrete desires are measurable; things that we can see happen. Abstract desires
are less measurable, and more likely to be based upon feelings and impressions.
Try making a list of your desires and then classify them according to the diagram above.
To assist with this process, ask yourself: is there a new object or item that you would like
to own? Do you have the desire to travel to a particular place? Do you have a particular
career in mind? Is there something that you would like to do that will benefit others?
Now imagine that you are lost inside a haunted house. All around you are shadows,
birds shrieking, bats flapping, doors rattling, a cold wind blowing. When you turn left,
the hallway is blocked by bricks. When you turn right, you find yourself going down an
endless stairway. Straight ahead there is nothing but darkness, and a curious dripping
sound . . .
In this situation you, the character, have a single, concrete desire: to get out of
the house. You may have other desires to be happy, to fly to the moon on a jetpropelled skateboard but in terms of the story of the haunted house, you simply
want to get out. However, there are obstacles that prevent you from doing so: the
blocked exits, the darkness, your growing fear.
Like all stories, plays are built around the desires of the characters, the obstacles that
stop them from achieving those desires, and the solutions that they find to deal with
the obstacles.
NEED TO KNOW
obstacle any person, event or
idea that prevents a character
from achieving their desire
137
Activities . . .
UNDERSTANDING and ANALYSING characters
Read the scene below and then answer the questions that follow.
from Birthday Party
SA
PL
E
EV
AL
AT
IO
LY
by Richard Yaxley
Enter kirlia and april, excited.
April So, whos invited?
Kirlia Just the usual. You, of course.
April Of course. Rae, Jess and Jordy?
Kirlia Definitely.
April And Tara? What about Tara?
Kirlia I kind of . . . had to. Weve been friends
april [whos heard it all before] . . . since Grade 1.
Kirlia Yeah. And look, I know things have changed
April Things havent changed. Its not things. Its her. Shes turned into
a cow.
Kirlia Maybe. Sometimes. But I still feel sorry for her
April Because of her dad.
Kirlia Yeah.
April Dont! Big deal, hes a loser. Doesnt mean Tara has to be so mean
to people.
Kirlia I know. I just
April You just couldnt say no because youre too kind to everyone, even
people like Tara.
[Pause]
April Anyway, the party. What about
Kirlia Pete? Oh yes. I invited Pete.
[They smirk together.]
April Knew you would, big-mouth.
Kirlia He said thanks Kirls, thanks very much. And I said, thats fine Pete,
and he said, so, who else is invited? So I said, well, April of course.
And he said, okay and thanks again in that cool kind of way but it
was there, in his eyes, that funny little spark.
April Pete doesnt have a spark!
Kirlia For you, he does.
April No!
Kirlia Admit it.
April Well, hes a nice guy. A bit nerdy.
Kirlia Mention your name and the nerd becomes Superman.
April You are so full of it!
[kirlia mimes Superman, swooping in and pretending to kiss april.
Laughter.]
Kirlia Anyway, it should be fun.
April Despite Tara.
Kirlia Cant you just . . . ignore her, or something?
April After what she did? And said?
Kirlia I know that wasnt
April It was a lie! Ignore her? Not likely.
138
Getting started
1 How old do you think April and Kirlia are? Why?
2 There is no setting indicated for this scene. Can you think of some
places where this dialogue might take place?
3 Are April and Kirlia friends? How do you know?
4 Does April like Pete? How do you know?
5 Who is Tara? What relationship does Kirlia have with her?
LANGUAGE link
Using everyday speech
LY
N
IO
Working through
6 April and Kirlia have different desires for the party invitation list. What are those
desires? How do their differences create conflict?
7 Which of these is an obstacle to Aprils desire?
a Kirlias kind heart
b The length of Kirlia and Taras friendship
c Kirlias attitude towards Taras father
d All of the above
Explain your answer.
8 The issue of Tara coming to the party is never actually resolved.
a Why do the girls stop talking about Tara?
b Will Tara attend the party? Give a reason with your answer.
9 Is Petes attendance a desire for April? How do you know?
Playwrights must listen to

the words and speaking
styles of people so that they
can become familiar with
the language use of various
groups and generations in
society. For example, it is
likely that an elderly man
will use different choices
of words and patterns
of speech than those of
his teenage grandson. A
playwright must be able
to identify and reproduce
these differences.
PL
E
EV
AL
AT
Going further
10 This scene is incomplete; there are gaps in the story. For example, we need to
know:
a what sorts of things Tara has done that make April call her a cow
b what the story of Taras father is, and what impact this has had on her
c how Pete really feels about April
d what Tara said that was a lie.
Choose one of these gaps. With a partner, create a new scene
that fills in the gap and provides us, the audience, with extra
information about the characters.
Monologues
Writing a play is a good

opportunity to use everyday
speech: the words and
phrases that people use in
their daily communication.
These are rarely formal
and sometimes not even
grammatically correct.
Such words and phrases
are known as colloquial
speech or idioms (see Unit1,
page23). For example, in
Birthday Party phrases like
big deal and you are so full
of it are colloquial. We know
what they mean because
they are widely used in
common conversation.
SA
A monologue is a speech given by a single character who speaks his or her

innermost thoughts aloud, and thus reveals his or her desires to an audience. The
character will often be alone on stage, or at least in a position where other characters
cannot hear.
The plays of William Shakespeare contain many famous monologues. For example,
in Romeo and Juliet
Juliet, Romeo delivers a monologue that tells the audience how much he
loves Juliet:
Find other examples of

colloquial words and
phrases that characters
use in the various play
extracts in this unit.
But soft! What light through yonder window breaks?

It is the east, and Juliet is the sun.
Monologues are a powerful tool for communicating thoughts and feelings, and thus
further developing our understanding of characters and their desires.
The following monologue is spoken by fifteen-year-old Ashleigh. After a behavioural
incident at school, Ashleigh has been asked to give back to the community by
working with disabled people.
NEED TO KNOW
monologue a speech
given by a single character
in which he or she speaks
his innermost thoughts
aloud, and thus reveals his
or her desires to an audience
139
READY TO READ
The title of this monologue is On The Inside. What are some possible meanings of this title?
Look back at the earlier playscripts in the unit. How does the appearance of this monologue
text differ from them?
As you read the text, write down any unfamiliar words. Use a dictionary to find definitions
for these words.
LY
from On The Inside

We drove over the river, parked, went inside this big old brick place.
There was a guy called Santorini, the boss, a fat bloke with a really soft
voice. I could hardly hear him. He said stuff about space and respect,
which was kinda predictable, then something which wasnt: We are all
disabled. Weird, but I know thats what he said because he repeated it:
We are all disabled.Then he said: Ashleigh, these people are profoundly
disabled. But we all carry disabilities of some sort.
Interesting idea, made me think. And I didnt mind Santorini. He
took me on a tour, Bracks tagging along but nicely, not like a cop. The
workshop is all chipped paint on concrete and really high ceilings. Its
cold, echoey. Some of the rooms are offices and others are spaces for the
clients.. (His word. I asked about the patients and he said, No, no, we
never call them that.)
Theres one really big workshop on the ground floor with benches
and machinery. Santorini said they only use that one under strictest
supervision, whereas most of the other activities can be done
independently, although they do have CCTV in every room. Fair
enough, I suppose. Gotta look after the clients, keep them safe from
mad outsiders. Like me.
I saw a few and they seemed okay. You get these stereotypes in your
head that people with mental stuff going on will look damaged, maybe
even a bit lopsided. But they didnt. I met Troy, David, Mark and Jeremy.
They were quiet. Polite. Soft voices, like Santorini. Didnt really look at
me, just kept on doing whatever they were doing. Making stuff. It was
like Grade 3 craft afternoon: balls of wool and icy-pole sticks.
After the tour, Santorini said that I could start in Room 12 with
Mr B. I asked; Is there anything I should know? and he said, No, just
remember what I already told you: space, respect. Off you go. So I did,
and when I looked back it was weird, I swear Bracks was crying. She
was wiping her eyes and Santorini was patting her shoulder and it was
it made me feel funny, like Id looked through a window and seen
something that I shouldnt have.
Anyway, I found Room 12 and I found Mr B. He was making pincushions and I think its safe to say, even now, after one day, that he was
nothing at all like I expected.
Monologues start with a

sentence that sets the scene. (1)
SA
25
30
35
140
Colloquial language (2,4)
Characters use monologues to

tell anecdotes stories that
have happened to them. (56)
Sentence structure is informal.
(8)
Describes the scene; easier for

an audience to imagine (1112)
Rather than dialogue between

characters, the conversation is
remembered. (15)
Inner thought: she sees herself
as mad. (19)
Sometimes people address
themselves in the 2nd person:
you see, you think. (20)
20
PL
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EV
15
AL
10
AT
IO
by Richard Yaxley
Reported speech: only those

parts that are necessary to the
story (2728)
Personal response (31)
Cohesive tie: This word takes

the reader back to the main
narrative line.
Activities . . .
NEED TO KNOW
EV
AL
AT
IO
Working through
4 Santorini, the boss of the workshop, tells Ashleigh that we are all disabled.
What do you think he means by this? Find a dictionary definition for disabled.
Then discuss with a partner your understanding of the word.
5 Why would Santorini insist that the workshop clients not be called patients?
What does this reveal about his attitude to these people?
6 What point does Ashleigh make about stereotypes?
7 Give at least one reason why Bracks might be crying.
8 There is evidence in this monologue that Ashleigh has a low opinion of herself.
Find that evidence and write the relevant lines in your notebook.
9 Ashleigh says that Mr B is nothing at all like I expected. What would Ashleigh
have expected him to be like?
10 If this wasnt a monologue, can you suggest someone who Ashleigh might tell
this to? How would a dialogue change the monologue?
11 Below are three statements relating to the monologue. Do you agree or disagree
with each statement? Give a reason with each answer.
a Ashleigh is angry with the world.
b As a result of her experience in the workshop, Ashleigh will learn about
herself.
c Ashleigh admires Santorini and wants to be like him.
Getting started
1 Who is Santorini and what is his job?
2 Is this the first time that Ashleigh has met Santorini? How do you know?
3 Who could Bracks be? What is her relationship with Ashleigh?
LY
cohesive tie a linking

device in a text, such as a
conjunction or repetition
UNDERSTANDING and ANALYSING a monologue
Option 1
PL
E
Going further
12 Are there any similarities between this monologue and, say, a journal or diary
entry? What are they? What is different?
13 Choose one of the options below and write a dramatic monologue for that
option. Some starter sentences have been provided if you need them.
SA
Santorini talks
about Ashleigh
after she has gone
Possible starting
sentence
Option 2
Option 3
Ashleigh talks
about her first
meeting with Mr B
One month later;

Ashleigh talks about
what she has learned
Option 1
Option 2
Option 3
She seemed like

a decent enough
kid, but there
was obviously
something worrying
her.
The weird thing

about Mr B is . . . hes
not that weird.
Its been a month

now, and I feel like
my whole view
of the world has
changed.
141
Wordsmith . . .
DISTINGUISHING FACT FROM OPINION
PL
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AL
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Facts can be supported with evidence. For example, in her monologue, when Ashleigh
says they do have CCTV in every room, it is likely that she is stating a fact. It is easy to
find out if there are CCTV cameras, simply by looking.
Knowledge Quest 1
Opinions are based upon personal beliefs or views, and cannot necessarily be
Quest
supported by evidence. Ashleighs claim that the clients seemed okay is clearly
Fact and opinion
opinion. It is her belief that they are okay, and okay-ness is not a quality that can be
measured.
Is Ashleighs monologue mainly fact or mainly opinion? Why might this be the case?
Drama explores characters, and the opinions of those characters are likely to be
more interesting than a series of facts. Re-read Birthday Party on page 138. Note how
the conversation, and therefore the conflict, continues to happen because of opinions.
This conversation is almost entirely opinion-based. Very few
Opinion
facts or supporting evidence are mentioned. Most of our dialogue,
or conversation, tends to be opinionated rather than factual,
April believes that Tara is a cow.
probably because opinions are more interesting and liable to
change, whereas facts are fixed and unchanging.
A good way to distinguish fact from opinion is to examine the
Kirlia believes that Tara behaves
words used by the speaker or writer. For example, fact-based
badly because of her father.
sentences will use words such as those bolded below.
The article demonstrated . . .
According to the results of the survey . . .
April believes that Kirlia is being too kind.
The evidence confirmed . . .
Scientists have discovered . . .
Opinion-based sentences will use different kinds of words,
like those below.
Kirlia believes that Pete has a spark for April.
She claims that . . .
We argued that . . .
In my view it is obvious that . . .
Many people believe that . . .
April believes that Kirlia is wrong.
OVER TO YOU
SA
Work in groups. Each member of the group is to write two fact-based statements and
two opinion-based statements, each on a separate slip of paper. (Use the topic list
below to help you.) Mix them up in a container and then pass them on to another
group whose job is to sort facts from opinions, putting the papers into two piles.
Complete and check.
Topic list: Sport, Social networking, Movies, Songs, History, Animals, School, Technology.
Interactivity:
You be the writer:
Distinguishing fact
from opinion
Searchlight ID: int-3010
My view . . .
How important to a play are the characters? Does drama always need to be
based on characters whose behaviour and motivations we can relate to and
understand?
142
5.3 PERFORMING PLAYS

How can we create a dramatic performance?
As we have already seen, plays are written to be performed. On stage, the characters
come alive as their words and actions reveal their desires and answer questions about
who they are and why they are in this place.
Becoming the character
NEED TO KNOW
LY
Stanislavski a Russian theatre

director who developed a
method for actors that allowed
them to better understand
their characters
Constantin Stanislavski was a Russian director who had a major influence on how
actors prepare to play characters. One of his best-known quotes was: When you play
a good man, try to find out where he is bad; and when you play a villain, try to find
where he is good. Stanislavski meant that in order to properly play the role of a different
person, an actor has to know as much as possible about that person more than is
shown in the actual play. We have to imagine all that we can about their life before and
after the action of the play, and in that way we can get to know the character very well.
Who, where, what, if
NEED TO KNOW
Magic If a series of questions
that actors can ask about their
characters. The main one is:
What if I were in the same
situation as this character?
PL
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EV
AL
AT
IO
Stanislavski suggested that in order to properly know the character, we need to

become that person and then ask ourselves some basic questions:
Who am I?
What is my
Where am I?
desire?
Who am I?
What time is it?
What is my desire?
What are the obstacles to my desire?
What are my relationships with other people?
Stanislavski also asked his actors to consider questions
containing the Magic If.. This meant asking even more
questions, the first one being:
What if I were in the same situation as my character?
Other Magic If questions for the character could be:
What if I did this differently?
What if I let go of my past?
What if I changed my future goals?
What if I changed my innermost desire?
Knowing characters
SA
Lets explore Stanislavskis questions further, using a scene from Richard Yaxleys
play Snap-Snap! Chrissie is a famous movie actress who is sick of being chased by
photographers (known as the paparazzi) including JT.
READY TO READ
Scan the text for unfamiliar words. Use a dictionary to find definitions for these words.
Read the scene aloud with two classmates. One of you can read the directions in italic
while the other two read the words spoken by Chrissie and JT.
143
from Snap-Snap!
by Richard Yaxley
A bare stage, except for jt standing on the table, which is at stage right. He has his camera poised. He listens for a
moment, smiles knowingly, and then waits. chrissie enters from the opposite side. Obviously upset, she keeps looking
behind her as she rushes across the stage.
jt
chrissie
jt
LY
IO
AT
chrissie
chrissie
jt
chrissie
jt
AL
chrissie
jt
EV
jt
chrissie
jt
chrissie
jt
chrissie
jt
[to the imagined paparazzi behind her] Vultures! Get away from me! Go on, get away! Leave me
alone!
[She runs straight towards jt, who promptly takes a photo of her startled face.]
Snap-snap!
You!
Having trouble, Chrissie? [He hops down and bars her way.]
Let me through! Youre as bad as the rest of them! No . . . youre worse!
Chrissie, Chrissie, Chrissie! Were just doing our jobs. You know that.
[trying to get past] Let me through!
Sure, but theyll find you anyway. I can let you through but where to? Where will you go?
Where can you go?
[chrissie pushes past and then stops.]
Its true, isnt it? Youve got nowhere to go. There is nowhere private for you.
Its so unfair.
Unfair? Theres nothing unfair about this! Its all your doing; you choose to be the person you
are! You couldve stayed anonymous, couldve been stuck in the same boring routines as the rest
of us. But you didnt! Its hardly unfair.
Constantly harassed . . .
Tenmillion dollars per movie, minimum.
A life caught in pictures . . .
Everything you could ever want spoiled little rich kid.
[jt walks towards centre stage. chrissie turns, watches him.]
You know what really gets me about all of this? You whinge and complain about us taking
photos, yet without us, without the publicity that comes from those photos, youd be nothing.
Publicity shots are one thing. You people you invade my privacy!
Theres no such thing, sweetie. You gave that up when you signed on the dotted line tenyears
ago.
[approaching him] I signed a contract to make a few movies, bring a bit of happiness into
peoples lives. I didnt sign anything about being harassed and chased and having my private life
turned into a misery by people like you!
Then you were pretty naive, werent you?
I guess I was.
[Pause]
[looking off-stage] Here they come. The vultures are about to land.
Then Im going.
Like I said, where to? Home theyll be waiting. The studio theyll be waiting. On holiday
theyll be waiting, snap-snap!
I hate this. I hate it so much.
Tell you what: Ill do you a deal. Ive got this place, a little hideaway in the mountains. You can
shelter there if you like . . . as long as I get a range of exclusive photographs and a full interview.
Youre not serious!
Never been more serious. Sweetie, its all about mutual benefit. You get a break from the
vultures, I get my shot at fame and fortune. Come on, what do you say?
PL
E
chrissie
SA
jt
chrissie
jt
chrissie
jt
chrissie
jt
chrissie
jt
144
Discovering the character

By asking Stanislavskis questions about the character of Chrissie, we can discover
further information such as this:
To have a private
life. I like making
movies and Im
grateful for the
money and the
lifestyle that I can
afford, but more
than anything I
want to be able to
live a normal
private life without
any intrusions.
I tend to blame
the photographers
but the main
obstacle is my
fame. If I wasnt
famous, then
no-one would
hassle me.
I tend to distrust
everyone because
Im so used to
people trying to
make money from
using my image.
LY
The subject matter

and style of
speaking tells me
that this scene is
set in the modern
world, probably in
a big city like
Sydney or even
overseas in Los
Angeles, the home
of Hollywood and
movie-making.
Outside, in the
public view,
perhaps on a
street or in a park.
I hate being
outside because
people,
particularly
photographers,
will not leave me
alone.
AT
IO
A world-famous
movie actress.
Given that Ive
only been making
movies for ten
years, Im probably
still quite young,
maybe late
twenties.
What are my
relationships
with other
people?
What time is it?
Who am I?
What are the

obstacles to my
desire?
Where am I?
What is my
desire?
Activities . . .
AL
ANALYSING character for performance
PL
E
EV
Getting started
1 Do you agree with all the information about Chrissie? Is there anything
that you would add or change?
2 Based on this, what could Chrissie do in order to overcome the obstacles and
achieve her desire?
3 Ask yourself the main Magic If question: If you were in the same situation as
Chrissie, what would you do?
SA
Working through
4 Here are some more Magic If questions for Chrissie:
a What would happen if you went to the police and asked them to arrest JT for
harassment?
b What would happen if you changed your desire and accepted that you will
never have a private life?
c What would happen if you never made another movie?
5 Now use the basic questions to discover more about the character of JT. Begin
by asking yourself the main Magic If question: If you were in the same situation
as JT, what would you do?
6 Here are some more Magic If questions for JT:
a What would happen if you left Chrissie alone? Would you find someone else to
harass, or would you stop being a photographer?
b What would happen if the roles were reversed, and people were constantly
invading your privacy? How would you react?
145
Understanding back-story
back-story what happened
to a character in the past,
before the play began
Now that we have considered aspects of these characters more fully, it is time to
establish their back-stories. This means imagining the past of the character by asking
yourself this question: What happened to bring this person to this place, at this time?
In other words, we are looking back at the story of the characters life.
LY
NEED TO KNOW
READY TO READ
N
O
N
IO
How can you tell that the following is not a

playscript?
A number of words have been omitted
from the text about Chrissie. As you read,
decide what word or words to put into
the spaces. After you read it, discuss these
with a partner and then decide on the best
choices.
AT
Autobiography of Chrissie
SA
PL
E
EV
AL
I always loved ______. As a child I used to dress up

and pretend to be other people: a teacher, a mother, an
adventurer. I was an only child so I guess that pretending
was a way of finding friends. My Dad passed away when I
was eight; for a long time I used to pretend that he was still
there, in the audience, ______ me.
When I was fourteen, I was lucky enough to get a part in the end-of-year school play. It was only a small
role because the older girls got the best parts. But that was it I was ______. I loved being in that play. Most
of all, I loved being someone else, and not having to be me.
On the last night, Mum brought a man backstage to meet me. His name was Rudi and he was an agent. He
said that I had the right look to get some modelling work if I was interested. I hadnt really thought about
modelling but I knew that Mum had never had much money after Dad died. So I said yes, and things went
from there.
It all happened incredibly ______. In January I modelled some cosmetics; by April I had so many jobs on
offer I had to go to school part-time. Then in September I quit altogether. Thats one of my biggest ______;
not finishing school, and particularly not getting to do all that crazy, end-of-school stuff. But the money and
lifestyle were so good, I couldnt stop.
I guess you could say I was addicted.
From there, it was a natural journey into other media television at first, this dreadful miniseries called Time and Tide which I ______, but it did teach me about how to act in front of a camera
then movies. My first role was as a stuck-up shop assistant in Beautiful Daze, and then my big break
was the lead, Sarah K, in The Huntress. Nineteen years old and starring in an action blockbuster; it
was ______. Unreal. And that was the problem. Doing that kind of stuff removes you from all reality.
You start thinking that life is just one giant movie, and youre in the centre of it all, with people
watching you and loving you and wanting to be you.
It took me a few years to realise how ______ I had become.
146
Activities . . .
CREATING back-stories
LY
Getting started
1 How did Chrissies childhood affect her later life?
2 What was she addicted to?
3 What point does she make about being removed from reality?
4 Does this autobiography suggest that Chrissie does not like what has happened
to her? Explain your answer.
5 Do you feel sorry for Chrissie? Why or why not?
AT
IO
Working through
6 Create an autobiography that explains the back-story for the character of JT.
How did he come to be a photographer? What is his family background? What
have been the main influences in his life? Some possible starting lines have been
provided below:
I came from a family of photographers, so from a young age there were
always cameras available.
When I was eight years old, my parents took me to see Christopher Silk, the
famous actor, who was visiting Australia. I was fascinated by the people
surrounding him . . .
I have two main interests in life: money and fame.
What people dont realise is this: I actually hate my job but Im addicted
toit.
AL
Blocking, rehearsing and performing
PL
E
EV
Now that we have a more developed understanding of the characters in the play, it is
time to work on performance. Our first priority is to block the script.
Blocking means planning where and how actors move on a stage. This allows each
actor to rehearse where on the stage they will be in each scene and where they will
move so that they do not upstage another actor. Without blocking, the performance
is likely to be unformed and unconvincing. Blocking is best done by dividing the stage
into sections:
Upstage
Centre (USC)
Upstage Left
(USL)
Centrestage
Right (CSR)
Centrestage
(CS)
Centrestage
Left (CSL)
Downstage
Right (DSR)
Downstage
Centre (DSC)
Downstage
Left (DSL)
SA
Upstage Right
(USR)
NEED TO KNOW
upstage This expression
comes from the theatre,
where, if you are an actor
and you stand upstage from
another actor (towards the
rear of the stage), it forces that
person to turn away from the
audience in order to interact
with you. You are then the one
directly facing the audience,
getting all the attention.
Actors dislike being upstaged!
Audience
It is important to use the correct language when blocking. For example, to make a
character more important in the eyes of the audience, we could suggest that the actor
move from USR (upstage right) to CS (centre stage).
147
Below is a section of the script of Snap-Snap! with blocking included.

Text
Blocking
A bare stage, except for jt standing on the table which

is at stage right. He has his camera poised. He listens for
a moment, smiles knowingly, and then waits. chrissie
enters from the opposite side. Obviously upset, she keeps
looking behind her as she rushes across the stage.
Table is CSR.
chrissie
[to the imagined paparazzi behind her] Vultures! Get

away from me! Go on get away! Leave me alone!
[chrissie runs straight towards jt who promptly
takes a photo of her startled face.]
CHRISSIE
jt
chrissie
Snap-snap!
You!
jt
LY
N
O
Having trouble, Chrissie?

[jt hops down and bars her way.]
Let me through! Youre as bad as the rest of them!
No . . . youre worse!
Chrissie, Chrissie, Chrissie! Were just doing our
jobs you know that.
[trying to get past] Let me through!
Sure but theyll find you anyway. I can let you
through but to where? Where will you go? Where
can you go?
[chrissie
chrissie pushes past then stops.]
stops
Its true, isnt it? Youve got nowhere to go. There is
nowhere private for you.
Its so unfair.
Unfair? Theres nothing unfair about this! Its all
your doing you chose to be the person you are!
You couldve stayed anonymous, couldve been stuck
in the same boring routines as the rest of us but
you didnt! Its hardly unfair!
Constantly harassed
JT
follows to DSC.
moves
stops.
CHRISSIE
DSL,
jt
PL
E
EV
chrissie
jt
AL
chrissie
jt
moves DSC
to get away from
him.
IO
chrissie
moves CSR.
CHRISSIE
AT
jt
enters USL,
moves to CS.
CHRISSIE
SA
chrissie
jt
chrissie
jt
chrissie
jt
chrissie
jt
148
JT
approaches her,
DSL.
JT confronts her,
up close.
CHRISSIE
walks away
to DSR.
Ten million per movie, minimum . . .

A life caught in pictures . . .
Everything you could ever want . . .
A spoiled little rich kid . . .
[JT walks towards centre stage. CHRISSIE turns, watches
him go.]
You know what really gets me about all of this? You
whinge and complain about us taking photos yet
without us, without the publicity generated by those
photos, youd be nothing.
Publicity shots are one thing. You people . . . you
invade my privacy!
Theres no such thing, sweetie. You gave that up
when you signed on the dotted line ten years ago.
JT
goes to CS.
CHRISSIE
approaches
him, CS.
Activities . . .
BLOCKING a playscript
jt
N
O
chrissie
jt
EV
jt
PL
E
jt
chrissie
AL
chrissie
IO
chrissie
You know what really gets me about all of this?

You whinge and complain about us taking photos,
yet without us, without the publicity that comes
from those photos, youd be nothing.
Publicity shots are one thing. You people you
invade my privacy!
when you signed on the dotted line tenyears ago.
[approaching him] I signed a contract to make a
few movies, bring a bit of happiness into peoples
lives. I didnt sign anything about being harassed
and chased and having my private life turned into
a misery by people like you!
I guess I was.
[Pause]
[looking off-stage] Here they come. The vultures are
about to land.
Then Im going.
Like I said, where to? Home theyll be waiting.
The studio theyll be waiting. On holiday
theyll be waiting, snap-snap!
Tell you what: Ill do you a deal. Ive got this place,
a little hideaway in the mountains. You can shelter
there if you like . . . as long as I get a range of
exclusive photographs and a full interview.
Youre not serious!
Never been more serious. Sweetie, its all about
mutual benefit. You get a break from the vultures,
I get my shot at fame and fortune. Come on, what
do you say?
AT
jt
Blocking
Text
LY
Working through
1 Either photocopy the section of the script of Snap-Snap! below or access the
digital copy in your eBookPLUS. Then work with a partner to block the script,
remembering that movement should happen only if there is a reason to do so.
You dont have to move on every line. Once you have worked out each actors
movements, write them into the blocking column.
2 Rehearse the blocked script, checking that each movement works. Change if
necessary.
SA
chrissie
jt
chrissie
jt
149
Working with tone

NEED TO KNOW
tone the way in which
something is said, which
conveys emotion or attitude.
For example, a person can
speak with a rude, angry or
sarcastic tone of voice.
EV
AL
AT
IO
LY
intonation the rise and

fall of the voice when
speaking; the tune of the
voice in spoken language
When we speak, we show our emotions partly by our tone of voice. Tone is not about
the pitch of your voice, or how loud it is (though pitch and loudness may be involved)
but about the emotion you are expressing. We have all heard someone speak with
a sarcastic tone of voice, and even though we might not be able to describe exactly
what it sounds like, we know it when we hear it.
A single sentence can be spoken with different tones of voice, each of which will
change its intended meaning. For example, imagine the sentence Theyre back said in
three different ways:
excited, because youre looking forward to seeing them
annoyed, because theyve been away for too long
curious, because you want to know what theyve brought with them.
To express various tones of voice,
intonation usually varies. Intonation
is the rise and fall of your voice when
you speak, or the tune of it. If you say
Theyre back in the three different
emotional tones above, listen to what
happens to your intonation.
Tone is one way that we can detect
the subtext, or hidden meaning, of
the sentence. Often, punctuation will
provide a tonal clue. For example,
Theyre back! is likely to have a different,
more excited tone than Theyre back?
Below is the same section of the script of Snap-Snap! with tone included. Not every
line is described; only those at the start of the scene or when the tone changes.
Text
PL
E
jt
chrissie
SA
jt
chrissie
jt
chrissie
jt
chrissie
150
You know what really gets me about all of this?

You whinge and complain about us taking
photos yet without us, without the publicity
that comes from those photos, youd be nothing.
Publicity shots are one thing. You people
you invade my privacy!
when you signed on the dotted line ten years
ago.
[approaching him]: I signed a contract to make
a few movies, bring a bit of happiness into
peoples lives. I didnt sign anything about being
harassed and chased and having my private life
turned into a misery by people like you!
I guess I was.
[A beat.]
[looking off-stage]: Here they come. The vultures
are about to land.
Then Im going.
Tone
Annoyed by what he
sees as her selfishness
Defensive
Angry; justifying her

choices
Calm and precise

Realising that her life
is unlikely to change
Decisively
chrissie
jt
LITERACY link
As if its a new idea

although hes
probably had it in
mind for some time
Using non-verbal
interaction skills
Disbelieving
Smooth, calm
chrissie
jt
Like I said where to? Home theyll be

waiting. The studio theyll be waiting. On
holiday theyll be waiting, snap-snap!
Tell you what Ill do you a deal. Ive got
this place, a little hideaway in the mountains.
You can shelter there if you like as long as I
get a range of exclusive photographs and a full
interview.
Youre not serious!
Never been more serious. Sweetie, its all
about mutual benefit. You get a break from the
vultures, I get my shot at fame and fortune.
Come on, what do you say?
IO
Activities . . .
EVALUATING tone
Playscripts provide
characters, story and words.
However, performing the
scripts requires much more,
including the actors use
of non-verbal interaction
skills such as pitch, pace and
pause.
Pitch refers to the
highness or lowness of
a voice. For example, an
excited character might
use a high pitch.
Pace refers to the speed
at which we speak. An
excited character might
speak at a faster pace
than is usual because of
his emotional state.
Pause refers to the
spaces that we might
put between words or
sentences. It can be used
to show that a character
is thinking, or to build up
tension in the scene.
LY
jt
Tone
Text
AT
Getting started
1 JTs tone is described as a) smooth, calm and b) calm and precise. How would
these tones be different? (Hint: look at the lines spoken by JT.)
Experiment by varying
your pitch, pace and use
of pause when you read
playscripts. Use these
non-verbal skills to further
develop your performance
skills.
PL
E
EV
AL
Working through
2 Why does Chrissie adopt a defensive tone early in this conversation? Tonally,
what does defensive mean?
3 JTs tone is described as calm and precise. Could this line be said differently?
How?
4 What kind of tone would you use for JTs line, The vultures are about to land?
Why? Justify your choice.
5 Chrissies lines, I hate this. I hate this so much have a range of possible tones.
Working with a partner, experiment with different ways of saying these lines.
What works best? Why?
6 Do you agree with the suggestion that JT has probably had the mountainhideaway idea in mind for some time? Why or why not? Does this information
change the tone with which the lines are said?
SA
Going further
7 Dialogue between characters always features power-plays, meaning that one
character will be in control of the conversation (although this can and often
does change). Who is in control of this conversation? How do you know?
8 Imagine that one of the vultures a press photographer now enters the
scene. With a partner, develop and write a brief scene that features the three
characters, JT, Chrissie and the press photographer. Include an extra column for
Tone, as in the above example, and make tonal suggestions for some of the key
lines.
9 Swap scripts with another pair. Take turns in reading each others scripts,
focusing on the tonal suggestions that have been made. Does the script read
well? Should any changes be made?
151
Wordsmith . . .
WRITING YOUR OWN SCENE
As we have seen, playwriting is linked to other forms of writing that tell stories.
However, playscripts contain a range of unique features. This is because they are
written for performance, and include instructions to directors and actors about setting
and characters. It is also because playscripts are formed from dialogue rather than
prose.
Practise writing your own scene by working through the following process.
LY
Develop a premise
The premise of the playscript is its main idea. The action in each scene is based around
that premise. For example, the premise of The Blue Coat (page 134) could be that
honesty is needed for relationships to work. The premise of Snap-Snap! (page 144)
could be that fame comes with disadvantages as well as advantages.
Here is a story divided into five sections. What do you think is the premise of this
story?
AT
IO
1. A man finds a wallet in the street. He opens it and finds that it contains
one thousand dollars.
AL
2. The man decides to keep the wallet and use the money to buy his new
girlfriend a beautiful golden ring.
EV
3. The man goes into a jewellery store and finds a ring. When he gets out the wallet
to pay, the store-owner claims that it is his wallet, lost on the street that morning.
PL
E
4. The store-owner calls the police and convinces them that the man stole his wallet.
SA
5. The man is taken away by a police-person. He asks to see his girlfriend but she is
ashamed of him and refuses to have any more to do with him.
152
Planning further
Before you begin to write one of the scenes of this story, complete these planning
steps.
Get to know your characters by imagining more information about each of them;
that is, their back-story, names, ages, occupations, family backgrounds, relationships,
likes and dislikes, desires and obstacles.
Anecdotes are brief, personal stories that give us insight into the lives of people. As
part of the planning phase, put yourself into the minds of each of the characters.
Write anecdotes for each, based on the following guidelines:
Describe a key incident from your childhood or adolescence that explains your
attitude to love (The Man).
Describe the moment when you first met your boyfriend (The Girlfriend).
jack looks around. No-one else is nearby.

He puts the wallet into his back-pocket.
Enter ella.
jack looks around. No-one else is nearby.

He holds the wallet out, undecided.
ella Hi there!
jack Ell . . .
[They hug.]
jack You look great this morning.
ella Thanks.
jack But youd look even better with
some jewellery.
ella Jack?
jack Come into this shop. Come on.
Lets have a look.
jack Its wrong, of course its wrong

but I need the money. Desperately.
I mean, Ive been with Sal for
months now, and its going really
well, but Ive never been able to
afford to do anything for her, buy
anything. I go to footy training
and all my mates are on about
how they give their girlfriends
stuff, jewellery mainly, and I cant
say a word because I havent got a
job and . . . and
[jack stops, looks around once more,
then puts the wallet into his back
pocket. Enter ella.]
LY
Scene 2, option 2: monologue
Scene 2, option 1: with dialogue
PL
E
EV
AL
IO
AT
Describe a key incident from your life that explains your attitude to money (The
Storeowner).
Either draw a sketch of each character their size, costume, general appearance
or search the internet to download images of how you see them. This will help you
to see your characters on stage as you write.
Sketch the stage setting for your scene. Where is the store in relation to the street?
Are there other places within the stage, such as a park?
Give this scene a title that reflects the premise of the play.
Anticipate writing problems and how to solve them. For example, perhaps you
chose scene 2, where the man decides to keep the wallet and use the money to buy
his new girlfriend a beautiful golden ring. Below are two options for how this scene
could be written. Which do you prefer and why? Are there other alternatives?
OVER TO YOU
SA
You should now be ready to write. Work individually, in pairs or small groups, to write
the scene.
1 Make sure that you include dramatic features such as stage directions and colloquial
language if appropriate.
2 Check the fluency of your writing by reading it aloud at regular intervals, or by
asking other members of class to be actors, and read for you.
My view . . .
By now you should have a well-developed understanding of drama and stories.
What are some of the unique ways that drama tells stories? Based on what
you now know, how would you define the term drama? How different is your
definition now from your definition at the start of this unit?
153
COMPOSE AND CREATE

1
Productive focus: writing and speaking

Transform a myth or legend into a play
LY
Working in small groups, find a myth or legend from the ancient world by either
using the links in your eBookPLUS or searching the internet.
The images below may provide some ideas. Transform the myth or legend into a
short play, using the narrative and textual features shown earlier in this unit.
Some key points to remember
SA
PL
E
EV
AL
AT
IO
Before writing:
work out the basics of the narrative such as setting (time, place) and characters (how
many, who)
develop a scene-by-scene plan, as shown earlier in this unit with The Three Little Pigs
develop a brief back-story for each character (see page 146)
identify any writing problems and solve them.
When the script is completed, prepare it for performance.
You will need to:
assign roles to members of the group
work together to create a stage setting
block the play (see page 147)
rehearse by practising lines and movement
perform without scripts.
Use the assessment

criteria rubric to guide
you through your
chosen task.
154
Write a scene for a play

Either:
In pairs, write the next scene of either The Time Machine (pages1289) or
The Blue Coat (pages 1345)
SA
PL
E
EV
AL
AT
IO
Write a new scene based upon one of the ideas below.

A character invents something remarkable.
A character wants to buy/take/own something dangerous.
A character has to choose whether to do the right thing.
Two characters find themselves trapped in a haunted house.
LY
Or
Use the assessment

you through your
chosen task.

As you write, make sure that you have included:
a title
a list of characters, with a brief description of each
a description of the setting
the correct conventions of playwriting, such as character names in capitals and
stage directions in brackets (see page148).
Remember that for drama to work, there must be appropriate conflict between the
characters as they attempt to overcome obstacles and achieve their desires.
When the script is completed, use appropriate software to publish it. Then hold a
reading in front of the class.
155
Either
Working individually create a character description
Or
Create a monologue.
You can choose to do this from the point of view of:
a character from one of the
texts in this unit, or
a character from a different
text of your own choosing,
such as a book, film or
TVshow, or
a character who is:
about to embark upon a
dangerous mission
extremely frightened by
where they are and what
is happening
hoping to be forgiven
remembering an incident
that changed their lives
forever
unsure of a friend.
When your character description is complete, read it to the class.
When your monologue is complete, prepare it for performance, considering subtext,
tone and movement as you do so.
AL
AT
IO
LY
Create a character description or monologue
Consider the subject of what your character says.

Experiment with tone and intonation in rehearsing your performance.
Rehearse pitch, pace and pause of your delivery.
Then rehearse movement around your stage!
PL
E
EV

Use the assessment
you through your
chosen task.
Self-evaluation . . .
SA
After you have completed your assessment, answer the questions below in an
individual reflection on the unit and the task.
1 What were your favourite parts of this unit? What were your least favourite?
2 What would you like to learn more about after completing this unit?
3 Have you learned any speaking strategies during this unit?
4 What was your experience in completing the assessment task? Would you do
anything differently, if faced with a similar task in the future?
INDIVIDUAL PATHWAYS
156
Worksheet 5.1
Worksheet 5.2
Worksheet 5.3
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5

THE PLAYS THE

The BIG question

How does drama tell stories?

In order to understand plays, we need to know about their structure,

perform as characters in a story

use the skills of the playwright.

Knowledge, understanding and skills

<Unit opener image>

Exit, stage left . . .

[aside] Shall I hear more, or shall I speak at this?

Tis but thy name that is my enemy.

Son of Zeus you must thwart

Romeo and Juliet

[fighting for air] Glug. Glug. Glug.

Hercules Has Some Fun

How is drama part of our lives?

Word building with suffixes

UNIT 5 The Plays The Thing

5.1 UNDERSTANDING PLAYS AS TEXTS

dramatic devices different

scan to glance over a text

narrative the literary term for

playscript the text of the play,

theatre the place where

play a story performed by

The character list provides names

Plays are generally organised into

The play begins with its title and the

The setting is where the scene takes

Whenever a characters name

[to the audience] Mmm. Crispy lettuce, creamy cheese,

Actors make entrances and

Sometimes stage directions will

UNIT 5 The Plays The Thing

ANALYSING the features of a playscript

from The Time Machine

Easy. Set the

UNIT 5 The Plays The Thing

How are plays structured?

from The Three Little Pigs

The orientation of the story

The mother is in conflict with

Further tension (often called

The tension rises further

Tension is created by conflict

Repetition provides a cohesive

Finally the tension reaches its

A new event in a story, which causes further conflict

What happens when characters disagree about what is happening

The end of the story; what happens to the remaining characters

When a character represents an emotion or idea, that character becomes

2 Complete each of the following sentences:

ANALYSING the structure of a play

from The Three Little Pigs

Oh dear, oh dear, theres nothing here. Nothing to eat, no

UNIT 5 The Plays The Thing

RESPONDING to the structure and features of a playscript

from The Blue Coat