Task 2B – Critical Reflection (10%) NAME:

Script Interpretation Reflection

ABOUT YOUR CHARACTER

Describe your character. Use your Character Profile planning to inform your response.
(2 marks)
My character is the supervisor. I only come out as this character to say two lines. I
will be wearing a bowtie with whatever I have on before to show that I have
changed characters but it will also be easy and fast to change into.
My other character is the son. The son has no lines however is present and acting
throughout the beginning of the performance. The son will be wearing a t-shirt that
will give off “sporty vibes” This character is quiet and would like to make my
parents proud however also want to fulfil my own dreams.
Age:14-16
Occupation: student
Relationship with the people in this scene: family
What do I want to achieve in this scene: to get away from my mother and father/to
find my own dream
My final character is the politician. This character only has one line however it is
very long. It will be wearing the same as the supervisor for easy transitions.

Describe how you developed your character using movement skills. Consider details such
as energy, facial expressions, posture, gesture, proxemics and walk (gait). Give an example
from your scene. (3 marks)
My characters will use movement skills to show emotions and what I want to
achieve. An example is that as the son I will use facial expressions to show that I am
scared/angry as my parents argue over the football. My energy will seem low as my
character does not want to be there. As the politician I will use gestures, eye
contact and position myself so that I seem more confident and dictatorlike. Hand
gestures as I speak will draw the attention of the audience to myself as I talk.

Describe how you developed your character using vocal skills. Consider details such as
articulation, clarity, pace, accent, emphasis, pause, pitch, projection and tone. (3 marks)
My characters use vocal skill such as pace, emphasis, pause and pitch to exaggerate
the meaning of my lines. The line “well then, your time in the virtual dream
chamber is up. How do you feel about being a dream agent?” will be said in an
average pace with a high, bright tone as it is not necessarily negative. Projection is
used in all lines as to make sure that the audience can hear the lines being said.

Briefly outline the dramatic action (dramatic events) in your scene. (2 marks)
A dramatic action in my scene as the son is when the mother and father fights
over the football. They argue about the right way to hold the football as I
watch them argue. Another dramatic action in this scene is my character
running away as my parents argue.
Identify the strengths of your group. Name the skill/s and give specific examples from your
scene to justify your response. (2 marks)
This may include: performance energy, audience awareness, creating a character, staying in
character, knowing your lines and blocking, design elements such using props, set pieces,
sound and costume.

Strength:
Some strengths in my group is props, set pieces and costumes. I think our
props costumes and set pieces are simple yet effective in showing what they
are. For example as the transition between my two characters (supervisor and
politician) are quick the costumes are the same but with a clipboard. This
allows the audience to be able to differentiate between the two characters but
also makes it easy for me to change characters.

Identify skill/s for improvement. Name the skill/s (listed above) and give specific examples
from your scene to justify your response. (2 marks)

Area for improvement:

An area I think we need improvement on is using time more wisely. We spent
quite a long time blocking and reading lines without practicing our acting and
positioning. Another skill I think we need improvement in is audience
awareness. During our practice of the scene with the mother and father
arguing over the football they would turn to face their back to the audience.

Group processes evaluation:

Please enter your name and the name of your group members and complete the following
evaluation.

1= Excellent 2= Good 3= Acceptable 4= Marginal 5= Unacceptable

Group members Anuji Lisa Julianne Rutvi
punctual
1 1 1 1
come to class
prepared
1 1 1 1
listened to others
1 1 1 1
contributed to the
rehearsal process
1 1 1 1
including learning
lines and blocking
contributed to
making design
2 2 2 1
decisions –
costume, set,
props
encouraged and
supported other
1 1 1 1
members of the
group
provided positive
and critical
1 1 1 1
feedback during
rehearsal

DRAMA GLOSSARY
Use drama language when writing about your own or others work

MOVEMENT SKILLS
The aspects of a performer’s body used to construct character or role, make meaning, convey emotional qualities
as well as communicate relationships. These include:

 Energy: the pattern of effort and commitment used in the creation of movement and non-verbal
communication. Energy may be consistent and predictable, inconsistent and unpredictable or otherwise
 Facial expressions: the shape and adjustment of face including eyes and eyebrows, mouth, jaw and head
position
 Gesture: involves movement of parts of the body that communicate meaning. Gesture often involves arm
and hand movements such as indicating, waving or beckoning but can include shrugging of the shoulders,
winking eyes etc.
 Posture and body alignment: the position of the body and sense of shape of the spine when standing or
sitting to create role and character. Posture and body alignment affect the ability to move freely and use
voice affectively
 Proxemics: the manipulation of the physical and emotional spaces between actors and between stage and
audience adds meaning to the dramatic action. For example, heightening the tension between characters,
showing relationships and adding to the design of the blocking in terms of placing actors in relation to one
another to focus audience attention, so that the audience can see and hear them
 Time: the variation and adjustment of the tempo and rhythm of movement
 Weight: the adjustment of movement to create a sense of force or (as in mime) the heaviness of an object
either seen or unseen by the audience

VOCAL SKILLS

 Articulation: the precision used in the formation of sounds and speech to ensure a live audience can
understand what is being said
 Audibility: projection appropriate to the space so spoken sounds carry to the intended audience
 Clarity: the accurate formation of sounds with the voice to communicate the words and sounds in
performance
 Emphasis: the use of particular stresses in the spoken delivery of a sentence to highlight important words
or phrases to improve comprehension for a live audience
 Fluency: the successful combining of the qualities of vocal performance to produce integrated effects for
the audience
 Inflection: the variation of the pitch and tone within a sentence to clarify emotional quality and intended
meaning within a sentence for a live audience
 Modulation: the careful variation in pitch to communicate meaning and emotion
 Pace: the speed with which a sentence or passage is delivered to balance the needs of a live audience
(variety and maintaining energy) with intended meaning (importance, subtext, emotional state etc.)
 Pause: a planned break in the delivery of a phrase, sentence or passage. These breaks can denote many
important meanings to a live audience and are therefore used with control and careful selection. Pause
lengths also are important to making meaning for a live audience
 Pitch: refers to the intensity of the vibrations in the voice making it seem higher or lower. Variation in pitch
creates inflection
 Projection (loudness): the strength or power used when speaking to carry speech to a live audience.
 Tone: the emotional qualities added to a vocal performance by adjusting the types of sounds produced by
the voice. These in particular can help convey a sense of a character’s subtext
 Vocal dynamics: appropriate variation of vocal techniques to denote intensity of emotion, meaning and
 mood

NARRATIVE STRUCTURE
The story of the play which includes an introduction, a conflict or complication, dramatic action, climax, falling
action, dénouement and conclusion. A play may feature several narrative threads (events that connect to one
another) and some narratives may overlap and interact with one another throughout the course of a play.

 Linear narratives: narrative where the events take place continuously and sequentially from beginning to
end
 Non-linear narratives: a disrupted or discontinuous sequence of events in a story including flashback,
flash-forward and circular narrative structures

Short answer response/critical reflection (performance) /14

Uses a range of drama terminology and language. Shows insightful reflections on own strengths and 13-14
limitations. Critically evaluates own (and others) work with relevant and specific examples.
Uses drama terminology and language. Reflects on own strengths and limitations. Evaluates own (and 10-11-12
others) work giving specific examples.
Uses some drama terminology and language. Describes some strengths and limitations. Attempt at 7-8-9
giving relevant examples to justify responses.
Uses limited drama terminology and language. Briefly comments on own strengths and limitations. 4-5-6
Limited to no examples given to justify responses.
Uses general language. Limited evaluation of own and others work 2-3

Limited to no comments on own (or others) work. Answer incomplete. 0-1