Script – Becky/Blair 26

22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

Australian College of Dramatic Arts

22307VIC Certificate III in Acting (Screen) delivered for VET in Schools

Year 2

Name: Cluster: School:

Office Address: 7 Macquarie Place Boronia Vic 3155 Telephone: 9720 6200

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TABLE OF CONTENTS

ACT 1 5

YEAR 2 – UNITS OF COMPETENCY AND ELECTIVES BREAKDOWN 6

LOG OF HOURS 23

SCRIPT – BECKY/BLAIR 26

ACT 2 27

CERTIFICATE III ELECTIVES PROJECT BRIEF 31

ACT 3 35

ACT 4 38

SCRIPT – JESS MORRISON 48

ACT 5 49

ACT 6 56

ACT 7 60

SCRIPT – KATHY AND LILY 65

SCRIPT – MICHAEL AND PHILIP 66

ACT 8 67

ACT 9 69

SCRIPT – ROXY AND AL 72

ACT 10 74

ACT 11 75

ACT 12 81

SCRIPT – JO AND PETA (FEMALE) 82

SCRIPT – JOE AND PETER (MALE) 83

ACT 13, 14, 15, 16, 17, 18 ELECTIVES 84

ACT 19 AND 20 93

SCRIPT – JOAN OF ARC (FEMALE) 97

SCRIPT – PRIDE AND PREJUDICE (FEMALE) 101

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SCRIPT – PRIDE AND PREJUDICE (FEMALE/MALE) 103

SCRIPT – PICNIC AT HANGING ROCK (FEMALE) 106

SCRIPT – PICNIC AT HANGING ROCK (MALE) 111

SCRIPT – LES MISERABLÉS (FEMALE/MALE) 113

SCRIPT – FAME (MALE) 115

SCRIPT – FAME (FEMALE/MALE) 116

ACT 21 119

ACT 22 120

ACT 23 122

SCRIPT – BATTLESTAR GALACTICA 124

SCRIPT – THE 100 128

SCRIPT – THE 100 130

SCRIPT – THE 100 132

SCRIPT – THE NIGHT IS FOR HUNTING 133

SCRIPT – THE NIGHT IS FOR HUNTING 134

ACT 25 135

ACT 26 139

ACT 27 140

ACT 28 141

ACT 29 142

ADDITIONAL SCRIPTS 143

SCRIPT – MOLLY 143

SCRIPT – EBENEZER 144

SCRIPT – BALLET AUDITION 145

SCRIPT – SAM, SUE, TESS AND SASHA 147

SCRIPT – HUNGRY 149

SCRIPT – HALFWAY ACROSS THE GALAXY AND TURN LEFT 150

SCRIPT – FERGUS MCPHAIL 152

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SCRIPT – DO YOU WANT TO KNOW A SECRET? 154

SCRIPT – TURBO AND NIPPER 156

SCRIPT – LATE FOR SCHOOL 157

SCRIPT – THE FLYING DOCTORS 160

SCRIPT – SUSAN AND FELICITY 162

SCRIPT – ANGIE 164

SCRIPT – ANDY AND MARK 165

SCRIPT – MURIEL’S WEDDING 166

SCRIPT – OCEAN GIRL 172

SCRIPT – PARADISE BEACH 175

SCRIPT – NELL AND WENDY 177

WORKBOOKS 179

BSBDIV301 WORK EFFECTIVELY WITH DIVERSITY 182

CUFIND401A PROVIDE SERVICES ON A FREELANCE BASIS 201

VU21843 WRITE THE SCRIPT 215

FNSCUS401 PARTICIPATE IN NEGOTIATIONS 232

CUFMUP401A DESIGN, APPLY AND REMOVE MAKEUP 243

CUFAIR302A DEVELOP TECHNIQUES FOR PRESENTING INFORMATION TO CAMERA 254

CUFDRT602A AUDITION AND SELECT PERFORMERS 264

CUFCAM401 SHOOT A WIDE RANGE OF TELEVISION CONTENT 274

CUFDRT502A DIRECT PERFORMERS 285

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Disclaimer and copyright conditions This Certificate III Learners Manual has been created to guide students through the curriculum of 22307VIC Certificate III in Acting (Screen). The material should not be viewed as mandatory practice and the author cannot be held responsible for the ways in which teachers and/or students may interpret or use the information in this publication.

The content in this publication is designed for the teaching of 22307VIC Certificate III in Acting (Screen) and may not be reproduced in any other form or for any other purpose including workshops, lectures, tutorials, and seminars for teachers or students without the sole permission of the author.

All rights reserved. Except under the condition described in the Copyright Act 1968 and subsequent amendments, no part of this publication may be reproduced by any process without permission in writing from the author.

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ACT 1

Welcome to this course of study

Please introduce yourselves

1. Warm Ups In order to develop as an actor, it is critical that you know how to prepare your voice, movement, physicality for character, facial expression, gesture, emotional development for audition preparation and emotional development for the character journey, find the motivation to work hard at class and for all acting tasks. As you get older and more experienced in life your acting work will change, develop, improve, this is exactly what should happen. There are millions of warm up exercises that you can do. Work from past exercises, Google new ones and look on our student website resource page. Share them with your teacher and class members.

2. Induction and Reading CONTACT INFORMATION for student absences or administrative enquiries please contact [email protected] or phone the college. Please go to the ACDA website acda.vic.edu.au for all information about STUDENT ORIENTATION and INDUCTION called Student Induction Information (SII) including some informative Power Points and videos.

Chat to camera is used for interviews situation, it is a vital skill so you need to keep practicing and practicing. Try it in pairs, practice interviewing each other and then swap around.

Scripts choices and information – Whilst the industry generally works on contemporary scripts, this year you will experiment with historical and futuristic scripts. You may research from global script choices, but they must be within your age range. Accents may only be used if you have had formal professional training for that accent or if it is your natural accent.

Industry days – Excursions and/or incursions aim to promote industry experience and knowledge with industry professionals and guest speakers. There will also be one excursion early in the year to assist with your elective choices. All excursions must be treated as compulsory. Where else will you get current industry experience working with professionals?

You must submit all homework by the DUE DATES. If a resubmission is needed then you will be given one more date for corrections. If work is not handed in, interviews and interventions will take place with VET Coordinators and parents.

If homework is emailed then please write down your teacher’s email address. You must submit all homework by the DUE DATES.

Lockdown and Evacuation Procedures must be refreshed.

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Year 2 – Units of Competency and Electives Breakdown

BSBDIV301 – Work effectively with diversity 30 This unit describes the skills and knowledge required to recognise hours and interact productively with diversity in the workplace. It covers sensitive responses to, and interactions with, all manner of diversity that might be encountered during the course of work. It applies to individuals who work in a variety of contexts where they will be expected to interact with a diverse client and/or co-worker population. They may also provide some leadership and guidance to others and have some limited responsibility for the output of others. CUFIND401A – Provide services on a freelance basis 30 This unit describes the performance outcomes, skills and knowledge hours required to operate as a freelancer within the creative arts industry. Success as a freelancer requires a high level of self-motivation and discipline, an ability to develop industry networks and an entrepreneurial attitude when pursuing work opportunities. Freelancers are usually responsible for negotiating their own contracts. FNSCUS401 – Participate in negotiations 20 This unit describes the skills and knowledge required to take part in hours negotiations as an individual or member of a team, plan and prepare, and apply effective negotiating techniques to finalise an agreement. VU21840 – Expand skills for auditions 50 This unit covers the maintenance of practical skills and knowledge for hours actor preparation and performance for audition and screen test (including warm-up regime, health, fitness and diet). It covers knowledge of the different casting environments and preparation required to perform to a professional standard. VU21841 – Expand script knowledge and performance skills 50 This unit describes how to provide the skills necessary to be able to hours perform in front of camera, to be able to make the transition to screen acting and to be able to explore the methods of performance for the acquisition of excellence within an acting role. VU21842 – Extend acting techniques 50 This unit describes the practical knowledge of a wide variety of text hours (including contemporary, classical and futuristic) and the rehearsing and performing of script aiding the evolution of character and plot. VU21843 – Write the script 50 This unit covers the knowledge and skills to develop, write and hours perform a script for a performance piece for a filmed production. The skills and knowledge described in this unit are used by actors who may work on a wide range of film, television and other screen- based productions, in preparing basic scripts in order to further enhance and develop their delivery skills, and to provide original material for their own use.

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UNIT BANK - CHOOSE ONE

CUFMUP401A – Design, apply and remove make-up 160 This unit describes the performance outcomes, skills and knowledge hours required to design, apply and remove standard make-up for productions in the screen, media and entertainment industries. Make-up artists apply the skills and knowledge described in this unit, which covers the design, application and removal of standard makeup for performers and/or talent appearing in films, television shows or photographic shoots. Creativity is the key to being a successful make-up artist, along with the ability to design make-up that meets production requirements and brings out, or builds on, the subject's best features. Good communication skills are also essential, since make-up artists need to create a work environment where performers and/or talent feel at ease. Depending on the nature of the job, a make-up artist can work alone, as an assistant to a more senior colleague or as part of a make-up design team. Employment is usually on a contract basis and hairstyling skills are often required.

CUFCAM401A – Shoot a wide range of television content 70 This unit describes the skills and knowledge required by a hours cameraperson who usually works without supervision to shoot television content. The person undertakes the preparation and technical aspects of a shoot, including camera, sound and lights. On occasion, the cameraperson works with a sound recordist or lighting technician and may coordinate their operations. Other duties may include manipulation of cameras, e.g. on dolly tracks and cable control. Program styles covered by this unit include news and current affairs, corporate videos, coverage of events and relatively complex documentary materials.

CUFAIR302A – Develop techniques for presenting information 30 to camera hours This unit describes the performance outcomes, skills and knowledge required to communicate effectively when presenting to camera. Trainee presenters at television stations and volunteer presenters in community television apply the vocal and personal presentation techniques described in this unit. This work is usually performed under the direct supervision of a producer and in close collaboration with technical crew.

CUFDRT602A – Audition and select performers 50 This unit describes the performance outcomes, skills and knowledge hours required to audition and select suitable performers for productions in film, television and interactive media. Selecting the right performers for roles is a critical task in the pre-production phase. It involves detailed analysis of scripts as the basis for developing character profiles that will lead to the most appropriate performers being auditioned and selected. Creative and effective interaction between performers is an important factor for directors to take into account

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when deciding on the final mix of actors for productions, as is the ability of performers to relate to the camera and their overall appeal on screen.

CUFDRT502A - Direct performers 50 This unit describes the performance outcomes, skills and knowledge hours required to direct performers during the filming or recording of productions. Directors are responsible for visualising and defining the style and structure of productions. They must have the capacity to inspire and motivate their team to produce the film they have envisioned, so high-level communication and management skills are essential. As time and budgets are important to screen productions, directors are responsible for ensuring that performers and production personnel are well briefed and rehearsed prior to shooting.

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What you MUST achieve with all UOC’s to be COMPETENT

ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) BSBDIV301 Work effectively with diversity

See Marking guides for assessment requirements Target Group: VETis – Year 10/11 15 to 17 year olds Method/s of Assessment: This unit describes the skills and knowledge required to recognise and interact productively with diversity in the workplace. It covers sensitive responses to, and interactions with, all manner of diversity that might be encountered during the course of work. It applies to individuals who work in a variety of contexts where they will be expected to interact with a diverse client and/or co-worker population. They may also provide some leadership and guidance to others and have some limited responsibility for the output of others. Instructions to Students: you must complete the following Assessment Task 1 Due date: Act 5 Participation in classroom reading and discussion Assessment Task 1: Assessment Task 2 Due date: Act 9 Write the answers to the workbook provided, plus interviews Assessment Task 3: Due date: Continual assessment Devise an improvisation in groups Assessment Task 4: Due date: Practical demonstrations of Participate in the planning and filming of a skills and interactions with others with short video on cultural differences. final assessments occurring at the end of Term 3. Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, journal entries, workbook Evidence: Compulsory class attendance for Act 6, Film on SD card, student uploads to personal computer, journal entries, workbook, email/hard copy homework, improvisation.

Teacher Assessor Name: Date/Time of Assessment: Student Declaration I declare that no part of this assessment has been copied from another person’s work, except where clearly noted on documents or work submitted. I declare that no other person has written any part of this assessment for me. I understand that plagiarism is a serious offence that may lead to disciplinary action. Student Signature:______Date: ______

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) CUFIND401 Provide services on a freelance basis

See Marking guides for assessment requirements Target Group: VETis – Year 10/11 15 to 17 year olds Method/s of Assessment: This unit describes the performance outcomes, skills and knowledge required to operate as a freelancer within the creative arts industry. Success as a freelancer requires a high level of self-motivation and discipline, an ability to develop industry networks and an entrepreneurial attitude when pursuing work opportunities. Freelancers are usually responsible for negotiating their own contracts. Instructions to Students: You must read the information within the Learners Manual, complete the workbook and complete the following: Assessment Task 1: Understanding of Due date: Workbook due Act 13 being a freelance actor and how to promote End of year assimilation of tasks from yourself to potential employers the delivery of clustered UOC’s Assessment Task 2: Understanding how Due date: Workbook due Act 13 to negotiate work within the Film and End of year assimilation of tasks from Television Industry the delivery of clustered UOC’s Assessment Task 3: Manage own Due date: Workbook due Act 13 business affairs, develop skills and End of year assimilation of tasks from knowledge in financial and business within the delivery of clustered UOC’s the Film and Television Industry Assessment Task 4: Plan work Due date: Workbook due Act 13 opportunities and seek feedback about work End of year assimilation of tasks from practices the delivery of clustered UOC’s Materials / Equipment Required to Conduct Assessment: Industry knowledge, compulsory attendance at VET Industry Days with Industry Guests, Workbook, Learners Manual and filming equipment. Evidence: Workbook, observation of knowledge and skills, research and preparation of filming tasks from a range of tasks. Preparation of elective and Participate in negotiations filming tasks. Ability to self tape, prepare promotional materials, understand industry practices specifically the work of the agent, casting consultant, identify networking platforms and the requirements for an audition and screen-test. Teacher Assessor Name: Date/Time of Assessment: Student Declaration I declare that no part of this assessment has been copied from another person’s work, except where clearly noted on documents or work submitted. I declare that no other person has written any part of this assessment for me. I understand that plagiarism is a serious offence that may lead to disciplinary action. Student Signature:______Date: ______

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ASSESSMENT TASKS

Certificate and level Certificate III in Acting (Screen) FNSCUS401 Participate in negotiations

See Marking guides for assessment requirements Target Group: VETis – Year 10/11 15 to 17 year olds Method/s of Assessment: This unit describes the skills and knowledge required to take part in negotiations as an individual or member of a team, plan and prepare, and apply effective negotiating techniques to finalise an agreement. Evidence of warm up regime, rehearsal of chosen script, written folio entries matching the workbook, filming in front of camera, ability to be critiques, overcome performance anxiety. Instructions to Students: You must complete the following Assessment Task 1: Select a script. Due date: Act 20 Assessment Task 2: Film a chat to Due date: Act 21 camera. Assessment Task 3: Deal with conflict and Due date: Act 21 Participate in negotiations to reach a win win resolution. Assessment Task 4a: Attend a screen test Due date: End of Term 3 Date TBC or with a third party Industry Agent, a Casting to be negotiated between teacher and consultant or director and your teacher. student Assessment Task 4b: Submit workbook Due date: Act 23 Materials / Equipment Required to Conduct Assessment: Script, workbook, folio, camera and tripod, SD card Evidence: Evidence of warm up regime, rehearsal of chosen script, written folio entries matching the workbook, filming in front of camera, ability to be critiques, overcome performance anxiety Rehearsal to be filmed on SD card, student uploads to personal computer, workbook, third party filming critique. Teacher Assessor Name: Date/Time of Assessment: Student Declaration I declare that no part of this assessment has been copied from another person’s work, except where clearly noted on documents or work submitted. I declare that no other person has written any part of this assessment for me. I understand that plagiarism is a serious offence that may lead to disciplinary action. Student Signature:______Date: ______

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) CUFMUP401A Design, apply and remove make-up

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13 15 to 18 year olds Method/s of Assessment: Design, apply and remove standard make-up for productions in the screen, media and entertainment industries. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: development of make-up plans that demonstrate an ability to: identify and deal with requirements of performers/talent, select appropriate products and application techniques, incorporate colour design principles into make-up designs, take production environment into account when designing make-up, meet production requirements, consistent application of local health and hygiene requirements/regulations in relation to make-up services, consistent application of OHS practices in regard to the provision of make-up services , correct make-up product application and removal techniques, collaborative approach to work, ability to communicate effectively with performers/talent in relation to make-up application. Evidence of participation for the elective film project and submission of individual workbook. Instructions to Students: You must complete the following Assessment Task 1: Design make-up Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 2: Apply make-up Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 3: Apply and maintain make-up Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 4: Remove make-up Due date: Continual assessments with final assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, workbook, folio (digital or hard copy) Evidence: Knowledge of camera shots, work filmed on SD card, student folio uploads, journal/folio entries, email/hard copy homework, and evidence of 160 hours of work. Submit film Act 20.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) CUFAIR302A Develop techniques for presenting information to camera

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 113 15 to 18 year olds Method/s of Assessment: This unit describes the performance outcomes, skills and knowledge required to communicate effectively when presenting to camera. Organisation of own work schedules, monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: ability to read scripted information in a natural way, effective on-camera presentation style, collaborative approach to work and evidence of participation for the elective film project and submission of individual workbook. Instructions to Students: This UOC applies to trainee presenters at television stations and volunteer presenters in community television apply the vocal and personal presentation techniques described in this unit. You must complete the following: Assessment Task 1: Identify the elements of Due date: Continual assessments with final effective television presentation assessment occurring at the end of Term 3 Assessment Task 2: Develop techniques for reading Due date: Continual assessments with final scripted material assessment occurring at the end of Term 3 Assessment Task 3: Develop techniques for Due date: Continual assessments with final communicating effectively on camera assessment occurring at the end of Term 3 Assessment Task 4: Record scripted material for Due date: Continual assessments with final broadcast assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, workbook (digital or hard copy) Filmed work submitted by universal file type on USB/SD Evidence: Work filmed on SD card, student folio uploads. Film and folio Act 20.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) CUFDRT602A Audition and select performers

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13 15 to 18 year olds Method/s of Assessment: This unit describes the performance outcomes, skills and knowledge required to audition and select suitable performers for productions in film, television and interactive media. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: election of performers for screen productions that demonstrates: Understanding of the conventions and practices of casting performers for screen productions, ability to select performers that fit character profiles, effective communication techniques in conveying character requirements to performers. Evidence of participation for the elective film project and submission of individual workbook. Instructions to Students: Selecting the right performers for a role is a critical task in the pre-production phase. It involves detailed analysis of scripts as the basis for developing character profiles that will lead to the most appropriate performers being auditioned and selected. Creative and effective interaction between performers is an important factor for directors to take into account when deciding on the final mix of actors for productions, as is the ability of performers to relate to the camera and their overall appeal on screen. You must complete the following: Assessment Task 1: Prepare for auditions Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 2: Audition performers Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 3: Select performers Due date: Continual assessments with final assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual Evidence: filmed on SD card, student uploads to personal computer, journal, email/hard copy homework. Submit film and folios Act 20.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) CUFCAM401A Shoot a wide range of television content

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13 15 to 18 year olds Method/s of Assessment: This unit describes the skills and knowledge required by a cameraperson who usually works without supervision to shoot television content. The person undertakes the preparation and technical aspects of a shoot, including camera, sound and lights. On occasion, the cameraperson works with a sound recordist or lighting technician and may coordinate their operations. Other duties may include manipulation of cameras, e.g. on dolly tracks and cable control. Program styles covered by this unit include news and current affairs, corporate videos, coverage of events and relatively complex documentary materials. Evidence includes: Shoot FOUR types of films, participation for the elective film project and submission of individual folio. Instructions to Students: The camera person contributes creatively to outcomes and works collaboratively with producers or directors, either as an employee of a production house or as a freelancer on assignment. You must complete the following: Assessment Task 1: Prepare for shoots Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 2: Set up shoots Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 3: Shoot content Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 4: Wrap up shoots Due date: Continual assessments with final assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, folio. Evidence: filmed on SD card, student uploads to personal computer, journal, email/hard copy homework. Submit films and folio Act 20.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) CUFDRT502A Direct performers

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13 15 to 18 year olds Method/s of Assessment: This unit describes the performance outcomes, skills and knowledge required to direct performers during the filming or recording of productions. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: directing of screen productions that demonstrates: effective communication with cast and crew, ability to develop strategies to adjust planned performances, knowledge of all technical, staging and artistic aspects of a production, ability to meet production deadlines and evidence of participation for the elective film project and submission of one short film and folio/workbook. Instructions to Students: Even though directors act with a high degree of autonomy and are ultimately responsible for realising the production's creative vision, they are members of a production team and need to collaborate with technical and administrative personnel during rehearsals and on film shoots. A high level of creativity is expected, along with the flexibility to make compromises where necessary. You must complete the following: Assessment Task 1: Prepare for actual production. Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 2: Facilitate performances. Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 3: Wrap production Due date: Continual assessments with final assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, folio. Evidence: filmed on SD card, student uploads to personal computer, journal, email/hard copy homework. Submit film and folios Act 20.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) VU21843 Write the script

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13, 15 to 18 year olds

Method/s of Assessment: This unit covers the knowledge and skills to develop, write and perform a script for a performance piece for a filmed production. The skills and knowledge described in this unit are used by actors who may work on a wide range of film, television and other screen-based productions, in preparing basic scripts in order to further enhance and develop their delivery skills, and to provide original material for their own use. Evidence includes: Understand what a narrative is, research scripts: contemporary, period or futuristic, ability to obtain feedback from self-written scripts, to utilise the final draft for filming purposes, to draft and redraft such as: elective script, to laugh/cry, special skills, contemporary monologues, to implement and document changes to script, research tasks and complete homework. Instructions to Students: you must complete the following Assessment Task 1: Write scripts Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 2: Complete workbook Due date: Continual assessments with final assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, Learner Manual, workbook, scripts Evidence: Write scripts, research scripts, transcribe scripts, journal notes, workbook by Act 23

Teacher Assessor Name: Date of Assessment: Student Declaration I declare that no part of this assessment has been copied from another person’s work, except where clearly noted on documents or work submitted. I declare that another person has written no part of this assessment for me. I understand that plagiarism is a serious offence that may lead to disciplinary action. Student Signature: ______Date: ______

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) VU21840 Expand skills for auditions

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13 15 to 18 year olds Method/s of Assessment: This unit covers the knowledge and skills to plan, prepare and present for auditions and screen tests including knowledge of the different casting and filming environments and preparation required to perform to industry standard. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: research for the development of a warm up regime, research and film all monologue and duologue scripts, evidence of research tasks, complete homework. Instructions to Students: you must complete the following: Assessment Task 1: Demonstrate a warm-up regime Due date: Continual assessments with final for audition and screen tests assessment occurring at the end of year at Graduation Assessment Task 2: Plan audition and screen-test Due date: Continual assessments with final performance (include promotional materials) assessment occurring at the end of year at Graduation Assessment Task 3: Present audition and screen- Due date: Continual assessments with final test assessment occurring at the end of year at Graduation Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, journal Evidence: All scripts filmed on SD card, student uploads to personal computer, journal entries, email/hard copy homework

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) BSBWOR301B Expand script knowledge and performance skills

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13 15 to 18 year olds Method/s of Assessment: This unit covers the knowledge and skills to prepare, rehearse and refine a wide variety of text for on-screen performance. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: rehearse and film a monologue, rehearse and film a duologue, rehearse and film period and futuristic script, employ appropriate strategies to prepare for screen performance, review performance and incorporate into future screen performances, collaborate effectively with all creative and technical colleagues. Instructions to Students: Pre-requisite units from Year 1 must be competent: Develop script knowledge and performance skills, Develop acting techniques competency. You must complete the following: Assessment Task 1: Write and film a monologue Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 2: Rehearse and film a duologue Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 3: Rehearse a variety of scenes Due date: Continual assessments with final and scripts assessment occurring at the end of Term 3 Assessment Task 4: Rehearse a variety of Due date: Continual assessments with final characters assessment occurring at the end of Term 3 Assessment Task 5: Record the performance Due date: Continual assessments with final assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learners Manual Evidence: All scripts filmed on SD card, student uploads to personal computer, journal entries, email/hard copy homework

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Notes for: VU21841 Extend script knowledge and performance skills Year 2 students may use scripts from a variety of sources. Follow the information given in the Learners Manual.

1. Read the script. 2. Gain the facts. 3. Find out about the circumstances of the character. 4. Does the character change the action, attitude, topic or conversation of the scene? 5. What is the character’s objective? How and why is your character doing what they are doing? 6. What is the motive of the character? 7. What is the conflict within the scene? 8. Does the character want the other character(s) to do something, feel something, and understand something? 9. Do you have to adjust the delivery of the script with director, acting coach, and teacher suggestions? 10. Mark significant changes (called BEATS). What are the beats in a scene? These are changes on script and can happen in any place, so mark them with two forward slashes // where there is change in mood, a change in language, a change in tactic. 11. Helping understand delivery using BEATS: I can’t believe you went to that party. Why would you something like that? BECOMES I can’t believe you went to that party. // Why would you do something like that? (Second character is reflecting about a friend going to party, which he/she doesn’t approve of, the BEAT heightens the disbelief. Mark BEATS to help change the dynamics of character delivery within all your scripts. 12. What are the important words in the script? Highlight them or underline them they need different nuanced delivery. 13. Understand the words – use a dictionary, Google pronunciation of words, use the words the playwright wrote, don’t change them because you don’t understand them.

Use this information to breakdown every script.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) VU21842 Extend acting techniques

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13 15 to 18 year olds Method/s of Assessment: This unit covers the knowledge and skills to refine and extend the range of acting techniques to perform in front of camera and to be able to explore the methods of performance for the acquisition of excellence within an acting role. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: demonstrate spontaneity and creativity in a prescribed screen performance context, perform a series of characterisations and scenes as a screen performer, perform a variety of scripts, use practice to achieve screen performance readiness. Instructions to Students: Pre-requisite units from Year 1 Develop script knowledge and performance skills and Develop acting techniques. You must complete the following: Assessment Task 1: Apply spontaneity and creativity Due date: Continual assessments with final in a prescribed performance context assessment occurring at the year at Graduation Assessment Task 2: Perform a series of Due date: Continual assessments with final characterisations and scenes assessment occurring at the year at Graduation Assessment Task 3: Broaden camera techniques Due date: Continual assessments with final assessment occurring at the year at Graduation Assessment Task 4: Develop intellectual and Due date: Continual assessments with final emotional preparedness for recording of performance assessment occurring at the year at Graduation Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, Journal Evidence: All scripts filmed on SD card, student uploads to personal computer, journal entries, email/hard copy homework

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Using Universal File Types

When digitally submitting homework documents, videos or sound files it is important that the person on the receiving end can easily access and view the files you are sending. This is so often not achieved as people use file extensions that aren’t compatible with all computer programs. These problems can easily be fixed by taking the time to check the file type you are saving as and, if it is not a widely accepted one, saving as or exporting in a different extension.

This is not only relevant to this course, but will also be needed throughout the rest of high school, TAFE, university and even your career. Quite often TAFE and university students will be required to submit online versions of assignments and if these are NOT with the correct file type, they will NOT be accepted and therefore NOT marked.

It is NOT your teacher’s responsibility to convert files.

When submitting work, please name all documents properly, with your name, year, cluster, and what the work is. Example: Bill RobinsonYear2 Mullum CV.

Below are the accepted file types/extensions for submission

Documents – docx or doc (Do NOT use PDF’S as we can’t mark and email back to you). Photos – JPEG. Video – mov or mp4. Sound - mp3.

If you are not familiar with any of these or are unsure how to save in these file types, take some time to get to know the software you are using. Most programs under either the ‘Save As’ option, or the ‘Export’ option will give you a wide variety of file types to use. If you are using a program that doesn’t have these options then it is most likely not a widely used program and it is recommended you either change software or download a converter for your submission files.

Please submit your work via email in the above formats, some work may be uploaded on the locked Facebook group or on USB.

Reminder – If you are away for a filming session, it is your responsibility to film at home and give to your teacher the following week on an SD card, or convert the file to an mp4. This site is free with no limit: http://www.convertfiles.com/ and then email to your teacher.

This should only be done once. Do not miss filming sessions, as these are very hard to catch up on.

Written by Peta, Alex and Danaë (past students).

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Log of Hours

Nominal hours for the Certificate III in Acting (Screen) is 570 – 700 hours over two years. Suggested learning time: three plus hours per week plus research, study (non- supervised learning), and Industry days (excursions).

The course provides for delivery in a variety of modes, including: • Acting exercises. • Practical assessments in front of camera. • Interesting range of topics covered. • Pathways and peripheral jobs information. • Industry guest speaker workshops and tutorials. • Knowledge of how the industry works.

The time required to undertake these activities will vary between students based on their experience. On average, the non-supervised activities listed above will equate to 500 hours. Students will be required to keep a ‘Log of Hours’ to record performance arts activities, many will be directly relatable to the course learning tasks, but some may be from additional studies with the performance arts.

Hours Allowed • VCE Drama. • VCE Theatre. • Fee for service drama/music theatre/performing arts lessons. • Dancing/singing lessons. • Acting coaching (for auditions – one on one). • Circus arts. • Time spent learning scripts for class. • Time spend researching class tasks. • Time spend practicing filming. • Time spend watching YOUTUBE VIDS/FILMS for acting technique work.

Do NOT write hours of class.

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3. Filming Preparation for Act 2 – Becky/Blair White Read and discuss the script, Becky/Blair White – read and discuss the character backstories and other information given. Please THINK about the character’s feelings and what they do in certain given situations. All students will learn the part of Becky/Blair, Meg is a read in only.

The script is set in a small country town where everybody knows everybody else’s business. Becky/Blair is sitting on the front verandah steps. Meg is Becky/Blair’s best friend’s mother, and she has come to tell her to stay away from her friend. Becky/Blair is very aware of and sensitive to the feelings about his/her family around town, and therefore when approached by Meg, he/she reacts in an inappropriate way.

Becky/Blair is Meg walks up to sitting on the her/him. It is front implied that it is a verandah pathway. She is steps. not in shot.

Camera

4. In your journals write about why you are doing this course.

5. Homework Learn the script, Becky/Blair White for filming in Act 2. When you learn lines, remember that you must be word perfect. Learn your script backwards, forwards and inside out. Think about your character.

Develop and write a character backstory for your part, using the information provided. You must write one for every part that you film to help you understand their personality/character within the script.

Read Student Induction Information.

Hand in Indemnity form next week.

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Read the following on filming a Chat to Camera – when you go to an audition you are sometimes asked to chat to camera. This means that you give your name, age range, agents name and any other piece of information that you want to give to the Casting Consultant. It is a professional necessity. This means you must practice and practice. Once you get the idea of what’s required, keep changing it so it becomes spontaneous and not a rehearsed piece. Sometimes the Casting Consultant/Director will ask you questions, listen to what’s being said to you so you can respond honestly. WHAT WILL MAKE YOU BE REMEMBERED? As much as we want to look good in front of camera remember there are only so many lead parts. We need to concentrate on the job of acting and not just on how we look.

Basic Camera Shot Examples

Framing You will get used to what sort of shot is being filmed and what you have to do for that shot. When you are working with another actor, you focus on natural conversation and that means that sometimes you will look at that other person and sometimes you will not. So do not look at the other person we are talking to the whole time unless directed to.

Connecting with another person also depends on how you are feeling, the state of your character. So if you are doing a monologue then you must decide where you are looking. We’ll examine this later when you work on monologues. Framing is an important technique to develop; you need to know how much movement you have within the fame and adjust your acting accordingly. In this course, we will work most with close ups and medium close ups.

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SCRIPT – BECKY/BLAIR

HOMESTEAD/BECKY’S/BLAIR’S PLACE INT (DAY)

An unhappy MEG has come to tell BECKY/BLAIR to stay away from her daughter/son. Becky/Blair has let her say her piece.

Meg …So I’d really appreciate it if you’d stay away from Jodi… She needs to find her feet.

Becky/Blair Seems to me like it’s you having the adjustment problem, not her.

Meg I’m not at all interested in your opinion (Becky/Blair).

Becky/Blair Now that’s weird… I was just about to say the same thing to you.

They are now at some sort of stalemate.

Meg I should’ve known better than to try and reason with you.

Becky/Blair With a certain edge of bitterness in the voice… Yeah… You should’ve. ‘Cos you know what I’m like don’t you? The whole TOWN knows what I’m like. It gives them something to talk about while they’re shopping…

Meg I don’t listen to gossip…

Becky/Blair Can’t blame them though, can you? I mean, look at the family…

Meg (Becky/Blair), don’t…

Becky/Blair Don’t what? Hide the fact that Dad’s a drinker? That my brother’s in jail? Poor me never had a chance, did I? It’s in my genes.

Meg I don’t listen to gossip.

Becky/Blair Yeah? Then why the hell are you in here telling me what a bad influence I am on your little girl?

Meg I think I better go.

Becky/Blair You won’t mind if I don’t see you out.

Beat.

Becky/Blair Oh, almost forgot… I’m expecting 14 or 15 (shearers/sheilas) here any minute, but don’t worry, I’ll try to keep the moaning down to a minimum.

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ACT 2

1. Warm Ups

2. Filming Film Becky/Blair.

3. Readings and Discussions Read and discuss the journal and how to write weekly notes – this will be important for the course. Write about such things as: inspirations, naturalism, course expectations, warm ups, reading in class, workloads, group dynamics, line learning. Your notes need good descriptions of important things about acting – What are they and why are they important? A good actor learns these instinctively; these skills become second nature.

Warm ups. Character backstory. Blank canvas. Understated acting. Visualisation. Dissection of script. Managing performance anxiety. Pausing. Natural speech. Tactility. Using props. Action and reaction. Extras. Bit parts. Blocking. Camera angles. Taking your mark. Eye line. Body language. Tension. Focus.

Write journal notes on the idea of being different – When acting in a group, don’t copy or mimic. What makes you different? Describe your attitude to working on a film set. If you were cast in a part that makes you a known face, how would you stay sensible, keep your common sense and not become big headed and not forget your friends?

Discuss prioritising and workloads – we all have the best intentions to work hard, but what happens when there is too much homework, too many SACS, too many productions to be in, many social events, or too many shifts at work? What really happens when you let these things get in the way of your study of and passion for acting?

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Discuss group dynamics – what are they and how do we build them? Think about preconceived ideas, cultural diversity and sub cultures.

Discuss line learning – if you cannot learn lines, how can you experiment, develop and grow as an actor? Yet, many students will make varied excuses as to why they can’t learn lines. Imagine getting a place at a full time drama school and you don’t learn lines there! In your heads I can hear you saying “that’s stupid” but unfortunately some of you will make those hundreds of excuses hoping that you can wing it or that your teacher won’t notice. Sorry, it won’t work at this level. Perhaps you need to do some research on performance anxiety or memory retention exercises or maybe you just need to put the hard work in to learn the lines. If you do not film with lines learned then you will be assessed as not competent and then what will be the point in you doing the course. It would be truly ridiculous if you were cast in a part and when filming you hadn’t learnt or couldn’t remember your lines.

4. Writing a Character Backstory A backstory is background information on a character. You will write a character backstory for EVERY character you play. If the script is limited, use your imagination.

Character backstory – Past events, influences and experiences shape who your characters are: A person’s past affects their present. From the script ask these questions: • What events from the past may affect my character now, physically? • How have past events shaped my character emotionally? • What past situations have led my character down the road they’re on? • What were their choices and how do they feel about the road they have chosen?

When characters are one-dimensional and predictable, they’re hard to believe. How can backstory help with character development? We are all products of both nature (ingrained personality traits) and nurture (our past experience and how we respond to it). Events (significant or small) that have happened to us throughout our lives both shape us.

Your character is a real person and carries all kinds of experiences with them, such as: • A happy, loving childhood. • An abusive, cruel one. • Lost loves. • Inspiring mentors. • Smaller and larger triumphs. • Smaller and larger failures.

Imagine significant past events for your character’s life, what new experiences might trigger: • Fear? Are There Productions P/L trading as the Australian College of Dramatic Arts 28 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

• Comfort? • Nostalgia? • Anger? • Retreat. • Happiness. Enjoy creating your character.

If you are still struggling with backstories, there are some examples below.

5. Example Character Backstories The 100 – Clarke Griffin Clarke’s eager to learn, brave, smart and loving. She studied medicine to help others, but can also be stubborn; nothing can change her mind.

Riverdale – Cheryl Blossom Bisexual red-head Cheryl Blossom always brings fire. She won’t stand down, but isn’t a textbook mean-girl. She really cares about others, just loves to stir mischief.

Stranger Things – Nancy Wheeler Initially concerned with high-school issues, her world is flipped when her best friend disappears and she takes matters into her own hands to find her.

The Hunger Games – Gale Hawthorne Katniss’ best friend and hunting buddy, but secretly in love with her. Fiercely devoted and loyal, a rebel visionary who fights for those he loves.

Tomorrow When the War Began – Homer Yannos Troublemaker, problematic, slob, loudmouth, macho, wild/crazy, immature;

Homer’s all of these. He’s also a: leader, thinker, planner and careful, innovative, caring, supportive, brave and indomitable.

6. Writing Film Critiques Film critiques are a reflection of your own work. Once your work has been filmed, upload from your SD to your computer so you can watch and make reflective comments for every filming session. Discuss the level of content with your teacher, at Year 2 level; there should be a greater sophistication of detail within your written work.

7. Voice Training Stanislavski on Voice Work “After many years of acting and directing experience I arrived at the full realisation…that every actor must be in possession of excellent diction and pronunciation, that he must feel not only the phrases and words but also each syllable and each letter.

Words and the way they are spoken show up much more on the stage than in ordinary life… An actor should know his own tongue in every particular. Of what use will all the subtleties of emotion be if they are expressed in poor speech? Are There Productions P/L trading as the Australian College of Dramatic Arts 29 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

Re: David Tennant as Doctor Who is a Scot and yet speaks in the character with no trace of an accent, but his natural voice is with accent.”

Voice Training for Actors Certain methods are identified with certain teachers and many actor-training programs around the world involve some form of Method training (Stanislavsky/ Strasberg/ Adler/ Hagen/ Meisner) in which the actor works from the inside out, identifying with a character’s emotional life and using creative imagination to give the character a lifelike quality. Sometimes this type of training has been carried to extremes, emphasising inner life at the expense of total development of words and language.

Actor-training programs do include voice classes, but often the work is not fully integrated into the actor’s performance. As a result, many actors think that a few relaxation techniques, some sense memory, and rehearsals are good enough to yield good acting but if the actor’s total physical and vocal instrument is insufficiently developed or flawed, all performance, no matter how large or small will not reach or engage an audience.

Quote “The best theatre is about trying to find and tell the truth. It’s not about covering up. It’s not about playing games, it’s not about hiding. It’s not about pretending you’re something you’re not. It’s trying to find out what it is to be a human being and why we behave towards each other as we do.” - Glenda Jackson (from the biography by Chris Bryant).

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CERTIFICATE III ELECTIVES PROJECT BRIEF

Project Name: KILOWHAT RAW TV The ELECTIVES Unit of Competencies work is project based. You must choose a UOC from the Unit Bank. Let your teacher know next lesson (and after the elective excursion), as your choice must be recorded on VASS.

You will be doing individual work for the elective UOC’s and also a group filming project. You must design a folio – hard copy or digital for submission of your individual and group work.

In order to satisfy the knowledge and skills for each UOC, the filmed project sits along side the work that has to be done for each with the workbook.

Kilowhat Raw TV allows students to work on a filming project that is teen driven. You will be divided into groups with a good representation of the electives with the groups. For example; 1 x make-up student, 2 x audition students, 1 x director, 1 x presenter and 1 x screen and media student.

Kilowhat meaning – heavy questioning OR anything goes.

The aim of the project is to produce ONE 5 minute film or FIVE episodes of ONE minute duration. You will be shown you some past examples of student work at the excursion. Please choose from the following:

SEGMENT 1 WHAT’S GOING ON? Your world and beyond

SEGMENT 2 WHAT ABOUT ME? Body, mind and soul

SEGMENT 3 WHAT ABOUT US? Self-development, friends & groups

SEGMENT 4 WHAT'S NEXT School and beyond

SEGMENT 5 WHAT'S NEWS? News affecting teens

SEGMENT 6 WHAT'S UP? Hobbies, tech and talent

SEGMENT 7 WHAT'S NEW Reviews/what keeps us going

SEGMENT 8 WHATEVER! Your choice of script genre

Audiences demand appealing, interesting, gifted, unusual, gritty and gutsy performances with the same demands in filming quality.

Focus Commit to well-planned pre production, production and post productions. In pre production commit to developing detailed storylines, characters, narratives. Within your planning, lateral thinking plays an important part in focus on student special skills; such as singing, dancing, circus arts, or music instrument skills. Are There Productions P/L trading as the Australian College of Dramatic Arts 31 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

Focus on using appropriate language and appropriate themes.

End Result The film will be given to a Television Producer for comment towards your assessment.

Film Use MP4 and/or MOV format and put on SD/USB and submit on the due date for assessment.

Project Brief Watch the following:, these are good examples from past students. https://www.youtube.com/watch?v=uzd2n0sKC6o&list=PLSq3XMU6syeyw4 Eu6jrfb_4BmodvUIFnp

Read the individual elective workbooks so you can plan your work for the project.

Presenters are encouraged be part of the elective film perhaps as a news reporter or a presenter style. See example: ‘Goodbye Earth’ where the elective presenter was the news reporter. All other Year 2 students should NOT act in any film except in exceptional circumstances such as an actor dropping out last minute, or a sick cast member.

All students MUST attend the filming of the elective film to assist and encourage the actors and the whole process.

ALL Year 1 students MUST be used as actors, you may audition other actors for adult roles, but you may NOT use under 15 year olds due to legal and insurance reasons.

In your pre production planning, the script must be finalised by Act 14 and emailed or attached as document on Facebook for the Year 1s, so they have one week to learn your audition script. Scripts should be no longer than 2 pages.

Risk assessments must be done for each location and any action acting or stunt work within the film. When required, you may need an OHS officer on set.

Permission must be gained and in writing in order to use your school location for filming whether external or internal. Please go to the ACDA Student Resources website and find the permission slip on the electives page.

You must not use known Commercial Copyrighted Music for the electives. Only use royalty free music or own music.

Use universal file types (see post production information).

At the end of the film you must add credits and then put © Australian College of Dramatic Arts.

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Director – You have the vision of what you want the film to look like. You must plan the location (exterior or interior), the look and feel of the film, the music, the lights, the design of the set, the type of props you want and according to the script, the type of actors you want, age range, capabilities and other misé-en- scene elements. Think about what you watch and why you watch certain things. What is it that appeals to you?

Once you have gained this vision, you then need to discuss this with your group so that they have an understanding on what they need to plan for their elective roles; who to cast, when to cast, filming requirements, the filming equipment that is to be used, working safely, makeup, hair and costume designs, presenter segments and style (and so on) to achieve your overall vision as a group by setting goals.

Casting – You must know who you are auditioning, where and how you will send the brief out, how to organise and record notes during screen tests, organising and keeping potential actors CV's, and making decisions in accordance with the director's and the groups’ vision of the film.

Presenter – Research how you will present your segments, in both the elective film and for your own folio. What will you look like? What will you sound like? Is your screen personality likeable? What is your presenter personality? You must work with the director and the group to obtain the vision that has been set for the genre of the elective film?

Makeup – Are you sufficiently practiced to be able to makeup the actors to the satisfaction of the director and groups’ vision? Have you factored in enough time with the group to enable to do your makeup pre filming? When filming occurs, you must be on hand to make sure the actors look as the director has envisioned them, as well as for any changes and touch ups required.

Shoot Television – Work with the director and the group on fulfilling visions and expectations. As you are filming, ensure you do not have hundreds of hours of raw footage. Keep your takes simple. You may also be the one editing, and so raw footage must be kept safe.

8. Homework Research and find scripts from film and television, both monologues and duologues that suit your age range and personality. Constantly research (ongoing), and find contemporary scripts, that are around 2 minutes. Put copies of these scripts in the back of your journal. Also record resources for finding scripts.

Start to make decisions about your elective UOC choice.

Write your film critique on Becky/Blair – Your teacher will give you notes in class (written or verbal) and a formative score. Please record your own thoughts in your journal after watching your vid at home.

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Bring your smart phone and tripod (or blu tak) in Act 3’s filming of the self tape. Learning to produce your own self tape for auditions is a must know in this industry, and this is your chance to practice in class. This self tape will be a chat to camera. 20 seconds of talking about yourself and showing your personality. Work in pairs and critique in your journal.

Please view How To Self Tape Your Audition, for a better idea of what you will be working for filming in Act 3. Find the video here: https://www.youtube.com/watch?v=GZs_nEg7mLc

Please also watch the How To Perform A Chat To Camera video for filming in Act 3. Find this video at: https://www.youtube.com/watch?v=PnMa9YdY-RM

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ACT 3

1. Warm Ups

2. Filming: Chat to camera

3. Filming: Self Tape Discuss and practice self-tapes - Producing a good self-tape for an audition can make all the difference in a casting decision. Keep practicing at home.

Together in class, watch the ACDA How To Self Tape Your Audition on the ACDA YouTube channel - https://www.youtube.com/watch?v=GZs_nEg7mLc. Discuss with your peers and teacher, any thoughts, questions or queries.

Hints to self tape for an audition using your smart phone: 1. The camera on the smart phone can have considerably high quality video 2. Check your hair and makeup and costume before filming 3. Use a tripod or mount to a wall 4. Steady audition filming is essential 5. Sound is crucial – most smart phones can deliver good sound 6. Use natural lighting as much as possible 7. Face a window, film outside… but not in full sun 8. Transfer footage to your computer, and save as mp4 or mov with your full name, date, and audition title 9. Email to your teacher explaining your response to the request

You need to start practicing self-taping at home, as later you must submit an audition via self-tape as a crucial part of this course. If it is poorly produced, you could lose the job, no matter how good your acting is, so work hard at this. Start practicing this as in Act 22 you will be submitting a self tape audition via email. Review at home, write your critique and the things you have to work on.

4. Readings and Discussions Discuss audition and screen-test information An audition is a performance by an actor to show their suitability for a role. The actor must show their talent by a known and rehearsed solo piece.

Auditions can be called casting calls.

Occasionally a short script may be given to the actor at the audition shortly before.

An Open Call, also referred to as an open casting call or open audition, is an acting audition where anyone who wants to audition can show up and audition. An Open Call is much different from a typical scheduled acting audition.

If you get an audition notice (from school productions, agent, online or other) then you need to: • Know that you're available before you accept the audition

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• Get all the details of the project, dates etc • Know if you have lines, receive the script, memorise scripts – whether is be a monologue or a duologue. • Confirm the audition • Write you acting CV with headshot and take two hard copies in case • Have access to a video of you if needed – your self tape or two contrasting pieces • Be prepared to do a cold read. (This happens more for Television Commercials than for an Acting audition).

A screen test is a method of determining the suitability of an actor for performing on film or in a particular role. The actor is generally given a scene, or selected lines and actions, and instructed to perform in front of a camera to see if they are suitable. The actor is given a script (lines and actions) and which will be performed in front of a camera to ascertain suitability. The vid is then emailed to the decision makers. The actor may be given a script to read at sight (cold read). In some cases, the actor may be asked to read a scene, in which another performer reads the lines of another character.

We do all these things throughout the course – more details are in Student Resources on the acda.vic.edu.au website.

Discuss attendance – attendance is paramount for the filming requirements of this course. It is not possible to make up filming time if you are away. This has been tried in previous years and does not work. This actually hinders those who do attend and takes away from their class time. This is a very strong reminder that you must attend all classes.

Discuss age range again – You are now a year older, your appearance has changed and your age range must reflect this.

Discuss camera techniques – You have now had a year working in front of camera. You should have worked out by now not to overact as this does not appear truthful on screen. Today’s style of filming needs you to show real characters (people). This year’s work needs to focus on getting into character, knowing your character and portraying your character truthfully. If you do not believe what you see when watching your work back then you need to practice more, be more understated to attain believability. Many of the upcoming scripts will be filmed as close ups, you will see everything: your concentration, or lack of

it, the moment you forget your lines, the moment you get distracted, your apprehension, your nerves. When you watch yourself at home, look at your eyes. Turn off the sound. Do you still believe you? So prepare well, know your lines, know your moves, and know your relationship with other characters. As a side note, if your partner is not prepared then this will affect your performance and assessment. Don’t put up with lazy partners.

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Discuss improvisation – When working with another actor, you tend to focus on natural conversation. Sometimes you will look at that other person, sometimes you will not. Think of your character’s state of mind, and think of verbal and nonverbal communication. As an actor this is your thinking homework and will help you get to the truth in your character.

Discuss finding your mark – Hitting your mark(s) and knowing where they are is a key skill. Throughout blocking, your teacher will give you basic blocking in the first rehearsal, that is, the location you must go to, your movements in the scene. Occasionally, you will get a mark on the floor that you must hit throughout the scene.

5. Homework Please research the Actors Union, found at the MEAA site: meaa.org – go to Resources and search for downloads explaining what the union does to help actors and how to join.

Read the MEAA Tips from the Top: How to Nail an Audition! Article at https://www.meaa.org/news/tips-from-the-top/

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ACT 4

1. Warm Ups and a Reminder This is a reminder about writing up to date journal notes – Journal notes are important, especially when you need to refer to a point of information in for example, a UOC workbook.

2. Readings and Discussions Discuss the difference between an agent and casting consultant – An agent has a stable of actors that they look after, and a casting consultant/director contacts agents when they are casting for parts. They will send a brief to the agents and request actors for auditions or screen tests.

Discuss actions and reactions – Just because we’re acting in front of camera does not mean that we stop reacting, we just need to know what we are doing and then do it in an understated way.

Discuss acting techniques and film and TV practitioners – to name a few, Constantine Stanislavski, Sanford Meisner, Stella Adler, Lee Strasberg, Uta Hagen, Mel Churcher, Viola Davis and Michael Caine. These can be found on the ACDA website under Student Resources.

Divide into groups, then read the information, How To Get An Agent, Talent Agencies Don’t Advertise, Finding A Casting Agent (or not!), Casting Guidelines and StarNow and Casting Networks on the following pages and we will then come together and discuss as a class – be aware you have a fair amount of reading to do for this course, but the knowledge contained within it is so important; so do not treat this lightly.

How to Get an Agent Agent’s List A list of reputable agents can be found at the actors union website www.alliance.org.au although this is not always up to date. You will find it under resources. Looking at the list and the type of actors that the specific agents look after, you will see that there are not many specialist child/teen drama agents. If an agent specialises in actors and has management in it’s title then you can be pretty sure that they will only specialise in well-known actors or actors graduating from VCA, WAAPA, NIDA. Some agents will require you to audition or workshop. This is an indication that the agent is only looking for actors and not extras. An extras agent will probably not require an audition. It is a good way to get to know the business by being on set or out on location. Beware of agents that advertise saying that they will make you a star or will guarantee work, they will take your annual fee and well … you do the figures.

Talent No matter what agency you look at joining you must be realistic about your standard of work. Talent is that indefinable something, some actors have that special quality, that magic, that stage presence, call it what you will, it's the stuff for stars. There are very few people with this. Other actors learn their art, learn how to be good and

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it does work. Imagine other jobs, someone starting out has to learn what to do, they show talent and promise for… well, it's the same with acting. But throughout all of this it is wise to have a good perception of your child/self. You have to be truthful. I can tell nearly always where a kid is at with their acting, but sometimes I get surprised, a child with great talent can even loose it. It’s great when the jigsaw pieces fall into place. Great, but no guarantee there will be work. If your child has an interest but is not an emerging talent then maybe think about extra work. Not everyone can or should be a star.

How to Join In applying to an agent you can phone them and ask their requirements for application to join or write/email them. This letter should be short and to the point but always include a CV and photo. You should make the effort to follow up. Agents are very busy people.

Agents Agents can fall into several categories, modelling, drama, stunt etc. An agent has a stable of actors on their books and arranges auditions and screen tests for their actors (clients). If an agent has many actors of the same height, size and colouring it will be much harder for you to compete for a job. Therefore always ask the agent what they are looking for. An agent is like choosing a hairdresser or an accountant. You need to be able to establish a working relationship between each other. An agent cannot get an actor a job! An agent gives the actor the opportunity to go to auditions and/or screen tests. It is possible for a modelling/extra agent to arrange a photo shoot or an extra job for their client. But for acting parts then auditions and screen tests are the only process. Therefore when the actor succeeds in getting a job the agent will then look after the actor by negotiating a fair and equitable wage and good working conditions.

VCAA The VCAA is the Victorian Children’s Agents Association. This association was founded to protect the rights of children and make sure that the agents under its auspices work in an ethical manner. Their web address is www.vcaa.com.au. Bill and I are founding members of the VCAA the Victorian Children’s Agents Association.

ADAA The Australian Drama Agents Associations is an industry body that exists to regulate and promote proper practice amongst drama agents and which aims to promote a minimum professional standard of operation for theatrical agencies and to ensure that it’s members comply with certain ethical guidelines.

Child Welfare There are protections concerning child actors. A child actor is classified as one under 15. Child welfare laws protect a child up to 14. An actor is paid an adult wage from the age of 16. A child actor should receive 75% of an adult wage, especially if the agent concerned is a member of the VCAA. In order to work a child actor must be allowed time of school, parent permission and school principal permission. Your agent will handle these forms.

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A Casting Consultant or Casting Director is employed by a production company or advertising agency to find the right actor for a part. The casting consultant will contact all agents, (schools or drama schools) in order to do this. Agents will receive the acting brief and from their books select the most suitable. Agents need to adhere to the exact details of the brief. Although sometimes the brief can change!

Acting Without going into the intricacies of screen acting, simply put these thoughts in your head. Show your own personality. Relax and do the best job you can. Be natural. Who wants to employ a nervous wreck? Enjoy. Remember this is acting for camera, it never lies; learn to enjoy the technique of acting in front of a camera. It’s like looking into your kitchen or lounge room, we want to see the natural you, not the overstated you. Acting for film and television (screen acting) requires a more understated technique than stage acting; however intimate / studio- styled theatre acting helps the technique.

Curriculum Vitae A CV is curriculum vitae, a resume, a brief history about you. It must tell the truth simply. Templates can be found on the internet. Always put the current year first and separate training from experience. It is good to mention special skills for example: horse riding, language or perhaps circus skills, but if you do put these down make sure you are very, very proficient at them. Size details are not necessary on your acting CV but are on a modelling one. But you should always know your clothing size. Hair and eye colouring are important to mention. If you are with an agent then you will use their letterhead. If you are freelancing or just starting out then put your name at the top in large lettering. After all it is your name by which casting people will remember you. Remember to keep updating your CV and send as a PDF document with a JPEG photo of you on it.

Photo When sending in a photo you need to submit a good face shot. Don’t send your ‘Deb’ photo, or photos with too much skin. Casting people need the real you not the glossy / glamour you. Once you get to a casting session they will take a photo of you anyway. And digital photos cannot be doctored! So use good light, sunlight is good. Make sure you can be seen clearly, no distance or profile photos. You do not need to go to the expense on having 8 x 10 shots done. Once you get an agent they will tell you exactly how they are going to market you and how much it will cost. Generally agents are not allowed by law to charge a joining fee, however there will be publicity fees somewhere between $200 to $450 is the fee that is charged. You should always find out what the agent is going to do for this money. This is an annual fee. Fees will be charged for actors and extras going on Internet casting databases.

Email and Electronic Contact We are now in a technological society and as a result emails have replaced a lot of conversations between actors and agents. Remember to have a good and suitable email address. A bad example would be [email protected] or [email protected] the list could go on. A good idea would simply be your name. If you need to create a work address

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separate from your personal address then do it. Remember to check your emails regularly as an agent may send you something important that you do not want to miss. Its important to also save your CV document with your name as the file name, agents receive hundreds of CV’s each year and if you just save the file as CV…you will be forgotten.

Talent Agencies Don’t Advertise Agents DO NOT Advertise to Recruit TALENT AGENTS DO NOT RECRUIT!!! Cannot stress this enough. Proper casting agents very rarely (if ever) advertise with slogans like "Extras required for film and TV earn up to $1500PW" or "FILM & TV Productions Require Actors, Extras, Models". They are recruiting to get people onto their books? Not likely. They are more likely hoping you will be willing to part with some of your money on a dream. $300 from 20 people is $6000, and that's just for starters.

With so many hopefuls, wannabes and keenly passionate individuals, legitimate agents do not need to recruit. More often than not, they are turning people away as there "books are full." These rather tempting slogans are simply that, misleading temptations, no better than spam. Treat any such posting in an electronic medium with extreme prejudice.

Top Things To Look For and be careful about 1. Bad grammar and spelling, generic email addresses, websites developed through Wix or Weebly, or free to use sites. 2. Grandiose promises with no proof. It is easy to promise or guarantee big earnings, great gigs and stardom, but where is the proof? 3. Advertising on general job sites like Seek. 4. Talent agencies do NOT street cast either. If an “agent” approaches you, they could be a con artist or worse. 5. Talent agencies do NOT cold call. They don’t email out of the blue and say things like “you’re just what we’re looking for!” 6. If agents get pushy for an answer. You need to spend time researching them, and if they get demanding, treat this is as a bad sign. 7. Try and find their ABN or ACN. 8. Don’t believe the hype or promise to be put on big shows. 9. Promises for access to casting calls that no one else has. All legitimate agents have equal access to all casting calls.

Summary Having an understanding of the nature of the business is a key aspect to not getting conned by it. Watch for the tricks and scams that are frequently tried on to so many unsuspecting individuals throughout the world. Acting is a profession that attracts the imagination of thousands of dreamers, and hundreds of schemers.

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Finding A Casting Agent or Not? Anyone thinking of finding professional work in the performance industry has basically two primary choices; find an agent or be your own agent. Both have their pros and their cons, and can leave you high and dry if you don't employ some judicious care. If you go it alone, then good luck to you. You will need to establish all of your own contacts, develop your industry reputation from nothing and hard sell yourself on a daily basis. That's not to say it is impossible. It has been done and there are many out there who say that it is the better option. Finding an agent who will represent you means not having to make as much effort in finding the desired pathways and contacts into your chosen profession. Please note that I said "as much effort" as opposed to "don't worry guys, they do everything for you." You will still need to learn the art of self marketing and not quitting. You will also have to be very judicious in who is going to represent you. You can't just walk into the first agent you find, sign up, then sit back and wait for the jobs to come rolling in. That is just not the way it works.

Knowing Yourself 1. What area are you looking to get into? Film, TV, Theatre, Musicals, Opera, Comedy? 2. What types of roles do you want? Extra and bit part work, or co lead and lead? 3. What geographical area are you looking to cover? Your local area or going global? 4. What experience do you already have, and are you prepared to seek out more? This should always be yes.

These are the things to think about before you even walk in the door of a possible agent. Once you understand better what you want, you are much better prepared to call an agent.

Knowing the Agent There are lots of different agents. They cover all aspects of the industry and come with different extras or pit falls, so be wary and research. Your first check should be the MEAA, the Media Entertainment and Arts Alliance (https://www.meaa.org/) as they are your union representatives. They fight for your rights and pay rates. For serious actors who work a lot, it is essential to be part of the union. On their website, you will find a list of agents registered. This doesn’t mean they endorse them; it just lowers the chances of signing with a dodgy agent.

MEAA Advice With the MEAA’s list of potential representatives, start making calls, sending emails and inquiring about the process to join the agency, and what services they can provide. Some useful questions might be: 1. How many people do you already have on the books? This will give an indication of where you may fall in the selection. A large number may mean high popularity, but could mean you get lost in the numbers. 2. How long have you been running the business? When was the last change in management? Long term performance is a good sign of market strength. However, this is not to say newer agencies are bad. Are There Productions P/L trading as the Australian College of Dramatic Arts 42 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

3. What shows or productions have you cast for? Are they productions you know or might be interested in? Does this validate their work? 4. Do you have a recommended photographer? Find out who this is and then research them as well. 5. Do you offer training services? If so, are they accredited? What is the cost? 6. These are just sample questions, but you should prepare a list for yourself as well. Think of it as you are hiring them. Don’t forget to also do your own research on the agent and see who they are attached to. Not everything positive or negative you find will be true, so in the end it is up to your judgment.

The Agent's Fee This is a hot issue and I wanted to deal with it independent of other things. In the UK, it is illegal for a casting agent to charge an application fee to prospective clients. Technically that is also true for Australia. Anyone who charges for simply signing onto the books should be very seriously questioned. Sometimes they may try to hide the fee in things like compulsory photo shoots, workshops and so on. This is not say to that you should steer completely clear of these places, but just be aware that there are other agents out there who would work just as hard without the initial fee.

Note from an agent: The industry has changed so much that it’s quite ‘normal’ now to have a photography fee just as long as it’s reasonable. I would be more concerned about excessive fees and for the person to understand what the fees actually cover. Anything $295 or under is fair.

Commission From the MEAA: under the Entertainment Industry Act 1989, an agent can only charge the following percentages of a performers salary as commission: 1. For an engagement involving film, television or electronic media - 10%. 2. For live theatre, live musical or variety performances - 10% for any period up to five weeks and then 5% for any period after. 3. In all other cases – 10%. Always check the MEAA for up to date information. If you are asked to pay for such things as photo shoots or workshops, etc., then ask if they are optional. For example, if you already have a portfolio of photos, would that suffice and negate the fee? Is workshop attendance optional to joining the agency? If these things were requirements, then I would seriously question the motivation of the agent in question. Are they seriously interesting in finding the next big thing, or are they more concerned about getting what they can out of you in the short term. In this industry, you can't really afford to take such risks with an agent. Remember this very important fact: You are 'hiring' them to look for work for you. Just like an employment agency. The main difference between an employment agency and a casting agency is that you will be constantly looking for performance work as opposed to that one dream job. A casting agent takes a percentage from any money that you may earn and that’s how you pay for their services and not through up-front payments. The more jobs you get and the bigger the job, the more they get paid also. It is then in their best interest to help you find work.

Making the Final Choice

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After all that exhaustive work, you should now feel you know enough to make your final choice. If it feels right to you, then do it. Go in, sign up, and shake hands. They are now providing a service to you to find you work in your chosen field. Read any contract material very carefully for any previously missed details like commission amounts, their promise to you etc.

I would also strongly recommend that at this point (if you haven't already done so) you think about joining the Union. If for any reason the agent turns out to be a dud, the union can be there to give you some support. Without that membership, you will be on your own. It's now that the hard work begins. Remember I said you have hired the Agent? Think about it. You are the manager of your career, not them. Stay involved with the industry, read the blogs, get the news, make contacts in those fields you are interested in and when you hear of new ventures, talk with your agent about getting into the mix. Get them to find out what they can and if they can submit your application.

Invite your agent reps to see your work. Even though you have asked them to find you work, what can they possibly tell future producers and directors about you? They need to see you in action. They love complimentary tickets. Be all too aware that you are not the only one they are working for. You will have to compete with all the other hopefuls on their books for a portion of their time.

If they run workshops or training services, go to them. Get them to notice you and think that you may be the next big thing for them. You need to keep reminding them that you exist and that you are keen, eager and willing to try anything. Only once you have established yourself and producers are seeking you out will you ever be able to even think of resting. Sadly by that point, you'll be working so much that you won't have the time.

Casting Guidelines Preparation 1. The parties acknowledge that adequate preparation time is essential to allow performers to prepare for an audition.

Where the performer is required to prepare a piece for the audition the Casting Consultant will use their best endeavors to provide a minimum 36 hours notice for an audition for a television commercial, and 72 hours for all other auditions.

Access to Script 2. The entire script or screenplay together with the audience piece will be made available to the performer and/or their agent no less than 72 hours prior to the audition or in the case of commercials 36 hours.

In an emergency, where it is not possible to provide the script or screenplay 72 hours in advance, the performer shall be given the opportunity at the place of the audition to read the script/screenplay prior to the commencement of the audition. The performer will not be asked to audition unless such opportunity is given.

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3. The performer will not be asked to perform an unseen piece at the audition. However, the performer may agree to and/or improvise a supplementary scene or a scene involving a new character in addition to that for which s/he was originally auditioned, after adequate time and preparation.

Accents 4. The parties recognise the importance of providing the performer with an adequate opportunity to research and prepare where an accent is required for an audition. The Casting Consultants will endeavour to provide the performer with sufficient notice but no less than 72 hours to prepare the accent. The Casting Consultant shall provide the performer with a detailed brief of the accent required.

Director 5. The performer shall be given a reasonable opportunity to discuss the role for which s/he is auditioning with the director or where the director is not involved in the audition process the key creative principal responsible for casting.

StarNow StarNow is an online casting service. The goal behind StarNow is to connect talent with casting professionals and let talent apply for jobs through their site directly to casting agents. The site is used by professionals and beginners in singing, dancing, acting, modeling, extras, photography, crew, stylists and musicians and is becoming more and more relevant as a way to apply for real film and TV jobs.

StarNow has been around for over 10 years and is trusted in the industry. There is a free version where you can make a profile, upload experience, photos, videos, mp3 files, a CV, measurements and more, and you are free to scroll through the castings listed, but you cannot apply for anything without the paid version. In saying this, it is highly recommended and worth it to get the paid account as it is cheap and you will earn your money back if you’re regularly checking your account for new messages or applications.

The site also has filters to search for paid jobs or unpaid, so whether you’re more professional and looking for films or television commercials (TVC’s) or just looking for some experience in student films, StarNow is a brilliant resource.

Casting Networks Talent Services Create your personal online CV to submit to projects and share with your industry contacts. Show the Casting Director what you can do before the audition. Add unlimited media clips up to 4 minutes each. Enable Talent Scout to let Agents know you're seeking representation. Submit your resume to film, television, and commercial roles online.

Pricing details View Premium Services and pricing details. Basic First photo FREE, unlimited updates to resume & digital size card. Profile searchable by Casting Directors and Agents.

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Access to new Casting Billboard® projects daily. Access to sides, directories, photographers, acting coaches, and more...

Directories Free searchable directories of Agencies, Casting Directors, and Managers.

Please respect the intellectual property given to you by not copying or giving to anyone else. Merilyn Brend

Read and discuss the following. Record in your journal any observations that are important to you.

Your Look Discuss with a friend or colleague. Please remember to experiment with clothes – what looks good for the part. Is the colour right for you? Is the neckline right for you? Experiment too with make-up and hair. Find the right look for every part you get. Be aware that some earrings/piercings will take the focus of the shot. What would you need to wear for a general chat to camera/audition?

Warm Up Regime You need to practice at home. Don’t be a lazy actor and only exercise when at class. What do you need to do to improve?

Speech Identify any speech issues that need to be worked on. If you are given a specific exercise please practice at home. It’s the only way you’ll get better.

Keep researching monologues – Make a folder on your laptop or computer and keep examples.

Discuss thinking – Thinking is the actor’s biggest homework apart from learning lines. Why?

7. Filming Preparation for Act 5 – Jess Morrison You will ALL learn the part of Jess. This part is suitable to both male or female. This script has many levels of character emotions. Easy friendship between Jess and Claire, but as the script further develops; Claire becomes Jess’s confidante. Whilst it is a duologue, there is an excellent monologue from Jess within it. Look at the monologue and dissect it. The monologue has purpose within the duologue. Examine its purpose and work on delivery. To be overstated in the emotional delivery of these lines would take this script into melodrama. You must work hard to find the right balance.

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8. Homework Learn the script, Jess Morrison for filming in Act 5. When you learn lines, remember that you must be word perfect. Learn your script backwards, forwards and inside out. Think about your character.

Develop and write a character backstory for Jess Morrison, using the information provided if you need to.

Plan and prepare costume, hair and makeup (if required), for the part of Jess Morrison.

Just have a think about networking in the industry. Jot down some notes in your journal.

Research acting techniques of the practitioners mentioned in the lesson plan and make your own notes. This research is for submission in Act 6.

Reminder to bring your SD card to all sessions of class.

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SCRIPT – JESS MORRISON

AN EMPTY CAFÉ INT (AFTERNOON) Jess and Claire are sitting opposite each other having a drink. The camera will start with an over the shoulder shot then close up on Jess.

Claire Hmm, that’s what I needed.

Jess Rough day?

Claire The worst. She who must be obeyed was on the war path again.

Jess Who?

Claire Your step mother.

Jess Oh.

Claire How do you feel about her anyway?

Jess Okay, now… When Dad first told me, I was pleased. Pleased for him. He’s a people person, the kind who needs a mate, and he sounded really happy. Hey, I love my dad, if he’s happy, then I’m happy. But I remember when it came to meeting her, actually seeing them together…

Claire Tough, eh?

Jess We were all home. Simon’s kids had ridden down to the road to meet them. I was in my room changing, I think. I heard the kids yelling, “They’re here! They’re here!” And I felt sick. Like I’d been kicked in the stomach. The car pulled up outside and I could hear them talking – it was loud. Like when you’ve got a hangover. They came inside and spoke to Denise, Simon and the kids. Dad had his polite voice on, the one he uses for business or visitors. I was angry. Incredibly angry. I wanted to shout “GO AWAY!” but I didn’t. And then I heard Dad yell out “Where’s Jess? Where’s my girl?” I could hear it in his voice, I knew that I had to go out. It was like walking through mud. There she was, standing there in Mum’s kitchen, holding hands with Mum’s husband. She smiled, put out her hand, I put out mine, and I said “Hello.” Everyone laughed. Denise put the kettle on and we all sat. I just wanted it to be over. That night in bed, I cried for hours.

Claire Because you didn’t like her?

Jess No. Because saying hello to Maggie Sloan, reminded me that I never really got to say goodbye to Mum.

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ACT 5

1. Warm Ups and a Reminder Please discuss your look, how you warm up and your speech needs. Don’t forget your log of hours – spend some time filling it in now.

2. Filming Prepare for filming of Jess Morrison today – rehearse your moves? What will your frame be? Make sure you have your props and costume? Check your eye line?

3. Readings and Discussions Read the below on Acting UOCs, Marks, Size of Shot and Points of Emphasis and Checklist for a Great Acting CV and what do you write in an email.

Acting UOCs The following acting UOCs have been working through this year. Familiarise your assessments tasks.

VU21840 Expand skills for auditions This unit covers the maintenance of practical skills and knowledge for actor preparation and performance for audition and screen test (including warm-up regime, health, fitness and diet). It covers knowledge of the different casting environments and preparation required to perform to a professional standard.

VU21841 Rehearse and perform for camera This unit describes the practical knowledge of a wide variety off text (including contemporary, classical and futuristic) and the rehearsing and performing of script aiding the evolution of character and plot.

VU21842 Extend acting techniques This unit describes how to provide the skills necessary to be able to perform in front of camera, to be able to make the transition to screen acting and to be able to explore the methods of performance for the acquisition of excellence within an acting role.

Marks – by Tristan de Cole Because positions are critical, you will be given marks on the floor to walk to; but if you can get to a position relative to the furniture, do so and say so – it saves you looking down. When rehearsals are taking place elsewhere, take the opportunity to perfect getting onto your marks, so that you are confident enough to move without worrying or looking down. Counting the paces required best does this.

During the studio plotting, furniture positions will be carefully marked on the floor or carpets. Chairs may be moved to as many as four sets of marks to accommodate different shots in different scenes. It is therefore vital that you do not move furniture, other than is required during the action. You may be eager to help the production Are There Productions P/L trading as the Australian College of Dramatic Arts 49 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

by moving your chair when adjustments are being made during the plotting, but be careful; in most Studios the Unions are very sensitive about who does what.

When the positions of objects on tables, such as lamps or photographs are critical for the shots, these may also be marked. If you are showing a colleague that interesting photo of your character as a child, replace it exactly as it was.

Size of Shot and Points of Emphasis - by Tristan de Cole At a latish stage in rehearsal, the director may tell you when the camera is going to be close on you, so that you can keep your performance subtle, or when on a wide angle so that you can give more. If he does not tell you his shots, you can often guess by the closeness and intensity of his stare in rehearsals. The director selects his points of emphasis – which the character should be given priority on the screen at a given moment, when to see the eyes in close up, or the action in wide shot etc. from the intentions of the script, and during rehearsal when he sees the Actor’s contribution.

The question of whether it is wise to know how a director is shooting a scene is debatable. Some actors prefer not to know incase by consciously tuning their performance they have come across theatrically. Others will tell you that there have been times when they have given a marvelously intense burning look which went for nothing in a wide shot, and if they had realised what was happening they would have conveyed their thought with a gesture.

Use this information for your next filming session.

Checklist for a GREAT CV The way your acting CV is actually structured depends on your own preferences. For example, if you Google “acting CV” and go to “Images”, you’ll see that none of them are exactly the same, but they follow a certain pattern.

Here’s the order of things you can use on your CV: 1. Your professional (stage) name (AND PHOTO). 2. Agency name (if any) FREELANCE ACTOR if you don’t. 3. Contact details, personal information and measurements. 4. Credits, work experience. 5. Training. 6. Any specific skills.

Always keep numbers 1-3 at the top in this order, and you can switch 4-6 around (but the way it’s listed above is usually the best).

Checklist – make sure you ‘Tick the boxes’ and check the CV template

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No. CHECKLIST for making the perfect Tick audition/ professional acting CV the box 1 Add your name at the top of the CV – font size 28 and BOLD. 2 Add your agent details if you have one. 3 If you don’t have an agent, put ‘FREELANCE ACTOR’ under your name. 4 Put your mobile number and email contact only – no snail mail address. 5 Add your personal description (see template example). 6 Include a headshot of yourself (no bathroom selfies or mug shots). 7 Add relevant training (see template example – most recent first). 8 Add relevant credits, work experience etc. (see template). 9 Add your skills (relevant to the industry or the role you are going for). 10 Spell check and have someone read it thoroughly. 11 Name your CV doc with your name and CV and save s PDF. 12 Make sure your CV is one page and font size for most content is 12. 13 Check your CV doesn’t have blank page(s) attached. 14 Email your CV to [email protected] with a written message of who you are and what class and cluster you are from.

Notes Remember to keep a copy of your CV as a word doc you can update as you gain more experience/ skills, change your hairstyle, need glasses or grow.

If you have an online presence like ‘StarNow’, ‘Casting Networks’ or 'Reel People’, be sure to add their link on your CV, but make sure the information online matches what you present on paper.

It pays to still have a separate CV from an online agent in case you get the opportunity to go for a role and you need to actually present something yourself – online agents don’t always work efficiently for everyone - you need to take charge yourself.

Be sure to Google your own name and see what comes up and if you are serious about acting you’ll need to work out how to have a professional profile - separate to your personal profile and how to cut through over and above others that share your name online.

Your headshot whilst not likely to be a professional one unless you have an agent can be taken by a friend or family member, just remember to use a plain/blank background and shoot from just below shoulders up. Don’t wear your school uniform as it can pigeonhole you for roles and it does look less professional; just wear something plain like a T-shirt or shirt. Google professional headshots if you get stuck.

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Making the headshot a black and white image can make it look more professional. In the second year of this course there will be an excursion that includes getting your headshots done professionally.

Examples of Year Two student headshots from 2018

The CV Template provided is a guide, you are still able to choose your own layout if you wish to. (See next page or on Student Resources)

Lastly, please remember this CV is for audition purposes and should be kept separate and not be confused with the CV you use to apply for a part time job in hospitality, retail or a fast food outlet.

Written by Nikki Wellington

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Your Name here FREELANCE ACTOR OR AGENTS NAME

M: XXXX XXX XXX E: youremailhere@makeitasensibleone

Age Range 15 - 20 Height: xx Weight: xx Eye Colour: xx Hair Colour: xx Hair Length: xx Clothing Size: xx Shoe Size: xx

Training: YEAR SCHOOL SUBJECT TEACHER

Australian College of Dramatic 22307VIC Certificate Arts III in Acting (Screen) Year 1 Australian College of Dramatic Action Acting Arts Workshop

Experience: Theatre

Television (take this out if you have no experience)

Skills: SKILL TIME/ Trained LEVEL e.g Instrument: Keyboard 2007-2012 Beginner/Intermediate

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4. Email your CV – what do you put in the email? Discuss with your class and teacher. Dear Agent (name). Here’s my CV. What else is needed to show your professionalism and respect? Name.

5. Homework Please remember to complete your log of hours – if you are unsure of what this is, there are notes on the student induction, and it is found at the back of the Learner’s Manual.

Update your CV and email to [email protected] and your teacher for comment.

Find a monologue (called Researched Monologue) that suits your age (range), gender, and personality. This is to be submitted in Act 6 and filmed in Act 7. Many casting consultants will tell you to do deep research work, not superficial searches. DO NOT use a monologue site. There are examples to read below, but please find your own.

Example Monologues Catching Fire – Katniss Everdeen “A visit from President Snow. Districts on the verge of uprisings. A death threat to Gale, with others to follow. Everyone I love doomed. And who knows who else will pay fro my actions? Unless I turn things around on this tour. Quiet the discontent and put the President’s mind at rest. And how? By proving to the country beyond any shadow of a doubt that I love Peeta Mellark.

I can’t do it, I’m not that good. Peeta’s the good one, the likeable one. He can make people believe anything. I’m the one who shuts up and sits back and lets him do as much of the talking as possible. But it isn’t Peeta who has to prove his devotion. It’s me. “

Looking for Alibrandi – Jacob “You know, I didn’t know what to talk about today, because I was only told an hour ago that I had to say something. I was gonna speak about the freedom you feel when you ride a motor bike, but that has nothing to do with having a say. When my neighbour up here was talking about ignorance when it came to sex education I was worried. I couldn’t think of anything to say that was as worthwhile as her speech. Until I looked out and saw everyone. And I felt lucky. Because we have a choice, and I think that we vote, not to get the best party in, but to keep the worst party out. Because we can stand here and protest. We can get all riled up about the Premier’s ideas. We can say he’s a dickhead even. We can call the Prime Minister and the Leader of the Opposition one as well.

We can scream and shout and protest and even burn our flag if we want to. Because we’re free to do whatever we want to do and if we break the law we get a fair trial.

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But in some countries, people can’t do that. They can’t go out into places like Martin Place and protest.

In some countries people our age can’t concentrate on their schoolwork or their lives because of the sound of gunfire.

In some countries they have one-party systems and they have things called the People’s Army and when the people come out and have a say like we’re doing today – scream and shout and voice their opinion – the People’s Army shoots the people. Young people like us.

So great. Let’s be apathetic. Let’s not vote. Let’s let anyone run this country. Let’s all be ignorant and let’s all be proud of that ignorance. And maybe we’ll have a People’s Army one day to.”

Looking for Alibrandi – Jacob “Sometimes I’m with my friends and I feel as if I don’t fit in because of you. Because you opened me up to this whole new world out there. I don’t want to become a mechanic and work all day long and then at night go to the pub and marry someone just like me and have two children and whinge about housing payments and petrol prices and the economy. I wanted that last year. No, that’s not true. I thought that’s what life was all about last year. But this year I realised, because of you, that there’s more to life. I still want to be a mechanic, but I want to step outside my circle and look at the other options. I don’t want to do what other people think I’ll end up doing. I don’t want to be stereotyped because of the school I attend or the district I live in. I want all things in life that John Barton gave up because he was too scared to step out of his circle. But I have to do that on my own.”

Looking for Alibrandi – Jacob “You were right not to let me make love to you. Because you’re you. Out of some misguided thinking you would feel the need to stay with me for the rest of your life, because you probably think that the first man you make love to is the man you have to marry. I’ve thought of that and it seems pretty freaky, but beautiful. My father was the only man my mother ever made love to, but she was sure of herself. You’re not, Jose, I’m not saying we haven’t got a chance. We have a great chance. But now is all wrong.”

Write your film critique on Jess Morrison. Your teacher will give you notes in class (written or verbal) and a score out of 3, and then record your own thoughts along with this, in your journal after watching the tape back at home.

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ACT 6

1. Warm ups

2. Work Submission Submit Acting Techniques - This needs to be submitted or emailed to your teacher on time otherwise it is considered late submission.

3. UOC Work Effectively with Diversity Read the below information on UOC Work effectively with diversity – this lesson is dedicated to working on the UOC. Start work on the UOC Work Effectively with Diversity workbook for submission in Act 9.

“The highest result of education is tolerance” – Helen Keller.

Human rights Religion Clothes/Fashion Aging Multi-lingual Technology Disability Family respect Culture heritage sites Food Sexism Racism Acceptance Class violence/conflict Traditions Volunteerism Politics Music Dance Morals Race Values Ethics Diversity

Watch the Muslim YouTube clip – role-play in class.

Watch Gary Robinson – https://www.abc.net.au/austory/unbreakable/10366464

Watch War on Waste – http://about.abc.net.au/war-on-waste-its-time-to-step-off- the-fashion-trend-mill/

Read the below on Australia and Diversity – discuss in class the diversities of culture and sub cultures.

Australia: A Culturally Diverse Society Australia has a tolerant and inclusive society made up of people from many different backgrounds. Cultural diversity is a central feature of our national identity. In 1900, the Australian population consisted of a relatively small number of Indigenous people (estimated at 95,000) and an overwhelming majority of Europeans (3.7 million), mostly from Britain. By 2013, Australia’s population had exceeded 23 million, including people from around 200 countries.

Aboriginal and Torres Strait Islander people are culturally diverse and belong to many language groups. Their lives were changed irrevocably after the British claimed Australia in 1788.

European settlement began with the establishment of British penal colonies, and more than 160 000 convicts were brought here until transportation as punishment

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ceased in 1868. From the early 1790s, the convicts were joined by free immigrants. The gold rush era of the 1850s was also influential in bringing people from many parts of the world. The largest non-European group who came during this time was Chinese.

The State of Victoria has been enriched by the presence of people from all over the world. At the 2018 Census 35.1% of Victoria's population were born overseas and 55.9% of Victorians were either born overseas, or have a parent who was born overseas. Victorians come from more than 200 countries, speak more than 230 languages and dialects and follow more than 130 religious faiths. Most of the overseas-born Victorians came to Australia as migrants hoping to find a better life for themselves and their children. A significant number came to Australia as refugees – first Europeans displaced by the Second World War, then refugees from the war in Indo-China and more recently refugees from conflicts in the republics of the former Yugoslavia, the Horn of Africa, the Middle East and Afghanistan.

Refugee A person who is outside their own country and is unable or unwilling to return due to well founded fear of being persecuted because of their race, religion, nationality, political opinion or membership to a social group.

Asylum Seeker Somebody who applies for asylum. This term applies to all people who apply for refugee protection, whether or not they are officially determined to be a refugee.

Illegal Maritime Arrivals (IMAs) IMA reference to the immigrants that arrive by boat (illegally) while non IMA’s are immigrants that come here legally, by air.

Temporary Protection Visa (TPV) A visa given to refugees after they are released from Australia Immigration Detention Facilities. TPV holders are only eligible for some of the special settlement services funded by the Commonwealth to assist new arrivals in Australia. Unlike Permanent visa holders (PV), TPV recipients have no family reunion rights and no right to re enter the country if they decide to depart Australia. TPV holder do have the right to work and have access to job matching by Centrelink. After being granted a TPV, refugees were required to reapply three years later, in case conditions had changed in their homeland. TPVs were originally introduced in 1999, under the Howard government, but were abolished under Rudd in 2008. Abbot reestablished the TPV in 2013, but this has since been disallowed.

Cultural Diversity Defining Culture is not an easy thing to do. It means different things to different people. Culture refers to our daily rituals, beliefs, attitudes, values, customs and norms. The Oxford Dictionary defines culture in broad ways. It refers to a way of life, art, music and literature. It sees culture as:

“...the customs and beliefs, art, way of life and social organisation of a particular country or group, European/Islamic/American culture/Working class culture....a

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country, group, its own beliefs, children are taught to respect different values/the effect of technology on traditional cultures...” (Wehmeier, 2000)

It also sees culture in terms of beliefs and attitudes “...the political culture of the USA and UK...A culture of failure exists in some schools...company culture...we are living in a consumer culture: You can see that culture can refer to attitudes, accepted ways of approaching / doing things, politics and / or religion. “Culture refers to a specific set of behavior, beliefs about the world and how we live in it. It encompasses every aspect of our lives, both conscious and unconscious. Culture is something, which is learnt and is passed onto us by those around us – not something that is genetic or biological in nature. It is the way we lead our lives.” Rituals, attitudes, ways of life, values, beliefs, perceptions, ideas & goals.

Examples of personal cultures Cultural identity may derive or evolve as a result of sharing similar characteristics, life experiences or choices/preferences, facing similar prejudices or discrimination e.g.: being gay or lesbian, having a disability, being a detained asylum seeker, being a survivor of the Bali bomb, playing AFL football, being a firefighter.

Tasha was born in Australia. She is twenty-three. Her father is Greek. Her mother is Australian. She was christened as a Greek Orthodox and still celebrates Greek Easter and Christmas with her father’s family. Culturally, however she does not identify strongly with Greek culture. Her lifestyle, attitudes and beliefs are much more aligned with inner city youth ‘greenie’ culture. She shares a house with friends in an inner city suburb. She and all her friends walk or ride their bike to most places and many of her friends are vegetarians and environmentalists. This is important to her. This is her prime cultural identity.

Michelle is forty. She is in a long-term committed lesbian relationship with Diane. Michelle and Diane have a child conceived with donor sperm. Her family is very loving and supportive; however, she primarily socializes with other lesbian families and their children. Other lesbian families seem to appreciate the issues, barriers and experiences she has living in an alternative family unit. She doesn’t need to explain who she is, how her partner fits into the family story, why her son doesn’t have a custodial father, and why her family is different. Her son gets to mix with other families similar in structure to his own. Michelle identifies more with lesbian family culture. She also shares political interests with other lesbian families, as they work together to have lesbian relationships recognized by the federal government. It is a shared political struggle.

There are also sub cultures within cultures and not all groups that experience a similar characteristic, experience or life choice will identify or assume the dominant culture of that group.

For example: in youth culture, there are many sub cultures including Gothic’s, Greenies and Emo’s. Some young people might not even see their identity as primarily being determined by their youth and their peer group, but rather by the sporting club they belong to, or the political party they belong to.

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In Islam, there are many different sub-cultures. Muslim people may share some commonalities, but are likely to differ in opinions regarding things such as women’s rights, extremist political action etc.

In rural areas people may share common concerns/interests such as isolation, farm life, the drought, but may not identify in other ways such as religion or politics.

Divide into groups for an improvisation – Remember, a simple word or look can convey more than hundreds of words. a. One person in your group has just moved into your subject class, they dress differently. (It’s free dress school). b. One person, catching the train late at night hides in the shadows of the train station; they are approached by a group of Aussie kids trying to explain that it’s not good to hide at night. c. What would it be like to move countries; to leave your family and friends and embark on a new journey to a new school, with little spoken English, little cultural knowledge and limited money? A new student arrives at your school.

4. Homework Continue work on UOC Work Effectively with Diversity workbook for submission in Act 9.

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ACT 7

1. Warm Ups

2. Filming Film your researched monologue.

3. Readings and Discussions Discuss union and protection for actors – what does the actors union (MEAA Actors Equity) do?

Discuss the idea of multi layer acting – what does this mean? When learning to drive a car, list all the things you must do. Now do this for acting.

Discuss blank canvas – The Google definition of “blank canvas”, is, “something that’s blank, is empty, or undecorated. A blank canvas hasn’t been drawn or painted on yet, it’s clean and unmarked, free of any expression, revealing nothing”. By this definition, we can apply the idea of “blank canvas” to the acting industry. Actors often hear how going into an audition as a blank canvas is important. This can be a simple thing like taking extra piercings out, dressing differently, or avoiding ‘out there’ hair or makeup. By walking in to an audition or interview or screen test as a blank canvas, you are showing the casting director that you, the actor is willing to be molded. You could potentially be the most talented actor in the world, but if you aren’t willing to change, then work could be very limited; you must be willing to take direction.

But the term “blank canvas” is not just relevant to auditions and interviews, but to your classroom work as well. Through preparation for a character and when the emotional ‘light up’ has been sparked, the actor needs to learn how to let go of inhibitions and exist moment to moment in the scene. This creates truthful responses to a simulated situation, and these truthful responses create believable performances.

‘You are a blank canvas’. If you bring your baggage; your worries, arguments, anger, lack of concentration into the acting space, you can never act freely. Leave your worries at the door. If they are insurmountable, ask for help (your teacher, school welfare or any online services are a good start on where to get further help).

As you get to the door, visualise leaving your ‘baggage’ behind. Put your bag down at the door before walking in. As you walk into the rehearsal room, visualise a sense of being lighter, allowing you to create as an actor. Hence, you are the artist, creating, experiencing, drafting and refining your work.

After the rehearsal is over, you have to be realistic, take your bag back up and whilst you will still have your problem, perhaps you’ll be feeling better to either solve it or get help. Maybe in time after having relaxed and given yourself time to do the things that you love, your problem may not seem so bad anymore, perhaps even being able to approach it in a more positive way.

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4. Filming Preparation for Act 8 – Kathy and Lily Read and rehearse the script Kathy and Lily.

Kathy and Lily is a light hearted fun script about the friends getting ready together and Kathy is mucking about and teasing Lily, who is getting ready for a date. This is a light hearted script.

Kathy and NOTE: Use a Lily are frame as a standing mirror for the next to each girls to look into. other looking in a mirror. Camera

5. Filming Preparation for Act 8 – Michael (Son) and Philip (Dad) Read and rehearse the script of Michael – Philip is a read in only. You must learn the part of Michael only.

The scene between Michael and Philip has subtext. Michael is Philip’s son, and appears to be trying to mend his relationship with his family but failing, but if we read the directions, the subtext is that Michael is actually trying to get his father on ‘his side’ and convince him he’s changed when he hasn’t.

Philip is Michael walks reading a over to him. At paper or the end of the some other script, Philip activity. walks away.

Camera

6. Homework Continue work on UOC Work Effectively with Diversity workbook for submission in Act 9.

Learn the script, Kathy and Lily OR Michael and Philip, for filming in Act 8. When you learn lines, remember that you must be word perfect. Learn your scripts backwards, forwards and inside out. Think about your character.

Develop and write a character backstory for your part.

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Read the notes below – Agent, Best Friend or Bête Noir?

Around Australia, the various drama, dance and music and other performance schools will set hundreds of eager-eyed graduates loose in the Performing Arts Industry market place – all itching to take up what they regard as their true place in this most competitive of industries. Some will fail early, some will eke out a living for a while, and the rare one or two will become dedicated professional performers – even stars. What role did their agent play?

THERE ARE some professional performers who work independently and successfully without employing the services of an agent – but to most, their agent is the sine qua non (a thing that is absolutely necessary) of the Performing Arts Industry, supposedly, thoroughly informed and professional, in the mainstream swim, and thriving off their actors’ success, agents are legendary figures. Some performers regard them merely as a necessary evil – a telephone-answering service while the performer hunts up the job. Others lean on them heavily as counselor, saviour, image-builder, job-finder, and guardian angel.

Most are happy to pay their 10%…until the job has been going for a while, then they start to begrudge it. Ideally, the agent is more than a mere business person, handling the fine print of the contracts and boosting the producer for as much as he or she can milk your services…to your advantage of course. They are the buffer between performer and employer; it is their job to know what’s going down, to be in contact with the producer, and that you are most likely to win… earning the bread of life for both of you. Thus a good agent will have a strong will, have a strong personal relationship with their clients, knowing the performer’s weaknesses and strengths, personal and professional, and the employers’ preferences and idiosyncrasies.

For an agent is, above all, a salesman – selling YOU, the performer. And if the agent decides the goods are shoddy, they may or may not be wrong – but it’s time to take a look at your own act and at other agents, because the bottom line is you won’t work unless you find it yourself. With their supposedly wider experience and picture of the industry scene, knowledge of the market, your agent should be able to point you at where the work is…but there’s only one person, finally, who can land the job for you…YOU. An agent can point you at possible work, advise you on strategy and approach, get your name in to the casting director, handle the deal once you have the job, and look after your welfare on stage or set.

But only you, your talent, your confidence, your rightness for the role, will sell you to the employer. A good agent will help you with all this – but they can’t do it for you. One of the first tests of your agent is the suitability –and number of casting calls they ask you to go on…but of course it’s obvious, if you’re not going to any, then something is wrong. The name of the game is being seen.

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Check your self-image If you feel that you were right for the calls, then you need to lift your act – or rearrange your self image. Your agent will help you…or sack you. But if you felt every time that the role fitted uneasily, then you need to check out whether your agent really knows who are you, as a person and as a performer. Are you just so much meat on their books – or is it just that they haven’t had time or opportunity to get an accurate idea of who you are?

It’s to your advantage – and your responsibility, to a large extent – to see that they do. And if they don’t want to know – change agents, whatever the cost. Many producers now tend to hand the whole hassle of casting over to a casting director, or a casting agent, saving themselves time and worry and allowing them to get on with what they want to do; producing the show.

But there are still those who know the result is first-screen performers going for casting calls. The theme may work with many variations: you may find and gain the job and turn it over to your agent for contract negotiation; you may both find and negotiate the job, simply telling your agent about it; you may find the job and ask your agent to get you in for a call. But in any event, you would be smart to tell them about it and pay them commission, even if you got the job yourself. They’re the one who’ll get you out of trouble when your negotiation goes sour or whatever. And if they aren’t making money out of you, why are you still on their books?

One of your agent’s jobs is to negotiate your contract, and the entire course of your employment hangs off that contract, from how much you are paid, to the hours you work, overtime, billing the colour of your dressing room. They handle your business affairs, represent your professional worth-both creative.

Barbara Leane of Barbara Leane & Associates believes that negotiation of contracts could be described as an art form, and that within the next decade we will see many more Australian agents retaining lawyers to handle contracts, as is currently the practice in the US. An agent’s job is also to anticipate the end of the actor’s run, and spreading the word that they will be available.

Your agent’s payment is 10% of your earnings from engagements negotiated by them. By law, that is all they may charge, whereas theatre companies pay equity minimum for rehearsal, usually the agents take nothing from your rehearsal pay. Once the run begins they are due 10% for the first five weeks, 5% for the remainder of the run, for theatrical engagements only. For TV engagements they are due 10% across the board.

In seeking an agent, compatibility should be high on your list of priorities. If you don’t foster an honest relationship they cannot, obviously, represent you in the best light from their understanding of who you are and what you can do. On the other hand, agents are looking for a combination of talent, experience, track record and professionalism in approach: to the job, to themselves, to the industry. Most agents try and get to the Graduation performances of the major drama schools, although with the increase in schools around Australia, it is becoming impossible for them to reach them all.

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And the major agents are inundated with calls to “come and see my show – I know you’ll want to put me on your books”. Not many rise to the bait. But, obviously, students at the major schools, such as NIDA, are viewed more regularly – which is not necessarily a comment on their ability or education, but a definite asset in finding an agent.

If an actor has no track record, and has not been “seen” at work, the approach to gaining an agent’s attention is through sending them a CV (Biog) photographs (Composites) and above all a demonstration videotape if available. But two to three show reels arrive on the desks of most major agents daily.

Leanne says that out of the hundreds of show reels, perhaps two or three of the actors have ended up on her books. Yet, though the selection rate is low, it is still the best way in the door for the new actor.

“If they have been working in the industry the video should have segments of work that they have done, and show a diversification of their talent,” Leanne said. “It should never be too long – eight minutes is enough – if an actor hasn’t caught my attention in the first three minutes, then forget it.

“It is difficult for young people who have not done anything, or mainly done theatre all over the place – but there are places open to them where they can go and put scenes down.

“But that’s the hard way: so the minute an actor starts getting work they should have copies done of it and put together a compilation tape of what they do.

“It has to be sharp, and it has to grab you. An agent wants to sit there and think ‘wow!

“How an actor makes that happen is up to them.”

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SCRIPT – KATHY AND LILY

BEDROOM INT (EVENING)

Looking into a mirror, and Kathy is looking over Lily’s shoulder.

Kathy So what time are you meeting Craig?

Lily I’m meant to be there now.

Kathy I like what you’ve done with your hair.

Lily Oh I knew it.

Kathy Knew what?

Lily You hate my dress.

Kathy I didn’t even mention your dress.

Lily Exactly.

Kathy Lily, all I said was I like what you’ve done with your hair.

Lily Yes, I know what you said, but that’s not what you were thinking.

Kathy Isn’t it?

Lily No! You were thinking the colour of my dress is all wrong, the hem’s coming loose and the back and the whole thing makes me look like a big fat Christmas bon bon.

Kathy Lily, that’s not true.

Lily I bet.

Kathy You look more like a big chocolate Easter egg.

Lily Oh I knew it!!

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SCRIPT – MICHAEL AND PHILIP

ROBINSON’S HOUSE INT (EVENING)

Philip is looking through the jobs section of the paper when Michael arrives home.

Michael I’ll get out of your way now… Michael heads for his room.

Philip Please, I want to talk.

Michael What about? Gonna accuse me of stealing Julie’s ring again?

Philip I’m sorry about that. But look at it from my side. I couldn’t ignore what Hannah said.

Michael I understand, you had to take the side of your wife and daughter.

Philip I wish it didn’t have to come down to taking sides. We’re all part of the same family. Why can’t everyone get along?

Michael All I wanted when I came here was for Julie to accept me. But she always hated me and I guess she always will.

Philip That’s not true.

Michael Yes it is Dad. You know it and I know it. I’ve really tried to show her how different I am now, but she doesn’t want to see it. I had these big ideas that we’d all get along and I could stay here, where I thought I belonged. Maybe I should just pack up and head back.

Philip I don’t want you to do that. Give it more time, I’m sure this will work out.

Michael But if I stay, she might turn you against me.

Philip You’re my son, and I wouldn’t turn against you. Especially now that you’ve gotten your act together. Julie will see it in time too.

Michael I hope so, Dad. I really want to be part of this family again.

Philip Leave it to me.

Philip exits and Michael smiles cunningly. He’s gradually getting exactly what he wants.

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ACT 8

1. Warm Ups

2. Filming Film Kathy and Lily OR Michael and Philip.

3. Readings and Discussions Discuss the importance of stress – does everyone get stressed? Does everyone worry about jobs, money, relationships and so on? We as actors must learn to switch this off and enjoy the job of acting. One way to do this is to relax the body and then the mind, and to be able to refocus on the very thing that we love.

Discuss the importance of fitness – daily exercise is essential for the actor, and they should be as fit as a boxer, as poised as a matador and as agile as a dancer.

Discuss motivation – people, whether actors or not, motivate themselves both positively and negatively. Negatively, meaning stopping yourself from doing something (which could be important) by making excuses. Motivating yourself to do something is harder because it involves more work (and who wants that!). Ask yourself; do you want to do this task? Make a decision and stick to it. Think laterally, who, what, where, when, how and why. Get the details and get help, overall, prepare well and you can do it!

4. Improvisation Try this improvisation task based on Meisner work – ACTivity. Split the word up. As soon as you start doing something, you are working on an activity. Acting needs to be natural, we make gestures, movements, actions such as; preparing food, cutting an article out of a magazine, so think about your character’s actions. Think of a conflict situation and create a short improvisation based around it. The first example is given to you. Write four examples below and work in pairs or threes and do ONE improvisation in class.

Situation Activity Having a deep, meaningful talk with a In kitchen - making a cup of tea. parent or friend and the conversation gets heated.

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5. UOC Provide Services on a Freelance Basis Discuss the UOC Provide services on a freelance basis as this workbook will be due in Act 11 – actors are often referred to as their own small business. The UOC gives students an opportunity to start thinking about what it is like to be responsible for their own work, their own style of networking, taking initiative, researching and the marketing of oneself.

6. Homework Write about what you have learned and how you are improving your skills and knowledge. You should use any class notes and filming critiques to help you structure your term overview report. Please submit your journal to your teacher.

Finish work on UOC Work Effectively with Diversity workbook as this is to be submitted in Act 9.

Write your film critique on Kathy and Lily OR Michael and Philip. Your teacher will give you notes in class (written or verbal) and a score out of 3, and then record your own thoughts along with this, in your journal after watching the tape back at home.

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ACT 9

1. Warm ups

2. Work Submission UOC Work Effectively with Diversity workbook – this needs to be submitted or have ALREADY been emailed to your teacher otherwise it is considered a late submission.

3. Readings and Discussions Discuss self tape – are you practicing, are your improving?

Discuss as a class, the word, meaning, and action of initiative – what is its significance?

Discuss Visit to Set – what happens when we go out to set. It’s very much like how an agent works and how you as actors respond to a call for work. So treat this like you are planning your elective film, discuss and come up with a process of the stages required for going out on set. Please use KEY words.

As a class, discuss Michael Caine’s “Acting in Film” this is a very easy read, as well as watching his YouTube lesson chats.

Read the transcribe from Michael Caine in an interview with Mark Lawson – in 2010, Sir Michael Caine practically gave an acting master class when he appeared on Front Row with Mark Lawson on BBC Radio 4.

Michael Caine Interview Transcribe: Mark Lawson In the book, there are some very useful tips I think, for young actors which I find fascinating. One of them is: in a close up choose just one eye of the actor you are playing opposite.

Sir Michael Caine Yeah, and don’t go from eye to eye. The reason you choose an eye is because in this shot now, the camera is obviously there, shooting me. If I look at you with this eye (the one closer to the camera), into your other eye (the opposite person’s eye further away from the camera). You have lost me. If I look at you with this eye into that eye (the constellation with the person in the frame being most front facing), this eye is in the camera. And if you want to play strong, don’t blink. If you want to play weak: blink. I mean: don’t deliberately blink, but if you really want to play strong, just look at someone like that… this camera can see this eye. And never change eyes. Only actors do that. People don’t do that in real life.

Mark Lawson Hugh Grant for example, he…

Sir Michael Caine He is so funny because he blinks all the time because he is always nervous. He can’t get the girl… and that is a very clever actor, letting you know that he is not very strong, and he is very nervous and he is upset. If you are playing a serious character in a movie as often as I do, you don’t want to appear nervous and upset.

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Mark Lawson And never ever appear naked.

Sir Michael Caine No. Movie acting is about control. People don’t know what they are being controlled but they are looking where I say you look and they are listening to what I say. And the minute you have a dull frontal, not naked – a full frontal naked, they are immediately not looking where you want them to look and they are immediately having conversations with each other. They immediately start to talk, you know… they are making all sorts of comparisons if you are man or woman… and so you have lost concentration. One of the things that started me on this was Robert Helpmann, who was the Head of the English Ballet at the time of “Oh! Calcutta!” which was a naked musical, and it was a big thing you know – a naked musical. They said to Robert Helpmann: “Would you ever do naked ballet?” So he said: “No.” They said: “Why not?” He said: “Because everything does not stop when the music does!” Now I think that is a very good reason you know, because what he is saying is you lose the concentration. Concentration is when the music stops and – bang! – You are done. If you are full frontal nude, you are still looking at things still moving. So never do full frontal nudity.

Mark Lawson And finally, which I never thought of but it made perfect sense once you said it: when people are playing a drunk scene, they often make the same mistakes as you did originally by acting drunk, whereas…

Sir Michael Caine And talking slurred. I was supposed to be a drunk when I was a young actor and I came in drunk and the producer stopped it and said “what are you doing?” I said: “I am drunk in this scene!” He said: “I know you are drunk but you are not a drunk. You are an actor trying to be drunk.” – “I don’t know what you mean” – “You are an actor trying to walk crooked and talk slurred. A drunk is a man trying to walk straight and talk properly. Go out and do it again!” Which is a wonderful basis for movie acting, which is where you deal with the reality of it. If the audience is sitting there, saying “Oh, isn’t Michael Caine a wonderful actor?”, then I have done it all wrong. They should be saying: “I wonder what is going to happen to Harry Brown now!” You know – that is the difference.

4. Filming Preparation for Act 10 – Roxy and Al Read, rehearse and block Roxy and Al script – this will be filmed with extras. Work in pairs so everyone films Roxy and Al, but also practice the job of being an extra – waiter, passers by, customers.

Roxy is sitting in the pie shop having a coffee. She is an art student. Al is the owner’s son and is helping after school by sweeping the shop. They know each other because they have lived in the same area all their lives. However, Al does not understand what Roxy is doing and has no patience with the artistic things in life. He comes to look and what she is doing. The blocking involves Roxy sitting down, sketching, but Al needs to move around her. Extras will be customers, a waiter and passers-by. If possible, this should be filmed outside in a café styled area. Please read and analyse the descriptive words as these can add so much to the character’s development.

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Roxy and Al Blocking:

Roxy Al walks in, stops and looks over Roxy’s left shoulder. Camera During the confrontation he moves in front of her and stops on her right.

Props and Set Needed: • 2/3 tables. • Cups/trays (patrons). • 6 chairs/seats. • Broom (Al). • Bar apron, notepad and • Bags. pencil (waiter).

Extras Acting Work: • Waiter seats people and • Patrons also walk in and sit takes orders. as the camera is rolling. • Patrons are already sat at • Passer-by’s walk tables, miming. across camera. Conversations, couples in • All class members should love, friends talking, swap roles and experience Waiting for someone. being an atmospheric person.

5. Homework Complete and update your journal. Checks will be done in class so please stay up to date and check routinely. Film critiques, backstories and log of hours must be up to date.

Learn the script, Roxy and Al for filming in Act 10. When you learn lines, remember that you must be word perfect. Learn your script backwards, forwards and inside out. Think about your character. Perfect continuity is even more important here, as you have extras relying on hearing a word you say so they can walk, or perform their action, and so if you don’t get this right, neither do they.

Develop and write a character backstory for your part, using the information provided. Plan and prepare costume, hair and makeup (if required), for your part.

Continue work on UOC Provide services on a freelance basis workbook for submission in Act 11.

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SCRIPT – ROXY AND AL

CAFÉ INT (DAY/AFTERNOOON)

Roxy sits at a table outside the café. She is doing some sketches for a new series of sculptures. Al enters, sweeping, and looks over Roxy’s shoulder. He frowns, not quite knowing what to make of what he sees.

Al Haven’t you got anything better to do with your time?

Roxy Unfazed by his taunt… I’m doing some sketches for some sculptures I’m planning.

Al Snorts… Sculptures! Why don’t you go out and get yourself a job!

Roxy Because I’d rather spend my time doing this.

Al Scoffs… Waste your time more like it.

Roxy’s hackles rise.

Roxy What’s time wasting about exploring different ways of looking at things? It’s better than plodding through your whole life with blinkers on.

Al Stung… What’s that supposed to mean?

Roxy Your attitude to art and artists! If you had your way, nobody’d ever think about anything or question anything. The whole world would be painted grey!

Al What a load of garbage. That’s the trouble with you lot. Take yourselves too seriously. No time for ordinary people.

Roxy folds over a sheet from her sketch pad.

Roxy Not true. Not true at all. As a matter of fact, I did a sketch of an installation I could put outside your shop.

Al doesn’t really want to get into this. But now that he’s been challenged by Roxy, he’s more or less obliged to continue.

Al A what?

Roxy An installation. A sculpture made for a particular site. The idea is that all your customers could look at it when they do into the shop.

Al peers at the drawing.

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Al What is it?

Roxy What’s it look like?

Al A bit of string and a meat pie.

Roxy Teasing… Very good! That’s exactly what it is.

Al Perplexed… So, what’s the idea?

Roxy interprets this as a spark of interest on Al’s part and continues excitedly.

Roxy What I thought I’d do is attach the string to the pie and hang it from the front awning of the Stewart Store. People could bat it or swing it back and forwards. …Triumphantly… It’s called a pie in the sky!

Al Looking fit to explode… Over my dead body!

Roxy sniggers and points at Al ironically.

Roxy Hey not a bad idea! Maybe you could lie down underneath and pretend! We might even be able to charge people to come and have a look!

Al Very funny! Just don’t come anywhere near me with any of your stupid time wasting. It’s people like you who are sending this country broke.

Al storms off, and Roxy calls after him.

Roxy Does this mean you won’t let me hang “pie in the sky”? Al? Al?

She laughs to herself as she watches him disappear.

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ACT 10

1. Warm Ups

2. Filming Film Roxy and Al with extras.

3. Readings and Discussions Discuss VET – a VET course can give you the practical skills and hands on experience you need to work in Australia’s creative economy. You’ll be amazed at the career pathways that a VET qualification may unblock for you.

4. Journal Work Write about your personal acting strengths – use your strengths, innate talents, intuitive instincts, and so on. Be inspired and passionate about what you are doing. Share the place/space with other actors but be ready for your time in front of camera. Use your expressive skills, your all.

5. Homework Write your film critique on Roxy and Al and please record in your journal after watching it back yourself.

Continue work on UOC Provide services on a freelance basis for submission in Act 11.

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ACT 11

1. Warm Ups

2. Work Submission UOC Provide services on a freelance basis workbook - This needs to be submitted or have ALREADY been emailed to your teacher otherwise it is considered a late submission.

3. Improvisation In pairs, prepare for an improvisation on conflict and confrontation – why conflict and confrontation? Well many of the ingredients within television drama are based on conflict and leading to confrontational issues. Conflict is in everyday life. Television acting demands that we are as natural as possible, we are showing our television audience a slice of life and to overact would be to make fun of the subject matter. Stanislavski method says to be truthful. Meisner says to be truthful. So think of situations that cause you to be in conflict. Write some down in your journal. Who are you in conflict with? Why? As soon as you write some of these down, think of the television soaps or dramas that you have seen. When you have done this see how many situations you can match up with your own life? Use an animal characteristic to help you get into character.

4. Written Work Write about natural ability and talent – do you have a natural talent or ability for comedy or for drama? Have you experimented with both? What do you think is easiest to do? You will be presenting the comedy/drama scripts you have researched in the next week. Make sure to bring two copies to class so you can work with a partner, and this will then be filmed in Act 14.

5. Prepare for Filming – Jo and Peta/Joe and Peter Read the male and female versions.

This script does not have much dialogue, it is also very simple and short. This script is about action and reaction more than dialogue. When filming a close-up, large and expansive gestures cannot be seen, they would put you outside the close up frame and look unnatural. Large facial expressions look false and unnatural as well. The close up will show your every thought, your every emotion. Put your self in the character of Jo(e), be subtle and understated with your acting.

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Jo/Joe is at Peta/Peter her/his table walks into area doing some but is not in shot homework. until she holds Jo/Joe.

Camera

Filming Notes: Wide shot of table and Jo(e), follow his/her walk, after the sweeping away of her books from the table, and then slowly zoom in to a close up.

Discuss the script – if this were happening on set, it would be a fairly closed set (meaning a minimal crew). We have to respect each other as actors when we are intimate or showing our emotions like this. We practice at home and expect to tear up at class, but invariably this does not happen. You get disappointed – but as long as you are believable in your emotions hurt then that is a good achievement.

Read How To Cry On Cue. This will assist you greatly with the naturalism of this scene.

How To Cry On Cue Not all actors have this ability and so must be helped by the make-up artist. Some director/tutors ask you to use psycho drama exercises to help release the emotional you or use emotion memory recall, the famous Stanislavski technique of recalling revisiting a sad thing memory. The modern feeling is that this can be upsetting especially when recalling something that could have been traumatic to you.

Therefore as an actor ask yourself what makes you ‘tear’ up when in a casual social gathering, watching a film or reading book. Is there a little something that you could use to help stimulate tears? Sometimes unwittingly, we can cry almost involuntarily, as though a trigger has been pulled.

As an actor we have to try to see if we have this strange ability/technique to cry almost upon demand.

If you can’t, that’s fine but we do have to reproduce the nearest thing to being truthfully upset.

Stanislavski originally said that if you needed to access a particular emotion, you recalled a time when you experienced it in the past called “emotion memory”. But after thirty years he stopped using this, and so did Meisner. One reason: You don’t always have a relevant experience to draw on. Another: The meaning of past events changes for you over time. So, you should use your imagination — this can be even stronger than recalling real emotions. But imagine situations and emotions that stimulate you, not necessarily related directly to your scene, as long as it generates the right emotion. “Don’t come in empty.” Are There Productions P/L trading as the Australian College of Dramatic Arts 76 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

“Good acting is good acting. Acting is not the things you say, it’s the things you don’t say, it’s like a watercolour – it’s what you leave out that’s most important” Dame Judi Dench.

Examine the words and the pauses – do not change the scripted words but experiment with inflection. Where do you leave a word hanging, a sound, an unvoiced breath, what is the thinking time, think about your reactions and to your friend’s emotions and feel the awful silences.

Practice the art of natural speech patterns. Examine the words and the pauses; do not change the scripted words but experiment with inflection. Where do you leave a word hanging, a sound, and an unvoiced breath, what is the thinking time, think about your reactions and to your friend’s emotions and feel the awful silences.

Discuss emotional recall and read Emotion Versus Technique. As actors we need to replicate emotions using technique that will not harm us.

Emotion Versus Technique – written by O’Shaunassey There are two major approaches to acting. Supporters uphold each and point out the followers from among the world’s artists to support their claims.

In one, the emotional or subjective approach, the actors live their parts so that they actually weep, suffer and triumph before the audience. They become the parts they play, as far as possible, and experience all that their characters do. In the other, the technical or objective approach, absolute control based upon perfect technique is the aim. The actor analyses the play’s structure and the characters. Then technical skills in acting, movement and speech and interpretation are used in the creation of a role. No emotional response is allowed to interfere with the conscious artistry that alone is responsible for the results obtained. The actor does not live the part but acts it so well that the illusion of living the part is maintained.

In the first case, the emphasis is placed upon the actor’s emotional response because of personal inner reactions. In the other, the emphasis is placed upon an assumed personality based on a conscious technique.

There is much to be said for both points of view, but today most actors use a combination of the two approaches. You would do well then, to identify yourself with your part so that you can interject it naturally, simply, and spontaneously, using your technical training to achieve clear cut, convincing, and consistent characterization. Lose your individuality in the part you play, but never forget that you are presenting it to be seen, heard and appreciated by your entire audience. The most discussed acting theory today, “The Method,” was formulated by the dominant actor-director of this century, Konstantin Stanislavski. His books – My Life in Art, An Actor Prepares, Building a Character and Creating a Role – set forth his theories on the art of acting together with practical exercise in the techniques of vocal and bodily expression.

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Stanislavsky’s theories have been interpreted and misinterpreted by earnest theatre people. Too much emphasis has been put on the actor’s use of self-analysis and personal emotional experiences in creating a role and not enough on Stanislavsky’s equal insistence on disciplined control of the techniques of vocal and bodily expressiveness. As a result, many so-called Method actors on the stage become so involved with their inner resources that they fail to communicate with the audience because of slovenly speech and action.

Probably Stanislavsky’s most valuable counsel to help you in creating a characterization is his “magic if”, which can be called the key to his method. While using the full powers of concentration and imagination, the actor should ask himself or herself whether he or she were intimately involved in those events.

The answers to these questions lead to an analysis of both the actor’s own and the character’s inner natures, the basis for kinship for the part. Only then can the actor use the technical resources of voice and body to interpret the reactions of the character truthfully and naturally. This analysis also leads to appreciating exactly what the author had in mind and to a correct understanding of the play itself.

Today actors, directors and teachers who use the method have advanced their own approaches to it. The Actor’s Studio, under the direction of Lee Strasburg, has been the controversial center where many well known actors have studied and worked. You are probably familiar with many of them, Geraldine Page, Rod Steiger, Anne Bancroft, Marilyn Monroe, Marlon Brando, Paul Newman, Julie Harris, Eli Wallach, David Wayne, and Shelley Winters.

In contrast to Method acting is the theatrical style that emphasizes conscious technique rather than emotional involvement. Its outstanding exponent was the dynamic director Tyrone Guthrie. Guthrie disapproved of the intensive analysis and frequently inarticulate speech of Method actors, believing that people go to the theatre to be thrilled and entertained. His influence has been very strong in this century, where he directed and lectured on many university campuses and produced in a number of repertory and regional theatres.

Most actors today believe in working seriously and imaginatively to create roles through understanding them, and using their own abilities of interpretation to present them effectively to the audience. There is a growing enthusiasm for understanding the motivations behind an actor’s physical and psychological responses. Bringing the play to life and making the author’s meaning clear through careful teamwork is the aim of most director teachers. As a student, you should try to be as flexible and spontaneous as you can, applying your technical training to making your character a living personality for your audience. Thus, you will appreciate that the best principle to employ is emotion and technique.

Try an exercise before filming – Hold your breath until you can’t anymore, and then take an explosive breath and say the scripted line, “(S)he doesn’t love me!”. Try this again and improvise to continue; “(S)he doesn’t love me anymore! (S)he left me, dumped me, in a text. Coward!” And so on. Use beats to dissect the dialogue.

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Examine what you do when upset – What does your body do? What do you want to achieve? We act with our whole bodies. When we listen properly, we can really hear what is being said, but we also observe. Through active listening, we gain the truth of the message. Utilising our expressive skills combined with emotions and techniques greater awareness will occur for the actor. By not divorcing any part of the body and by taking total ownership, security will happen in delivery. Getting bad news hits in the stomach (remember the Jess Morrison monologue script?), the adrenaline races (fight or flight), the heart palpitates, blood pressure elevates, and sometimes we have no clarity of thought.

Block and rehearse the script – know your mark

6. Readings and Discussions Discuss the idea of discipline – when an actor is not working, it is even more important to keep in shape. Although when there is no work it is hard to keep up the self-discipline and rehearse to keep skills updated. It’s much easier to get under the blankets and hide! What do you think?

Discuss OHS/WHS (Occupational Health and Safety/Work Health and Safety) – being safe on set in studio on location. Read the below safety report.

Safety Report Written by Chris Peters. Objective: Describe in theory and then practice the procedure to be followed when translating the scripted action into performance.

Considerations: Risk minimisation, script integrity, physical ability (age and health of performers).

Quantative Risk Assessment:

Scenario Potential Risk Hazard Control Instruction and Potential risks in these • Any pre existing participation in action situations include: physical injuries or consisting of: • Slips, trips or falls. health issues need • Falls. • Strain or sprain. to be established. • Punches. • Minor bruising. • Warm ups. • Kicks. • Skin abrasion. • Correct • Minor fights. • Muscle soreness. procedures. • Chair falls. • Possible trauma. • PPE and crash mats. • First aid kit near.

Write a short Scene Example in one paragraph and then précis it in to the following headings. Use a potential scene from your Elective script.

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Scene/ Location Weather Risk Actors Safety Script (L, M, H) Physical Report Ability

7. Homework Complete and update your journal. Checks will be done in class so please stay up to date and check routinely. Film critiques, backstories and log of hours must be up to date. Make sure all work is up to date as if you fall behind now it is very hard to catch up. Include your Log of hours.

8. Learn Jo and Peta/Joe and Peter

9. Practice chat to camera.

10. Keep researching and finding monologues to add to your folder. In particular, try to find comedy scripts and record all evidence of research in your journal.

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ACT 12

1. Warm Ups Practice your warm up regime.

2. Watch the first three minutes of the Hunger Games Part 2 for believable acting.

3. Filming Film Jo/Peta and Joe/Peter.

4. Film chat to camera

5. After Filming After you have filmed, complete some journal notes – how long does it take you to get into the mood for filming? If you are kept waiting for filming – how long does it take you to get back into focus? How successful was your filming?

6. Homework Complete and update your journal. Checks will be done in class so please stay up to date and check routinely. Make sure all work is up to date as if you fall behind now it is very hard to catch up.

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SCRIPT – JO AND PETA (FEMALE)

BEDROOM INT (EVENING)

Jo is reading a text from her boyfriend. He is interstate on holidays. She thought it was just another normal holiday text from him. As she reads it she realises that he is not coming back, his family has moved interstate and he hasn’t had the courage to tell her. Furthermore he tells her that there isn’t anyone else but he just doesn’t love her and hasn’t for a while. She calmly places her mobile phone on the chair. She walks away and then uncharacteristically she sweeps everything off her desk/dressing table. She explodes with anger. There are three facts that hurt; he’s gone and hasn’t had the courage to tell her and that he doesn’t love her. Beat.

Jo’s Mum Off screen… Jo! Peta’s here!

Jo straightens up as her best friend enters her room.

Peta Hey you ready? …She sees the mess… What’s going on…?

Jo …Nothing. Go downstairs I’ll be there in a minute.

Peta Nothing? This isn’t nothing…

Jo Go away. …Jo tries to push her out the door, Peta turns and holds Jo but she’s angry… Get away from me! ...Jo looses any energy that she had and becomes very upset… He’s gone… for good. …She indicates to her phone and starts crying… He doesn’t love me.

Peta Oh Jo, that’s awful

Jo He didn’t even have the courage to tell me to my face. We’ve been going out for nearly two years and he doesn’t love me.

Peta I don’t know what to say…

Jo …There’s nothing to say. He’s not coming back…

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SCRIPT – JOE AND PETER (MALE)

BEDROOM INT (EVENING)

Joe is reading a text from his girlfriend. She is interstate on holidays. Joe thought it was just another holiday text from her. As he reads it he realises that she is not coming back, her family has moved interstate and she hasn’t had the courage to tell him. Furthermore she tells him that there isn’t anyone else but she just doesn’t love him and hasn’t for a while. He calmly places his mobile phone on the chair. He walks away and then uncharacteristically sweeps everything off his desk. He explodes with anger. There are three facts that hurt; she’s gone, and hasn’t had the courage to tell him and that she doesn’t love him. Beat.

Joe’s Mum Off screen… Joe! Peter’s here!

Joe straightens up as his best friend enters his room.

Peter Hey, you ready? …He sees the mess… What’s going on…?

Joe …Nothing. Go downstairs. I’ll be there in a minute.

Peter Nothing? This isn’t nothing…

Joe Go away. …Joe tries to push him out of the door, Peter turns and refuses to go. Joe is angry… Get out will you! …With that outburst he changes from anger to weakness, loosing all energy and becoming saddened… She’s gone. For good. …Indicates to the phone… She doesn’t love me. …Pause… She didn’t even have the courage to tell me to my face. We’ve been going out for nearly two years and she doesn’t love me.

Peter I don’t know what to say…

Joe There’s nothing to say. She’s not coming back…

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ACT 13, 14, 15, 16, 17, 18 Electives

These lessons are dedicated to the Elective Filming Project.

Course Code Hours Course Name

CUFMUP401A 160 Design, apply and remove make-up. CUFAIR302A 30 Develop techniques for presenting information to camera. CUFDRT602A 50 Audition and select performers. CUFCAM401A 70 Shoot a wide range of television content. CUFDRT502A 50 Direct performers.

You will be given 6 weeks to complete this project – as this project falls over the school holidays you have extra time to make sure film and folios are completed and handed in on time but must be submitted in Act 20.

The aim of the project is to produce ONE 5 minute film or FIVE episodes of ONE minute duration. See notes in Act 2.

Act 13 Pre Production planning – write the script. Act 14 Pre Production – finalise screen test script and email/post to Year 1’s. Act 15 Auditions – observe Pigeon script and conduct elective screen test. Act 16 Film project. Act 17 – 18 Film project. Act 20 Submit film and folios. Makeup: Elective film part of folio MUST be finished and submitted. Please also submit other parts of the UOC folio so they can be checked and help given. In own time Post Production (including editing video) and finish folios.

Within your planning don’t forget that many actors have special skills such as singing, dancing, musical skills, and so on – these could be used within your script.

Editing your film – there is no elective UOC for an editor, however it would be appreciated if one or two students within the group could edit the film. If you have problems please contact [email protected] outlining your requirements.

Pre-Production Planning - The Pre Production phase of a project is where the planning takes place before the camera rolls. Whether it is measured in minutes, hours or days, this planning phase sets the overall vision of the project. Pre production also includes working out the shoot location and casting. You're in pre production mode the moment you start writing down a few points to cover in a video, even if it's a small short piece made for a blog.

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Many useful forms are found in STUDENT RESOURCES on the ACDA website.

Storyboard - As your project becomes more ambitious you can start to storyboard it. Storyboards can really smooth out the postproduction process when it's time to edit. This will be very useful if there are multiple people working on one project.

Scripting - A script is your outline for the content that will be filmed. One page of a script is about 3 minutes of acting, so remember to time dialogue and action. The introduction is where you need to grab your audience's attention and should introduce location, characters and narrative. The body then should show the detailed development of narrative and characters, and the conclusion should either leave the viewer wanting more, or bring your narrative to a resolution. Don't make your script over complicated.

So have you got: • Script. • Written and checked OHS • Character and scene safety reports (If needed, backstories. asked an OHS • Storyboard. representative to be on • Audition notices and briefs location). sent out. • Checked dates with weather • Held auditions and for continuity. potentially call backs. • Permission to use locations • Cast your actors (all over and Release forms signed the age of 16). by all actors. • Location decided and • Call sheets sent out to permission received. actors, accounting for • Equipment required. makeup time. • Costumes, props, hair and makeup designs completed and approved with director.

Production Filming days - all members of the groups must be actively involved. ALL STUDENTS (Year 1 and 2) MUST ATTEND FILMING SESSIONS.

Director - Must have the script, storyboard and vision ready for the day.

Casting - Students will be responsible for the actors on the day and helping with other needs, such as props, continuity, safety and so on.

Makeup - Designs must be ready and approved by the director. Students must have set time aside before the shoot to prepare makeup (reflected on actor call sheet times), and must have brought all required tools and products to use.

Presenter - Will be filmed and therefore cannot be overloaded with duties, however if they are required to help with filming or continuity this please make this happen.

Shoot Television - The cameraperson must be able to concentrate on the shots worked out in pre production with the director during storyboarding and planning, to Are There Productions P/L trading as the Australian College of Dramatic Arts 85 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

assist the director in achieving their vision. The cameraperson must be aware of the weather and continuity in the scenes, also sound and lights.

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Post-production This where all your hard work comes together; the director’s vision and cinematography, from the actor casting choices, makeup designs, presenter’s performance and everything in between! Editing is a crucial part of the creative process, as the entire meaning of a film can be altered within the edit.

You have control over which shots you use or delete to best suit your creative vision, and you can also decide when to cut between shots and affect pacing. Tools such as titles, graphics, music, colour correction and special effects can also assist (or detract if not used properly!) in ensuring your film feels engaging and polished.

You can use any program of your choice to edit. Movie Maker and iMovie are both great free editing programs for PC and Mac respectively, and you are welcome to teach yourself to use more advanced software such as Final Cut Pro or Adobe Premiere Pro. If your film requires lots of special effects, Adobe Premiere can be integrated with Adobe Effects for a seamless workflow.

PLEASE remember NOT TO USE COPYRIGHTED MUSIC IN YOUR FILM – You can either write your own or source royalty free music from websites such as https://incompetech.com/.

Important Naming of Folio and Films FOLIO Write film title, your full name and names of the group members for the elective part of your folio with cluster and year.

For example: Folio - Danaë Grieef Make-up Folio Year 2 Mullum Cluster 2019 Elective group members - Danaë, Lachlan, Bella, Reena and Lillian

FILM FILM TITLE with name of film, list names of group, cluster name and year

For example: FILM ‘In Your Own Head’ - Lachlan, Danaë, Bella, Reena and Lillian A Mullum Elective Film 2019

Please submit either on a USB or SD card as either an .MP4 or .MOV rendered file. NO OTHER FORMAT WILL BE ACCEPTED.

You must NOT submit your film in 4:3 aspect ratio, as this distorts the image and makes your actors look squished.

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Films and folios must be submitted in Act 20.

Please use the forms below or find them on STUDENT RESOURCES on acda.vic.edu.au.

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Office Address: 7 Macquarie Place Boronia Vic 3155 Telephone: 9720 6200

Dear Parent/Guardian, 2019

On ______we will be filming as part of our Year 2 elective group filming project.

The aim of the activity is to fulfill competency in the elective units of competency for the 22307VIC Certificate III in Acting (Screen).

Activity Details: The scripts have been checked by the teachers and contain no offensive material or any high risk activities. Therefore the inherent risk level of the activity is LOW. The students will be NOT be using any hazardous materials or weapons.

This activity is a self-motivated, independent exercise but all aspects of the script and filming are checked by their teacher for any potential hazards and will apply control measures including requesting a qualified safety person.

Suitable clothing must be worn, appropriate to the activity, the weather of the day and any precautions must be taken e.g. sunscreen, water bottles, wet weather clothing.

Medical requirements of the auditioned cast and crew with for example conditions such as diabetes, asthma, allergies or anaphylaxis must be obtained. This information must be treated with confidentiality. Students from the college have already supplied an indemnity form at the beginning of the year to cover this activity, School locations, external or internal must have a permission form signed by the VET Coordinator and/or Principal. Please find the form in Student Resources.

For further information about the activity, please contact Merilyn Brend on 0413 445 744

Yours sincerely, Students of the Year 2 elective filming group Merilyn Brend Robinson, CEO and Principal teacher

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Consent By signing this form (below) I agree that:

I give consent for my child, ______to participate in the filming activity and/or in using my house.

In the event of an accident or illness, the necessary adult(s) may obtain or administer any medical assistance or treatment that my child may reasonably require.

Medical conditions: YES: NO: Please circle

Parent/Guardian Name and signature:

______

Date: ______/______/______

You may also wish to provide the following information:

Name of child’s medical practitioner: ______

Telephone No: ______

Medicare No: ______

Private Health Insurance Company (if applicable): ______

Membership No:______

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Emergency: Police/Fire/Ambulance: 000 Hospital Location 1: (Nearest Hospital Location) First Aid: (NAMES HERE)

PRODUCTION TITLE CALL SHEET SHOOT DATE: Day/Month/Year

Production Office: Telephone

Director: (NAME HERE) xxxx-xxx-xxx Producers: (NAME HERE) xxxx-xxx-xxx (NAME HERE) xxxx-xxx-xxx (NAME HERE) xxxx-xxx-xxx Camera 1: (NAME HERE) xxxx-xxx-xxx Camera 2: (NAME HERE) xxxx-xxx-xxx Sound: (NAME HERE) xxxx-xxx-xxx Assistant: (NAME HERE) xxxx-xxx-xxx Continuity: (NAME HERE) xxxx-xxx-xxx (NAME HERE) xxxx-xxx-xxx Stills: (NAME HERE) xxxx-xxx-xxx 1st AD: (NAME HERE) xxxx-xxx-xxx 2nd AD: (NAME HERE) xxxx-xxx-xxx Prod Man: (NAME HERE) xxxx-xxx-xxx Chaperone: (NAME HERE) xxxx-xxx-xxx Safety Coord: (NAME HERE) xxxx-xxx-xxx

LOCATIONS: Location 1: Address Call Times: Mel Ref: pg# ref Crew: Time HMUA: Time Catering: Time Cast1: Time Cast2: Time Cast3: Time

Location 2: Address Call Times: Mel Ref: pg# ref Crew: Time HMUA: Time Catering: Time Cast1: Time Cast2: Time Cast3: Time

Weather: (NAME HERE) Sunrise: Time/Sunset: Time

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Scene EXT/D Set/ Character Needs P/U MU/ On Duration Pages Synopsis WR Set

Breakfast: TIME to TIME location # # Brief Name 1 Props Time Time description Name 2 or Name 3 extras needs # # Brief Name 1 Props Time Time description Name 2 or Name 3 extras needs Morning Tea: TIME to TIME location # # Brief Name 1 Props Time Time description Name 2 or Name 3 extras needs # # Brief Name 1 Props Time Time description Name 2 or Name 3 extras needs Lunch: TIME to TIME location # # Brief Name 1 Props Time Time description Name 2 or Name 3 extras needs # # Brief Name 1 Props Time Time description Name 2 or Name 3 extras needs Wrap and Travel TIME to TIME

Props: Set Dressing: Vehicles: List List List List List List

Extra Crew: Catering: Parking: List List List List List List

Location Notes: Special Notes: Transport: List List List List List List

Communications: List List List List List List

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ACT 19 and 20

1. Warm Ups

2. Readings and Discussions Discuss the elective project process and end result.

Discuss scripts – have you found any new scripts that are challenging? Remember, that as an actor, you need some versatile pieces in your repertoire, just like a singer or musician.

Discuss motivation and maturity – maturing in your attitude to motivate yourself to work on this course is the only way to achieve competency in filming and in other assessment tasks - character research, scene background, different styles of acting, script analysis homework, script writing, journal note taking, workbook completion or attendance at guest lectures is paramount to you being successful in all the Units of Competency.

Assessment Check In and Work Submission Check the assessment mapping overview in both film and theory – are you up to date? Please check with your teacher.

3. Headshot Photography Discuss preparation for Headshot Photography for the next excursion – please bring a change of clothes, especially a tops/dresses/shirt. Be careful of colours and necklines; don’t wear stripes or tops with logos on.

All students need to bring your own make-up and hair products for Hygiene purposes.

NOTE: Makeup students you might help some students prepare. Take photos if you do this and add photos to your folio.

4. Rehearse comedy and drama scripts.

5. Period Pieces Read the period scripts following – discuss and make journal entries on how you are going to prepare for your character. You must research the period of the script before filming.

Read the following from Dee Cannon who teaches acting at RADA.

Acting technique is paramount to anyone wanting to be a serious actor. It's quite easy to imitate a character or even an emotion, but where's the depth in that? How can you sustain or repeat again what you might have found intuitively? Do you even know what you did or how you did it? The technique, however, will help you find a character, which in turn informs how you approach the text/script/written word. How do you bring the dialogue alive?

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How do you know what choices to make? The goal of a trained actor is to become a fully realised three-dimensional character, with a rich backstory. I must believe the character you play is truthful and not a cliché, a caricature, a thin external representation of someone who barely resembles a human being. I must believe what you say is real and that you're not reciting, spouting or commenting. In order to help you understand, I will lay out the backbone of what I teach at RADA and around the world to professional and student actors alike. This is based around Stanislavski's acting technique and his seven questions which, over the years, I have adapted into 10 key acting questions every actor should answer in order to be a fully rounded and connected actor. 1. Who am I? 2. Where am I? 3. When is it? 4. Where have I just come from? 5. What do I want? 6. Why do I want it? 7. Why do I want it now? 8. What will happen if I don't get it now? 9. How will I get what I want by doing what? 10. What must I overcome?

1. Homework Continue to prepare for filming of period piece in Act 21.

Period Pieces Ensure you have researched a character backstory – remember you are working historically; you must research the era. Know what people wore, style of speech, and how to sit or stand (etc.). See student costumes below.

Picnic at Hanging Rock

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Les Miserables

Joan of Arc, Picnic, Les Mis and Picnic

2. Homework Continue researching your chosen period script.

Develop and write a character backstory for your chosen character. If you have chosen the male and female Pride and Prejudice script, think particularly about the character relationship. While the dialogue shows Elizabeth and Darcy’s conflict, the subtext brings much more. To play this script successfully, there must be a relationship between them, showing that underneath all the hurt and anger they are missing a chance at the love for each other that they both crave.

Apply your notes as well to the character backstories.

Character backstory – past events, influences and experiences shape who your characters are: A person’s past affects their present. From the script ask these questions: • What events from the past may affect my character now, physically? • How have past events shaped my character emotionally? • What past situations have led my character down the road they’re on? Are There Productions P/L trading as the Australian College of Dramatic Arts 95 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

• What were their choices and how do they feel about the road they have chosen?

Your character is a real person and they carry all kinds of experience with them.

Imagine significant past events for your character’s life, what new experiences might trigger.

Enjoy creating your character.

3. Bring copies of drama, comedy or researched scripts for rehearsing before for after period script filming.

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SCRIPT – JOAN OF ARC (FEMALE) NOTE: Joan of Arc, nicknamed "The Maid of Orléans," was born in 1412 in Domrémy, Bar, France. A national heroine of France, at age 18 she led the French army to victory over the English at Orléans. Captured a year later, Joan was burned at the stake as a heretic by the English and their French collaborators.

INQUISTOR ROOM INT (EVENING)

A King who suffered fits of madness, and his weak son who made a disappointed successor ruled 15th Century France, ravaged by war, plague and religious conflicts. Joan of Arc was a peasant girl from the countryside who accomplished what appeared to be miracles by rallying the dispirited French nation with her desire to see the rightful King rule. Little more than a year after uniting the nation and other astonishing achievements, 18 year old Joan was imprisoned on charges of witchcraft and sorcery and heresy, and burned at the stake. The spirited young woman is a patron saint and continues to inspire courage and faith. This scene takes place after much exhaustive questioning from the Inquisitor and the assessors/judges.

Inquisitor 1 My lords. I have been present at 2 out of the 15 examinations of the maid, and I have decided that the Holy Inquisition will associate itself with the Bishop’s Court.

Inquisitor 2 We did not think at first that this was a case of heresy at all. We regarded it as a political case and the maid as a prisoner of war.

Inquisitor 3 But now, after examining her, we find that this seems to be one of the gravest cases of heresy within our experience.

Inquisitor 1 We proceed with the trial this morning.

Inquisitors 2/3 Joan…

Inquisitors 1/2/3 …Will you submit your case to the Church?

Joan I am a faithful child of the Church… I obey the Church.

Inquisitor 2 You will?

Joan I will, provided the Church does not make me do things that God has told me not to.

Inquisitor 3 The Church against God! That is heresy!

Inquisitor 1 Will you not serve the Pope, his cardinals, his archbishops?

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Inquisitor 3 And you, not the Church, are to be the judge?

Inquisitor 2 The judge – you!

Joan What other judgment can I judge by but my own?

Inquisitor 1 You have condemned yourself.

Inquisitor 3 Joan, will you not take off that man’s dress and dress as a woman?

Joan I will not.

Inquisitor 1 The sin of disobedience!

Inquisitor 2/3 The sin of disobedience!

Joan But my voices tell me I should dress as a man.

Inquisitor 1 They are the voices of evil spirits.

Inquisitor 2 Why would God give you such shameless advice?

Joan I am a soldier living amongst soldiers. If I dress as a woman, what would they think of me? If I dress as soldier, they think of me as a soldier.

Inquisitor 2 Joan, your voices have deceived you.

Joan No.

Inquisitor 3 The fire awaits you.

Joan No!

Inquisitor 3 Have your voices kept a single promise to you since your capture?

Joan What?

Inquisitor 1/2/3 The fire waits.

Joan No.

Inquisitor 2 The devil has betrayed you.

Joan Oh, it is true. I have been mocked by devils. My faith is broken. Only a fool would walk into fire. God cannot want me to do that.

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Inquisitor 1 God be praised! He has saved you at the eleventh hour.

Joan What must I do?

Inquisitor 2 Sign a recantation of your heresy?

Joan I cannot write.

Inquisitor 2 Make your mark.

Inquisitor 1 I, Joan, commonly called the maid, do confess that I pretended to the hear voices from God. I wore immodest dress, and clipped my hair in the style of a man. I have taken up a sword, shed human blood and incited men to slay each other. I confess to the sin of disobedience, to the sin of pride and to the sin of heresy. You understand Joan?

Joan Yes, sir.

Inquisitor And is it true?

Joan It may be true. If it were not true the fire would not be waiting for me.

Inquisitor 3 Come child, let me guide your hand.

Joan Praise be to God.

Inquisitor 1 For the good of thy soul.

Inquisitor 1/2/3 Thy soul.

Inquisitor 2 We do condemn thee to eat the bread of sorrow.

Inquisitor 1/2/3 The bread of sorrow.

Inquisitor 3 And drink the water of affliction.

Inquisitor 1/2/3 Water of affliction.

Inquisitor 2 To the end of the earthly days.

Inquisitor 1/2/3 Thy earthly days.

Inquisitor 1 In perpetual imprisonment.

Inquisitor 1/2/3 Perpetual imprisonment.

Joan Imprisonment? Am I not to be set free?

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Inquisitor Set free! No.

Joan Give me that writing. Light the fire. My voices were right. Yes they told me you were fools and that I was not to listen to your fine words. You promised me my life, but you lied. I know now that your counsel is of the devil and that mine is of God!

FINISH HERE but just for your information this prose is at the end of another version of the play.

When the end grew near, she held a cross. A simple cross of two sticks. Made by an English soldier, out of pity. Then with Jesus Mary ever on her lips she died. And so a life which began with a flourish of trumpets. Ended on muted strings. Her deeds shine forth as silver threads. Woven through a dark and sombre tapestry. There was a girl – a girl named Joan. She it was whom God had chosen. For her youth. Her faith, her courage. Chosen to lead our captains once again to victory. France was saved. By a girl, a girl named Joan.

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SCRIPT – PRIDE AND PREJUDICE (FEMALE) FILM BOTH SCENES

SCENE 1 LIVING ROOM INT (EVENING)

Lizzy and Jane are sitting at a table drinking tea.

Lizzy Misfortunes, we are told, are sent to test our fortitude and may often reveal themselves as blessings in disguise.

Jane Lord, I’m so hungry!

Lizzy If I could love a man who would love me enough to take me for five hundred pounds a year, I should be very well pleased.

Jane Yes.

Lizzy But such a man could hardly be sensible and I could never love a man who was out of his wits.

Jane Oh, Lizzy.

Lizzy A marriage… where either partner cannot love nor respect the other, that cannot be agreeable… to either party. As daily proof. But beggars, you know, cannot be choosers.

Jane We’re not “very” poor, Lizzy.

Lizzy With father’s estate withheld from the female line, we have only our charms. One of us at least will have to marry “very” well. And since you’re five times as pretty as the rest of us and have the sweetest disposition, the task will fall on you.

Jane But Lizzy…

Lizzy I would wish… I should so much like… To marry for love.

Jane And so you shall, I’m sure. Only take care you fall in love with a man of good fortune.

Lizzy Well, I shall try to please you. And you?

Jane I am determined that only the deepest love will induce me into matrimony.

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SCENE 2 BEDROOM INT (EVENING)

Jane and Lizzy are in their bedroom. Lizzy is sitting on a chair. Jane is brushing her hair.

Jane I cannot believe it Lizzy. Mr. Darcy would have far too high a respect for his father’s wishes to behave in such an un Christian way. And, Lizzy, consider, how could his most intimate friends be so deceived in him?

Lizzy I could more easily imagine Mr. Bingley being imposed upon, than to think that Mr. Wickham could invent such a history.

Jane I believe you like Mr. Wickham, Lizzy.

Lizzy I confess, I do like him. I do not see how anyone could not like him. There is something very open and artless in his manner. He feels deeply, I believe, and yet has a natural merriment and energy, despite all this. Yes, Jane, I confess I like him very much.

Jane But, after so short an acquaintance; do you think we should believe in him so implicitly?

Lizzy How could he be doubted? He gave me all the circumstances Jane. Names, facts, and everything without ceremony. If it isn’t so, let Mr. Darcy contradict it. Besides, there was truth in all his looks.

Jane It is difficult, indeed. It is distressing. One does not know what to think.

Lizzy I beg your pardon; one knows exactly what to think.

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SCRIPT – PRIDE AND PREJUDICE (FEMALE/MALE)

DOORSTEP EXT (AFTERNOON)

Elizabeth rejects Mr. Darcy after he proposes.

Darcy Might I ask why, with so little endeavour at civility, am I thus repulsed?

Elizabeth Trembling with emotion… I might as well enquire why, with so evident a design of insulting me, you chose to tell me that you liked me against your better judgement. If I was uncivil, that was some excuse…

Darcy Cutting her off… Believe me, I didn’t mean…

Elizabeth Cutting him off… But I have other reasons, you know I have!

Darcy What reasons?

Elizabeth Do you think that anything might tempt me to accept the man who has ruined, perhaps forever, the happiness of a most beloved sister? Do you deny it Mr. Darcy? That you separated a young couple who loved each other, exposing your friend to the censure of the world for caprice, and my sister to its derision for disappointed hopes, and involving them both in misery of the acutest kind?

Darcy I do not deny it.

Elizabeth How could you do it?

Darcy Because I believed your sister indifferent to him.

Elizabeth Indifferent?

Darcy I watched them most carefully, and realised his attachment was much deeper than hers.

Elizabeth That’s because she’s shy!

Darcy Bingley is too modest, and she was persuaded that she didn’t feel strongly for him.

Elizabeth Because you suggested it!

Darcy I did it for his own good.

Elizabeth My sister hardly shows her true feelings to me! …Pauses, takes a breath… I supposed you suspect that his fortune had some bearing on the matter. Are There Productions P/L trading as the Australian College of Dramatic Arts 103 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

Darcy Sharply… No! I wouldn’t do your sister the dishonour. Though it was suggested… Stops himself.

Elizabeth What was?

Darcy It was made perfectly clear that an advantageous marriage… Stops himself again.

Elizabeth Did my sister give you that impression?

Darcy No!

An awkward pause.

Darcy There was, however, I have to admit… the matter of your family.

Elizabeth Our want of connection? Mr. Bingley didn’t vex himself about that!

Darcy No, it was more than that.

Elizabeth How, sir?

Darcy Pauses, very uncomfortable… It pains me to say this, but it was the lack of propriety shown by your mother, your three younger sisters, even occasion, your father. Forgive me.

Darcy pauses. Ashamed.

Darcy You and your sister, I must exclude from this…

Darcy stops and gazes at her. He is in turmoil. Elizabeth glares at him in a haze of fury and misery.

Elizabeth And what about Mr. Wickham?

Darcy Mr. Wickham?

Elizabeth What excuse can you give for your behaviour to him?

Darcy You take an eager interest in that gentleman’s concerns!

Elizabeth He told me of his misfortunes.

Darcy Oh yes, his misfortunes must have been very great indeed!

Elizabeth You have ruined his chances, and yet treat him with sarcasm?

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Darcy So this is your opinion of me! Thank you for explaining so fully. Perhaps these offences might have been overlooked, if your pride had not been so hurt…

Elizabeth Cutting him off… My pride?

Darcy Continuing… By my honesty in admitting scruples about our relationship.

Darcy pauses, lost in his intensity.

Darcy Continuing… Could you expect me to rejoice in the inferiority of your circumstances?

Elizabeth And those are the words of a gentleman? From the first moment I met you, your arrogance and conceit, your selfish disdain of the feelings of others, made me realise that you were the last man in the world I could ever be prevailed upon to marry.

Darcy recoils as if slapped. A terrible silence occurs. With a pause, he almost leans in to kiss her, but retracts.

Darcy Forgive me, madam, for taking up so much of your time.

Darcy leaves abruptly. Elizabeth watches him stride away, through the rain, thinking about what she has done. She bitterly bursts into tears.

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SCRIPT – PICNIC AT HANGING ROCK (FEMALE)

Picnic at Hanging Rock tells the story of a group of schoolgirls from an elite private school, Appleyard College, who, on St. Valentine's Day in 1900, take a field trip to Hanging Rock, a sacred Aboriginal ground located on the edge of the Australian bush. Two of the girls and their mathematics teacher never return. In spite of the frantic search and persistent investigation by the police and by the locals, the Hanging Rock mystery is never resolved. Many questions are raised in the film, but no explanation is given.

SCENE 1 HANGING ROCK EXT (MID AFTERNOON)

FX The incorrigible cicadas, shrilling the summer away, bridging from the previous scene.

The 4 girls are pushing their way through the scrub; Marion, Miranda, Irma and Edith. Twigs and brambles clutch at their clothes as they pass. Underfoot the ground is rough and rocky, softy and mossy by turn; strewn with rotting wood and fallen branches and thick pockets of decaying leaves. The green and golden light shafts dappled through trees. Suddenly ahead is a short grassy slope. The girls are concentrating on the obstacles underfoot. Miranda pauses and looks up.

Miranda Quietly… Look…

POV Hanging Rock, brilliantly illuminated by the lowering afternoon sun. On the steep southern façade the play of golden light and deep violet shade reveals the intricate construction of long, vertical slabs, some smooth as giant tombstones, others grooved and fluted by a prehistoric architecture of wind and water, ice and fire. Huge boulders, originally spewed red hot form the boiling bowels of the earth, now come to rest, cooled and rounded in forest shade. The girls are crossing the grassy slope, entering the bracken at the foot of the steepening climb, looking upwards, their feet finding their own way through the ferns, their heads tilted up towards the glittering peaks. Saying nothing, seemingly forever. Their feet cushioned in silence, the only noise the all pervading cicadas, until finally…

Marion VO… McCraw says the Rock’s a million years old.

The girls, their animal senses insulted by civilization, are barely aware of the true nature of their environment.

Edith VO… A million! How can anything be that much?

The girls are becoming more and more aware of the smells and sounds and textures around them.

Irma VO… My Papa made a million out of a mine once – in Brazil. He bought Mama a ruby ring.

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The girls are noticing the structure of Hanging Rock.

Edith VO… Money’s quite different.

They’re noticing the horizontal ledges crisscrossing the verticals of the main pattern.

Marion VO… Whether Edith likes it or not, that fat little body of hers is made up of millions and millions of cells.

They notice the hundreds of frail, star-like flowers being crushed under Edith’s tramp-tramping boots.

Edith VO… Nonsense.

They notice the scarlet flash of a parrot’s wing, reflected for a moment in Irma’s eyes, a flame amongst the leaves.

Marion VO… And what’s more, you little goose, you have already lived for millions and millions of seconds.

Marion holds up one hand, two fingers half an inch apart.

Marion In the life of the world a million years is only that much.

Edith is red faced, hot and growing angry.

Edith Tell her to stop Miranda! She’s making me feel giddy.

Unaware of the fine details of crenellated crags and lichen patterned stone, of a mountain laurel glossy above the dogwoods’ dusty silver leaves.

Edith Why can’t we just sit on this log and look at the ugly old rock from here?

Unaware of a dark light between two rocks where maidenhair fern trembles like green lace. Unconscious of the strains and tensions of the molten mass that holds the monolith anchored to the groaning earth.

Edith It’s nasty here. I never thought it would be so nasty, or I wouldn’t have come.

Unaware of the creakings and shudderings. The wandering airs and currents known only to the little bats, hanging upside down in their clammy cave.

Irma We’ll turn around soon. Then it’ll be downhill.

None of them see or hear the snake dragging its copper coils over the Stones ahead.

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Miranda My father once showed me a picture of people in old-fashioned dresses having a picnic at the rock.

Nor do they see the picnic exodus of spiders, grubs and woodlice from the rotting leaves and bark.

FX The incorrigible cicadas, shrilling the summer away, bridging to the next scene.

SCENE 2 HANGING ROCK EXT (MID AFTERNOON)

FX The incorrigible cicadas, shrilling the summer away, bridging from the previous scene.

Irma, Marion, Edith and Miranda are weaving their way through a series of narrow crevices, high up on the rock. Deep, slit-like, from sunshine to shadow, to sunshine, to shadow. Irma has curled herself up in a small hollow, a rock shelf. Her legs are tucked up under her long dress, her body partly in shadow. She is singing ‘Rock of Ages’. The others come into shot, moving past. Marion and Miranda take up the singing. Edith stumps past, head down and silent, saving her breath while heavy labored breathing. Irma stops singing, climbs out and follows the others.

FX The incorrigible cicadas, shrilling the summer away, bridging to the next scene.

SCENE 3 LEDGE ON HANGING ROCK EXT (MID AFTERNOON)

FX The incorrigible cicadas, shrilling the summer away, bridging from the previous scene.

A rock ledge. An almost circular platform enclosed by rocks and boulders and a few straight, tall saplings. Miranda appears, then Marion, Irma and finally Edith – exhausted.

Miranda We can’t go much further. We promised Mademoiselle we wouldn’t be long away…

The three older girls explore the ledge. Edith sits down in the shade, hot and huffy. Irma discovers a sort of porthole in one of the rocks.

POV Irma’s POV, the picnic grounds down below. As if through a telescope, the little scene stands out with stereoscopic clarity between the trees. The drag with Mr. Hussey busy amongst his horses, smoke rising from the fire, the girls moving about in their light dresses, Diane’s parasol open like a pale blue flower.

Irma If only we could stay out all night and watch the moon rise.

Miranda has come up beside Irma and is watching the scene below.

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Edith Blanche says Sara writes poetry. In the dunny. She found one, all about Miranda.

Miranda Gently… She’s an orphan.

Irma Sara reminds me of a little deer Papa brought home once. I looked after it, but it died. Mama said it was doomed.

Edith Doomed? What’s that mean Irma?

Irma Doomed to die of course… “The boy stood on the burning deck, Whence all but he had fled, tra, la…”

Edith I think I’m doomed. I’m not feeling well at all.

Marion To Edith… I do wish you’d stop talking for once.

Irma kneels down and strokes Edith’s burning forehead, and lays her hand on the back of Edith’s hand. A tear trickles down Edith’s face.

Irma We’ll go back soon. It’s downhill.

Irma has taken her shoes and stockings off, and, clutching shoes in one hand and stockings in the other, shakes out her ringlets, springs up on a flat topped rock and begins to dance, like a ballerina, with curls and ribbons flying bright, unseeing eyes. She blows kisses to her admirers in the wings, tossing a flower from her bouquet into the stalls. As Irma has been dancing, Marion and Miranda have pulled off their shoes and stripped off their stockings and are moving off uphill, away from the ledge. Irma at last sinks into a full-blown curtsy to the Royal Box halfway up a gum tree. Edith, standing now, points uphill.

Edith Irma! Look at them! Where in the world are they going? Without their shoes…

Irma looks, laughs mischievously, and follows, still holding her shoes and stockings at the end of outstretched arms. Edith watches for a moment, distressed, then sets off after them.

Edith Irma? Irma! Wait for me! Wait…

The three older girls are almost out of sight. Sobbing quietly to herself, Edith drives her pudgy little legs to follow.

FX The incorrigible cicadas, shrilling the summer away, bridging to the next scene.

SCENE 4 HIGHER LEDGE ON HANGING ROCK EXT (LATE AFTERNOON)

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FX The incorrigible cicadas, shrilling the summer away, bridging from the previous scene, now much louder than before.

A semi circular shelf, higher up, much the same as the lower one, Irma is peering down.

POV Irma’s POV at the plain below, just visible, infinitely vague and distant. The glint of water and tiny figures coming and going through drifts of rosy smoke, or mist.

Irma VO… Whatever can those people be doing down there? Like lots of ants…

Marion is leaning over Irma’s shoulder, looking down.

Marion A surprising number of human beings are without purpose… Although it’s probable that they are performing some function unknown to themselves.

Irma is looking out now, not down. Out across golden, mystic plains… Miranda has joined them.

Miranda Everything begins – and ends – at exactly the right time and place.

The distance is still. Totally. Not a breath of wind moves Irma’s hair. Suddenly.

FX A sound as of distant roll of drums approaching across the plain, insinuates itself under, into and above the constant shrill of cicadas – and is as suddenly gone.

If Irma heard the noise, she makes no reaction.

Miranda VO… Look!

The girls turn. Miranda is pointing further up ahead.

POV The monolith, rising up ahead. A single outcrop of pock marked stone, a monstrous egg perched above a precipitous drop to the plain.

The girls, still carrying their shoes and stockings, begin moving upwards again. Edith sighs resignedly to herself and follows. But there is no excitement, now, just a drugged lassitude. Whether the result of physical exhaustion or whatever, the girls have no way of knowing. They drag their leaden limbs up the slope – all of them, Edith included, and fall down on the gently sloping rock in the shelter of the monolith and are instantly in a deep sleep. A horned lizard emerges from the black shadow and approaches them, finally lying without fear in the hollow of Miranda’s outstretched arm.

FX Suddenly, the cicadas stop. Hold the silence for a long moment.

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SCRIPT – PICNIC AT HANGING ROCK (MALE)

LAKE VIEW, ALBERT’S ROOM ABOVE THE STABLES INT (MORNING)

Albert, soon to drive the carriage to the station, is partly dressed in his coachman’s uniform. He has been pouring whiskey into two mugs. He picks them up, we track with him as he moves to where Michael is standing by the tiny open window. Albert offers Michael a mug.

Albert Here. Farewell drink.

Michael takes a long drink but says nothing for a long moment.

Michael Later… When things are settled… Why not come up north with me?

Albert Well… I dunno. There’s the Colonel…

Michael I want to look at a big cattle station. Goonawingi.

Finally, Albert grins.

Albert Yes, I reckon I could change. Be a change…

Michael is staring at his whiskey. Albert lifts his mug.

Albert To us, then, and Queensland.

Michael lifts his mug. But he is a touch preoccupied.

Michael Lately, I find whiskey’s quite a help when I can’t sleep.

Albert You still thinking about that bloody rock?

Michael I can’t help it. It comes back at night. In dreams.

Albert I had a dunny dream last night.

Michael drinks.

Albert There was this smell. Real strong.

Michael fills Albert’s mug.

Albert It was like I was wide awake.

Albert drinks.

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Albert Pansies. That’s what it smelt like. And the place was all lit up. Bright as day, but pitch black outside. And there she is, standing there. Right there. At the end of the bed.

Michael Who? Who was it?

Albert It was only a bloody dream.

Michael is intent to know.

Albert It was me kid sister. I haven’t seen her… Not since the orphanage. She liked pansies… Then she went sort of misty.

Michael Almost a whisper… Translucent.

Albert I calls out, “Sara! Don’t go!”. “Goodbye Bertie”, she says. “I’ve come a long way to see you, but I must go.” And then she went. Clean through the wall.

Nothing from Michael.

Albert You reckon I’m batty…

Still nothing from Michael for a moment.

Michael Finally… No. Course not.

Albert’s face shows he believes Michael.

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SCRIPT – LES MISERABLÉS (FEMALE/MALE)

MARIUS’ HOUSE INT (AFTERNOON)

Marius enters.

Eponine I heard you on the stairs.

He turns to her and she is as miserably dressed as her sister. Underneath her dirt and look of weariness there’s an undercurrent of genuine worth.

Eponine I live next door with my family. I’m your neighbour.

Marius Yes, I know.

Eponine My name is Eponine. The landlady told me your name. Marius.

Marius dries his hand with a towel; a rag.

Marius Is there something you want?

Eponine ignores the question. She likes being around Marius and wants to stay as long as possible. She sees the books on the table.

Eponine Books! Checks the bindings… I can read. Write, too. A mirror. You have a mirror! She picks it up and studies her reflection… I can be pretty when my face is scrubbed and I have something proper to wear. She notices the bread… Bread! Impulsively, she lurches forward hungrily and starts to twist a piece off. Quickly, she stops herself, knowing Marius is watching her.

Marius Go ahead, have some.

Delighted, Eponine pulls away the end of the loaf and bites into it with an obvious delight.

Eponine It’s fresh! We only get stale and only that when times are good. I’d forgotten the taste.

Marius is doing his best not to be rude, but he wishes she’d leave. He sits at the writing table and unstrings the books.

Eponine Last winter, before coming here, we lived beneath bridges. You had to huddle together not to freeze. Sometimes I wanted to drown myself, but then I thought, no, it’s too cold. Sometimes I go out at night and stay out until it’s dawn. Sometimes I think people are throwing stones at me. When you haven’t had anything to eat for days, the world seems a very strange place.

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Marius I am sorry, Eponine, but I must tend to my work.

Eponine We are being turned out. We’re behind in our rent.

Marius Resigned… How much does it come to?

Eponine Twenty-francs.

Marius Takes coins out from his pocket, to himself… first Henri and now you. If this keeps up I’ll be driven back to my Aunt. To Eponine… I have thirty-francs. I’ll give you twenty five.

Eponine Twenty five?!

Marius Twenty for the rent. Five for some food.

Eponine Five francs is enough to stuff us for two days!

Marius I trust you won’t make a habit of this. My money goes out faster than it comes in. Still, she doesn’t leave... What are you waiting for?

Eponine I was just thinking, Monsieur. You’re not only generous, you’re a good looking young man too.

Eponine exits as Marius thinks about her remark, smiles, then gets busy with his work.

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SCRIPT – FAME (MALE)

AUDITION HALL FOR FAME ACTING ACADEMY INT (AFTERNOON)

Montgomery is center.

Montgomery I always worry that maybe people aren’t going to like me when I go to a party. Isn’t that crazy? Do you ever get that kind of sick feeling in the pit of your stomach when you dread things? Gee, I wouldn’t want to miss a party for anything. But every time I go to one… I keep feeling that the whole world’s against me. See, I’ve spent almost my whole life in military academies. My mother doesn’t have a place for me where she lives. She… She just doesn’t know what else to do for me. But you mustn’t misunderstand about my mother. She’s really a very lonely person… I guess every boy thinks that his mother is beautiful, but my mother really is. She tells me in every letter she writes how sorry she is that we can’t be together anymore, but she has to think of her work. One time we were together for two whole days. It was the most wonderful time I’ve ever had. And then I had to go back to the military academy. Every time I walk into the barracks… He begins to have difficulty with the lines… I get kind of a depressed feeling. It’s got hard stone walls… You know what I mean. Well, gee! He chokes… I guess I’ve bored you enough, telling you about myself.

Adult Male Voice From the darkness… Thank you.

Montgomery Holding up a playbook nervously… The monologue is from “The Dark at the Top of the Stairs”.

Adult Male Voice I know. Firmly… Thank you.

Montgomery Unhappily… I goofed the last couple of lines. Nervous I guess. If you’d like, I could…

The man who has been sitting in a folding chair, is Mr. Farrell, head of the Drama Department. He gets up and approaches Montgomery.

Mr. Farrell That’s okay. He glances at his clipboard… Montgomery MacNeill. You did very well.

Montgomery starts to say something more, and he is stopped.

Mr. Farrell And thank you.

Montgomery Stops, defeated and exiting. Yes, sure.

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SCRIPT – FAME (FEMALE/MALE)

FAME ACTING ACADEMY INT (AFTERNOON)

The bell rings at the end of a lesson and Doris and Montgomery enter, walking.

Doris I hate this sort of homework. What painful memory? I know I must have them but I don’t know if I can find one.

Montgomery Cheerfully… I have lots. You can borrow one of mine.

Doris Such as…?

Montgomery Such as… I use to wet my bed. You can have that one. Helpfully… It’s painful.

Doris No, thanks.

Montgomery Then there was the last time my father packed his bags and left us. Or the first time my mother took the Red Eye and Los Angeles and didn’t come back for six weeks.

Doris Those don’t really help…

Mrs. Sherwood enters, carrying some books and crosses left to right.

Montgomery In that case, I’ll tell you my special…

Doris Your special? She is hesitant… You really want to talk about it?

Montgomery Maybe it’s time. He gestures for Doris to go on ahead… You won’t miss this one.

Leroy enters on rollerskates as Montgomery and Doris turn and watch his encounter with Mrs. Sherwood.

Mrs. Sherwood Leroy!

Leroy Yes Ma’am?

Mrs. Sherwood What are you wearing?

Leroy Innocently reaching up and pulling something off his head… A hat?

Mrs. Sherwood On your feet.

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Leroy With elaborate surprise… Oh, those. Yeah, well they help me get around so’s I can fly from class to class quicker. Helps me get more learning in.

Mrs. Sherwood What about your book report?

Leroy I done it.

Mrs. Sherwood You DID it.

Leroy Yeah.

Mrs. Sherwood “The Best of Playboy” is NOT Robert Louis Stevenson. And it’s certainly not a book report.

Leroy It’s readin’, ain’t it?

Mrs. Sherwood Looking at her books… So are “Catchers in the Rye”, “Crime and Punishment”, “The Brothers Karamazov”, “Great Expectations”. You’ve heard of them?

Leroy I may’ve caught a couple on TV…

Mrs. Sherwood The words bursting out of her… I want more!

Leroy You don’t get more! You don’t get nothin’! You don’t –

Mrs. Sherwood Stopping Leroy by shoving a book into his hands… Read this. “Othello”. About a black nobleman. A thousand words. Two weeks.

Leroy Or what?

Mrs. Sherwood Empathetically… Or you’ll be skating right out of the school, Mr. Johnson.

Leroy angrily skates away. As Mrs. Sherwood turns and as he goes off right, Leroy makes a gesture after her, then quickly skates off. Doris and Montgomery look amused.

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Assessment Marking Guide Confidential Student Record ACTING UOC: VU1841 Expand Script Knowledge and Performance Skills

Assessment Includes: Filming of period piece.

Student Name: ______

Assessor Name / Signature: ______Date: ______

S NS

0 (unacceptable) 1 (less than acceptable) 2 acceptable 3 (more than acceptable) 0 1 2 3 Effective period acting presentation – including costumes and props. Vocal – changes to suit the era. Movement and gesture – changed according to the era. Facial expressions – in keeping with the era. Awareness of techniques/protocols of acting in front of camera. Reacting to action and cut. Crew set up awareness. Producing consistent take after take. Sustained an appropriate and consistent focus on the task and did not get side-tracked.

Clarifying comments to support assessment/observations:

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ACT 21

1. Warm Ups Perform Warm Ups appropriate for the period pieces – make sure you warm up entirely with voice, body and mind as some of these may take a while to film.

2. Filming Film Period Scripts.

3. After or before period script filming, rehearse, drama, comedy or researched scripts that are in your repertoire. Very soon you will be performing a self-written special skills script, a screen test for Participate in Negotiations and choosing your graduation scripts. Choose TWO for future filming for the above. It is preferable to have at least THREE scripts ready.

4. Homework Write your film critique on your chosen period script. Your teacher will give you notes in class (verbal or written) and a score out of 3, and then record your own thoughts with this, in your journal after watching the tape back at home.

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ACT 22

1. Warm Ups

2. UOC Write the Script Read and discuss UOC workbook Write the Script – this lesson is dedicated to this UOC. Please be aware that this workbook is due next class.

To begin, prepare an opening paragraph for a children’s show as the presenter – imagine what the show is about. What is the age range? Write in class and present, and this is element 2.4 in the workbook. If you’re absent you must write it. This is NOT filmed.

Write your own to laugh script where YOU must laugh. It needs to be contemporary and 1 minute long and filmed next lesson.

Self Written Script Discuss script writing – as you will be writing a contemporary monologue using one of the following stimuli. This is NOT filmed. Be careful! I’ll always love you… I paid it! How can I ever face her/him? Tell me the truth! It’s another girl/guy, isn’t it? This won’t hurt! Would you like to dance? But you promised! Sorry I didn’t mean to… Is that what you think of me? I never asked you to love me! Do you think he/she knows? Nothing will stop me now! Time is on your side. I feel I’m losing you… Please don’t leave me! You’re living a lie!

Clue for character building – some actors use animal characteristics. As wise as an owl As sly as a fox As fierce as a lion As quiet as a mouse As busy as an ant A dark horse A dumb bunny As stubborn as a mule As blind as a bat

Discuss the difference between styles of writing for period, contemporary or futuristic scripts – Is there a difference? What are they key points? How can we use the writing to tell setting?

Discuss special skills/talents you may have – Construct a scene incorporating your special skills. This can be a monologue, duologue or have up to three actors. Then, plan for filming. Use costumes, props, multimedia, dance, music. If you do not have a special skill, write a script of the genre of your choosing.

3. Homework Please write a report on each guest speaker in your Journal.

Continue work on UOC Write the script workbook for submission in Act 23.

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Film a self tape audition at home – Learning to produce your own self tape for auditions is a must know in this industry, and you can practice this in class, but then film it at home. Use the self written contemporary script from class as your self tape. NOTE: If you are with an agent then it is likely that you will receive a script. However you need to be prepared to use a script that is within your repertoire. Your choice of script is very important, it needs to show your acting potential.

Recap by viewing the video titled, How To Self Tape Your Audition, for a better idea of what you will be working on. This is found on the ACDA YouTube channel at https://www.youtube.com/watch?v=GZs_nEg7mLc.

Email to your teacher BEFORE the next lesson.

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ACT 23

1. Warm Ups

2. Work Submission Submit UOC Write the Script workbook – This needs to be handed in or emailed to your teacher on time otherwise it is considered late submission.

Self Tape – this should have been emailed to your teacher before this Act.

3. Special Skills Think about and discuss your special skills – Do you sing, dance, juggle, speak another language? Write a script based on your skill. You may work in duos. Visit our YouTube site for examples of special skills self written duos. This will be filmed in Act 26.

4. Graduation Preparation Think about Graduation – just try to begin thinking about what scripts you will perform – duo/mono. You are allowed to use previously performed scripts as long as they received good feedback.

5. Readings and Discussions Discuss futuristic scripts – What makes a script futuristic?

6. Filming Preparation for Act 24 – Battlestar Galactica You MUST learn two parts. This will be filmed as a four shot. Please wear white or black (no logo) t shirts, and black jeans. When you film this, you need to imagine you are in the main spaceship. Apollo leads the rest into the dome. As you are filming in a stimulated environment, block the walking to your sitting positions. Once in place, sit in order given for the four character shot. When Apollo opens the dome use a ros box (rostrum) that houses a pretend keyboard/or use an IPad. The actors’ reactions must show us that the dome roof has opened to reveal millions of stars.

Cast enter and walk down ramp onto steps. (viper cockpit)

Cassiopeia Starbuck Apollo Sheba

camera

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7. Homework Go to the scripts at the end the Learner’s Manual, and read some of the scripts there. You could use these in your Graduation.

Complete and update your journal. This is to be handed in Act 28 with no excuses; any outstanding homework must have been emailed to your teacher.

Learn the script Battlestar Galactica for filming in Act 24. When you learn lines, remember that you must be word perfect. Learn your script backwards, forwards and inside out. Think about your character.

Develop and write a character backstory for Battlestar Galactica (both parts you are playing), using the information provided if you need to.

Plan and prepare costume, hair, makeup and props (if required).

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SCRIPT – BATTLESTAR GALACTICA

THE HAND OF GOD INT (LATE EVENING)

Apollo leads Starbuck, Cassiopeia and Sheba down a narrow passageway. They are wearing noise mufflers on their ears. The sound of their footsteps is obliterated by the deep noise of Galatica’s giant engines. Starbuck taps Apollo on the shoulder and he turns around.

Starbuck Yells… This your idea of a fun evening?

Apollo indicates that he can’t hear what Starbuck is saying. He motions for them to follow. Cassiopeia pulls a slightly reluctant Starbuck along as Apollo leads them to a ladder, which rises vertically into a tube. Apollo points up and Starbuck makes an ‘after you’ gesture. Apollo nods and scales the ladder with Sheba and Cassiopeia, followed by Starbuck.

Apollo Are you ready?

Sheba For what?

Apollo Watch!

He presses a button. The whine of motors is heard as the metal shield around the dome begins to slide into the floor, like the petals of a flower rising open. The shield slides away, revealing all the stars around them. Cassiopeia gasps and grabs Starbuck. Sheba automatically reaches for the base of the chair.

Sheba It’s incredible!

Cassiopeia Frightening!

Apollo We’re perfectly safe. The bubble’s constructed of transparent tylinium.

Starbuck Looking around… It’s so different from a viper cockpit. So open…

Apollo It’s like riding in the hand of God. Beat… At least, that’s the way I like to think of it. To Sheba… Do you like it?

Sheba Apollo, I love it!

Apollo Then give it a try.

Cassiopeia What’s this bubble used for? Besides scaring me…

Apollo Laughs… It’s a celestial chamber. The only one left on Galactica. When the old girl was launched over 500 yahrens ago, there were a number of these domes. Back then, the navigator’s came up here to Are There Productions P/L trading as the Australian College of Dramatic Arts 124 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

take star sightings… To sort of double check the navigation computer. Looks around… I doubt anyone’s been here, except us, in a hundred yahrens or more.

Sheba All the instruments seem to work.

Apollo I repaired the ones that didn’t. I like coming up here to shoot the stars the way my ancestors did.

Starbuck Sometimes, buddy, I get the feeling you’d have loved loving in the past. Knocking around some planetary system in and old fashioned sub light rocket… taking yahrens just to move from one solar system to another.

Apollo Laughs... It may have been slow, but it was more of a challenge. Beat… I think living back then might’ve been more fun.

Sheba Apollo… What’s this scanner set for?

Apollo Long range communication. But you won’t get anything on it. Those gamma frequencies are outdated. We don’t use them anymore. .

Sheba Well somebody does.

Apollo What?

Sheba Pointing… It’s weak, but we’re receiving a signal.

Starbuck What is it?

Apollo Can’t tell… I’m recording and trying to get a directional fix.

Sheba We’re losing it!

Apollo It’s gone.

Starbuck Any idea what it was?

Sheba I think it was a ship… But I’ve never seen anything like it.

Apollo I have. In the history scans. Turns to Starbuck… It looked like something the colonies used to fly… a couple thousand yahrens ago…

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ACT 24

1. Warm Ups

2. Filming Film Battlestar Galactica.

3. Special Skills Rehearse your special skills script – make any edits you might need to.

4. Readings and Discussions Discuss green screen – What is it? How do you act with it? Green screen is an effects process known as Chromakey. This allows film and television productions to use advanced technology to superimpose the subject onto a virtual background. With digital processing, the editor gets a solid background to easily remove with software, and edit in the background needed. Chromakeying, therefore, is the act of singling out a particulate colour in an image, then using computer software to make that colour transparent, allowing another image (such as animated weather maps on forecasts for the news) to show through. Green is used as the contrast means most modern cameras easily pick up the colour, and it is less common in clothing.

Tips for recording with a green screen: 1. Avoid shadows – Shadows change perceived colour by the camera, so editing will be tricky. 2. Ensure the screen surface is flat and smooth – You can use paint, fabric, paper or anything as long as there are no wrinkles or folds and the colour appears seamless in the background. 3. If your camera automatically sharpens images – Turn that feature off as artificial sharpening can make it harder for editing software to separate background from subject. 4. Watch out for reflections on your subject and on props – Shiny things can pick up green screen colours. Blonde hair can also make it tricky, blue screens or using magenta gels on the backlight will counteract the green

Tips for acting with a green screen: 1. Hit your marks precisely – Unlike a fully dressed set the room is often empty so this is even more important. 2. Eye line must be accurate and directed to the marks indicated and provided by the director – Again, this is even more key with green screen as there is less to look at and use for marks and cues. 3. Imagination is important with green screen – You won’t be seeing your scene partner maybe, or the ‘monster’ coming at you, or the dog you’re playing with, so you must be able to act as though it’s real. 4. Focus – Focus, focus and focus harder. You need to maintain continuity in all ways, be able to portray real emotions… Green screen acting is like regular acting just a lot more challenging!

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Read the scripts at the end of this act – Remember no accent unless you have trained with a dialect coach. In class, watch some of Gareth Jameson’s videos and discuss: https://www.youtube.com/playlist?list=PL52C1B297DC002A4E .

5. Graduation Preparation Please write a list of possible best scripts in your journal (monologue and duologue) for possible performance at Graduation – Remember you must choose characters in your age range.

Check your journal and workbooks – All journals and any outstanding workbooks must be handed urgently. Please ensure these are all up to date, including log of hours.

6. UOC Participate in Negotiations Think about your UOC Participate in Negotiations script – This MUST be different from both your self tapes and your special skills script. Finding scripts is not hard you have plenty of resources to help you. If you keep repeating the same script, how can you improve your skills and range and challenge yourself?

Please read the workbook UOC Participate in negotiations – You will be meet with an industry guest professional where you will be screen tested and also participate in a negotiation. You will need a monologue, chat to camera, a hard copy CV, please make sure that your personal grooming is of an industry audition standard. Discuss your choice of monologue with your teacher.

NOTE: Do NOT use the same script for Special skills, Participate in negotiation or Graduations – you need to have a good and diverse repertoire of scripts that show different emotions and especially show your acting potential.

7. Homework Write your film critique on Battlestar Galactica for both characters. Your teacher will give you notes in class (written or verbal), record your own self reflections on your filming in your journal after watching your work at home.

Read ‘The 100’ and ‘Tomorrow When The War Began’ transcribes.

Please also watch again the How To Perform A Chat To Camera video. Find this video at: https://www.youtube.com/watch?v=PnMa9YdY-RM

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SCRIPT – THE 100

Age Range – 17 to 18 years INT (EVENING)

Clarke Let’s go back and look at it now.

Bellamy It’s gone. I ignored it. And today, it’s gone. Like someone was using it for something but they don’t need it anymore. Frenzied… And then you add this to all the other stuff… the wheel ruts by the river… the voices I heard in the trees…

Clarke Cuts off Bellamy… We talked about this. The wheel ruts could have come from the village; Max’s people have wagons. And the voices…

Bellamy I heard them.

Clarke I know you did.

Bellamy I don’t want to cause a scene… Bellamy swallows… But I’m telling you. Something isn’t right. I felt it before and I’m feeling it now. We have to warn everyone. We need to warn them before this… celebration. Whatever it is.

Clarke The Harvest Feast. Max said it’s been celebrated here for generations, and it’ll be nice to take a moment to…

Bellamy …If I were going to attack us, today would be the day. All of us together. Sitting ducks.

Clarke I trust you. I trust that you saw what you saw. But you need to trust me too. You are safe here. We are safe here. The truce we struck last month is holding firm. Max says that the splinter group of Earthborns moved off south as soon as they lost the fight, and there hasn’t been one sighting of them since.

Bellamy I know. But it’s more than that leaf pile. I have this feeling on the back of my neck…

Clarke Then we’ll replace it with a different feeling.

Clarke touches Bellamy’s cheek.

Bellamy It’s not that simple. Starting to relax.

Clarke Come on, today is a happy day Bel. It’s your first big event as a member of the Council. Think about your speech. Focus on enjoying all the food you helped provide.

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Bellamy The Council. Right. I forgot about that damn speech.

Clarke You’ll be fine.

Clarke stretches to get up again to brush his rough cheek with her lips.

Clarke You’re good on your feet.

Bellamy True.

Bellamy loops his arms around her waist, grinning as he draws her closer.

Bellamy I’m good off my feet too.

Clarke Laughing… Yes, magnificent. Now come help me get this dinner together before you meet up with the Council. We can celebrate privately later.

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SCRIPT – THE 100

Age Range – 17 to 18 years INT (EVENING)

In a whisper, Glass tells Luke everything she heard Rhodes say.

Luke I won’t do it.

Glass But, Luke, you understand what that means, right? They’ll punish you. I know he saved my life, but Rhodes is dangerous. You should have seen the way he talked about executing Bellamy. It was… awful. Who knows what he is capable of?

Luke I know. His jaw clenches and unclenches…

Glass Luke. She squeezes his hand… It can’t end this way.

Luke It won’t. He pulls Glass into a tight embrace.

Glass I know what to do.

Luke What?

Glass We’ll leave.

Luke What do you mean leave? Where would we go?

Glass I don’t know, but we’ll figure it out. Wells can help us. He and Sasha can tell us which way to go. We can hide out for a while – as long as it takes for us to be sure that when we get back, all of this will have been forgotten.

Luke What about the Earthborns? The dangerous ones?

Glass We’ll have to take our chances.

Luke We’d have to go tonight, then. We don’t want to give Rhodes the chance to find me.

Glass Seriously? You really want to go off on our own?

Luke Do you now what’s kept me going this last year? All the time when you were in Confinement, those nights on Walden when I was certain we were dying? It was the thought of being on Earth with you. Even when I was sure it was just a fantasy, I couldn’t stop imagining exploring the planet with you. Just us. It’s incredibly risky though, you know that.

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Glass She nods… I know. But I’d rather be in danger out there with you than risk being here without you.

Luke And I’d rather be out there with you than cause anyone else more pain.

Glass Then let’s go get ready. We’ll take whatever supplies we can grab without attracting attention, then head out.

Luke I have to finish this shift. You get some water and whatever food you can hide in your clothes, and we’ll meet back here after sundown while everyone’s eating dinner.

Glass Okay. I’ll find Wells. And I think we should tell Clarke too. She needs to know what they’re planning for Bellamy. Because if it isn’t you, it’s going to be someone else.

Luke Can we trust her?

Glass Yes, we can trust her.

Luke Gives Glass a quick soft kiss… Good. We’ll be just like Adam and Eve.

Glass There’s no way I’m dressing in leaves, no matter how long we’re alone in the woods!

Luke Grins and laughs mischievously … Go get ready.

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SCRIPT – THE 100

Age Range – 18 + INT (EVENING)

Max has just laid his only child to rest.

Wells The connection we feel to other people isn’t by geography or space. Sasha and I grew up in two different worlds, each of us wondering and dreaming about what was out there. I watched from above, never knowing for sure whether humans had survived here on Earth. I didn’t know if we’d ever set foot on this planet again or if it would happen in my lifetime. And she (Sasha) looked up…

He points up at the fading stars, still faintly visible in the dark blue sky

…and wonder if there was anyone up there. Had anyone survived the voyage into space? Had people managed to stay alive up there all these hundreds of years?

For both of us, getting answers to our questions seemed so unlikely. But a million tiny forces moved us toward each other, and we got our answers. We found each other, even if it was just for a moment. Sasha was my answer.

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SCRIPT – THE NIGHT IS FOR HUNTING

Age Range – 17 to 18 years EXT (AFTERNOON)

Ellie Lee. I have to talk to you.

Lee does not respond.

Ellie I know what happened back in Stratton stuffed up our relationship. I hate that. I mean, to be honest, I hate what happened with that girl, but even more I hate how we don’t talk anymore, how we’re not even friends. I’d do anything to get that back. I know it’ll never be the same, but if we both want it bad enough, we can get back the friendship. I just want to tell you that I do want it, really badly.

Silence. She gives him a light punch on the arm.

Ellie So, what do you think? Are we going to be mates again?

Lee What do you think’s stopping us being friends again?

Ellie Well, I guess I’ve been pretty tough on you. I’ve had to come to terms with some stuff. I keep forgetting how much life can change in a war, and how we’ve all done dumb things that we’re not exactly proud of…

Lee So, the main thing for you is forgiving me for getting off with Reni.

Ellie Okay… If you want to put it that way, maybe something like that.

Lee That’s not the main thing. The main thing is me forgiving myself.

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SCRIPT – THE NIGHT IS FOR HUNTING

Age Range – 17 to 18 years EXT (AFTERNOON)

Fi Ellie, there are some things friends are meant to tell you, right? I know you do lots of great things, and even in the last 24 hours… She hesitates… No. I’m not going to tell you how wonderful you are. I always do that and it gets me distracted from what I really want to say. Ellie, you’ve been terrible lately. That’s the truth and if I don’t tell you no one else will. Don’t you understand what’s happening to you? You’ve changed so much. This war’s making you so hard and horrible, there are times I hardly recognise you. You just seem to be losing all your kindness and understanding and niceness. The way you’ve been talking to these kids. That’s a perfect example. You haven’t said one nice thing to them. You’re just acting like they’ve come all the way here just to annoy you. I know they’re not exactly easy, and I know they took all your stuff back in Stratton, but honestly, you can’t blame them. They’re only kids. The war’s not their fault. They didn’t start it. They can’t help what happened. Pauses.

Fi And another thing, Ellie. You’re not being fair to Lee. Lee didn’t have any obligation to you. You hadn’t been with him for ages. He shouldn’t have gone off with one of the enemies, that’s true, and I’m sure it didn’t take him long to work that out, but he didn’t owe you anything. So why are you punishing him? He made a mistake. A big mistake. He’s been kicking himself ever since. He doesn’t need you to put the boot in as well. Ellie, there was a time when you would have been the first to understand how something like that could happen, and you’d have gone out of your way to make him feel better. But now you’re so hard that you think no one’s allowed to make a single mistake, and if they make one, you punish them for… well, I don’t know how long, because you haven’t stopped punishing Lee from the moment it happened. Pauses.

Fi Well, what you did with Adam in New Zealand was just the same as what Lee did with the girl. Pauses.

Fi Anyway, in a way it doesn’t matter what Lee did. The whole point is, how long are you going to hold it against him? We’ve only got each other, you know that, and if we go on clinging onto grudges, inside a week none of us will be talking to anyone else. But even that’s not the main thing for me Ellie. The main thing, is I want the old Ellie back. The Ellie who always helped people in trouble, who was there for her friends. And if the war’s killed that Ellie, then there’s no hope for any of us.

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ACT 25

1. Warm Ups

2. Filming Film the chat to camera, thinking about your eye line and where you’re looking and who you are talking to.

3. Special Skills Rehearse special skills scripts – practice eye line. Sometimes when filming if the other actor is not on set due to space limitations, upon reversal of camera you have to check your eye line so that you accurately reflect the other actor’s exact height for continuity of looking and speaking with them.

Actor A

Actor B

If this actor is not on set then Actor A must know where Actor B’s eye line is or editing fails.

4. UOC Participate in Negotiations Keep working through UOC Participate in Negotiations – You must be prepared as well as possible, and this includes completing the workbook. How do you find the right balances so you are not over or under confident?

Read the workbook Participate in Negotiations: Key Skills – this is essential for your interview to go well. Please make journal notes.

Improvise a role play in class for Element 1 of UOC Participate in Negotiations – Person A is an agent, and Person B wants to join their agency. The agent is busy and short of time, but has arranged this interview. The agent is well known in Melbourne and has respectable clientele. Your drama school has recommended you to them, and you have a reasonable CV for someone your age. You have had a lead in many school plays, bit parts in 2 short films, one of which one an award. You have a good working tape. The interview does not go as you expected though. The agent wants to cut the interview short after a phone call, and loses their temper. How do you react? This is now a conflict situation, and you feel as though you are not being treated fairly. Use effective techniques to break down the conflict, and reach a win/win for both parties.

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Please note: You need to dissect the word NEGOTIATE; remember you negotiate with parents, with work, with homework due dates and so on. When you do the practical part of this UOC, you will be negotiating, it might not be obvious but you will be doing it.

5. Journal Notes Have you written good Journal Notes?

Discuss the tools of your trade – Please create a list in your journal.

6. Readings and Discussions Read The Camera Never Lies – This is from the Year 1 manual and needs to be recapped. Written by Tristan de Cole.

Although the saying “the camera never lies” may seem far-fetched, it is very near the truth. Your performance should come from within; superficiality is soon spotted. Think it, don’t act it – false unnatural gestures are fatal. Instinct, which fosters inspiration, is one of the most important weapons in your armoury and analysis one of the most dangerous.

When you first read a script you will naturally analyse the character you are to play, and prior to, and during, rehearsals there is inevitably, and rightly, a certain amount of exploration and experimentation with the role. However, there can come a stage when the more you analyse, dissect and clutter your brain, the less you feel, and consequently the more inhibited and less natural or spontaneous your performance will appear. All forms of mannerisms are exaggerated, particularly in close up – the most important shot in television. Telling moments are often effectively conveyed by reaction close ups. You may have no dialogue in a scene but your reaction can often say far more to an audience than a long speech.

Read the below – Career. Money is a means of getting what you want too, but you can’t buy real friends. Money can also make you lazy by no longer having to aspire to realise your ambitions. Sean Connery and Dame Judi Dench in their biographies state that acting as their profession is their job, why stuff it up with over inflated egos.

So, think about and write about keys to your ideal career – Do you want a wonderful career? Do you believe you can have one? Do you strive for it? The answers should be yes, doesn’t matter, and yes. It doesn’t matter if you believe you can have one or not, as long as you take the steps to get there. The rest takes care of itself. So many don’t have rewarding careers because they focus on believing they can rather than working for it too.

If you really want a rewarding career and are willing to try, don’t guess if you will succeed or not – List the activities you enjoy or would enjoy in your ideal career, list ones you never want to be involved in, and list ones you are prepared to be involved in. Based on this, 70% of your career should be things you love,

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and 30% things you could do, but 0% things you hate. Do not label an ideal career, just activities.

Another important idea is the level of control you want to have in your career – This will point to whether or not you should own your own business, be a key player in one, or be employed by someone else.

You may also wish to add the ideal number of hours you want to spend in your ideal career in each week – whilst you won’t feel like you’re going to ‘work’ when you’re in your ideal career, it is important to ensure you spend proper time in the other important areas of your life… family, friends, self, health and fitness.

Now that you have definitively outlined your ideal career: 1. Visualise it. Imagine your involvement with your favourite career activities, what it would be like and how much you would enjoy it all. Emotional drive is a crucial factor in ultimately achieving a goal, so the more you allow yourself to visualize your ideal career the more likely your behaviours will automatically follow to create it. Visualisation is a strong driver of sub conscious behavioural programming. 2. Concentrate on it … keep it front of mind … keep it in your conscious brain. Whatever thoughts are in your conscious brain automatically pass through to your subconscious and then play a part of your behavioural programming. Concentrate on the thoughts that represent what you want in your career to help make this become your reality. 3. Do not ask yourself if any of this is possible. Your answer may be ‘no’ so you may never try. It doesn’t matter if you think it’s possible or not; it only matters that you try. 4. Do not put a time frame on attaining your ideal career. Firstly, you probably wouldn’t know anyway and secondly, that could make it seem too far out. Just chase it and see what happens. 5. Just want it, a lot. Acknowledge the fact that, if you work full time, your career is the bulk of your life’s time … so want your ideal career with a passion … irrespective of how long it may take, how many perceived barriers there are to pass through and whether you think you can have it or not. Don’t accept that you have to go to ‘work’ … make your aim to engage in activities that are purposeful, meaningful, enjoyable and rewarding to you and others. 6. List the skills, knowledge and people you will need in your network, to achieve your ideal career. Set about the required ongoing actions to attain all of that and don’t relent. 7. Determine what you should give to others or do for others, to achieve your ideal career. Life has a wonderful habit of rewarding givers more than takers.

Importantly, once employed in your ideal career, understand that things will change, so this must be an ongoing approach.

In the end, it is up to you – if you think this article is nonsense, then it will be just that for you. Whatever you think is impossible ... is impossible. Whatever you think you are … you are. You will remain in a job, just a job, and go to work each day … because you will never try. A baby elephant that has a chain

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attached to a stake in the ground placed around one of its legs learns that it can only move within the circle allowed by the perimeter of the chain. Years later, if a chain is placed back onto its leg but not staked into the ground, the elephant will only move within the same circle. Physically it can move out of the circle, mentally it doesn’t even try. That’s what happens to so many people who just go to work … physically they can change it, mentally they don’t even try. Their reality has become what they think, not what they can do. Chase your ideal career!

7. Homework Continue to learn and rehearse the Graduation scripts.

Continue to learn and rehearse your special skills scripts for filming in Act 26.

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ACT 26

1. Warm Ups Warm Up appropriately for you own special skills script.

2. Work Submission Please hand in your journal – This should have all of your character backstories, film critiques, excursion/incursion reports, log of hours and all other research and homework.

3. Filming Film the special skills script.

4. Rehearsal Continue to rehearse Graduation scripts – Get feedback from your class members.

5. Discussion Discuss and write, what do you hope to do after school? – Write not only an evaluation of yourself as an actor but your hopes, dreams and aspirations. And certainly by this stage of the course you should know whether the instruction, practical and theoretical has been useful or helpful for you. Please write this on separate paper for course audit purposes and hand in to your teacher.

6. Homework Continue to learn and rehearse the Graduation scripts.

Continue to write UOC Participate in Negotiations workbook.

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ACT 27

1. Warm Ups

2. Work Submission Submit UOC Participate in Negotiations workbook.

3. UOC Participate in Negotiations Discuss the UOC Participate in Negotiations screen test/auditions and score that you achieved with your teacher – Did prepare enough?

Playback and watch your screen test in groups in class.

4. Multiple Choice Assessment (short answers) and Learners Engagement Questionnaire to be completed. Please ensure you answer all questions.

5. Submit your log of hours – Make sure hours have been totalled.

6. Graduation Preparation Rehearse and block Graduation scripts – Do you know your lines? Can you hit your mark? Is the class introduction prepared?

7. Homework Continue to rehearse and refine the Graduation scripts.

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ACT 28

1. Warm Ups

2. Graduation Preparation Run through the dress rehearsal for the Graduation – film and refine all pieces, including the ensemble introduction, practice bowing and shaking hands to receive your Statement of Attainment, and the individual pieces.

3. Homework Ensure everything is completely prepared for the Graduation Performance.

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ACT 29

Compulsory Graduation Performance See Facebook for times and date confirmation – as well as anything else you may need to know.

All students must warm up before the performance – this is essential to any performance so why should today be any different?

Try to limit cheese, chocolate, milk or any dairy intakes, so that your saliva is clear for speaking.

All cast will start in the greenroom/side of performance area – Ensure you follow instructions.

Arrive ready and in costume, hair and makeup – Have you got props and set organised?

If you are doing more than one script, think about bringing a jacket to take on and off – You are not allowed to leave the performance area, even if you need a costume change.

You will be introduced as the Certificate III Year 2 graduating students – please enter, line up at the front of the stage/performance area and bow together.

Run Graduation program order – look at Bill for camera direction and listen for his very quiet “Action” or nod.

There will be formal speeches and then the Presentation of individual certificates.

Photos will then be taken of the graduating class – parents may take photos as well.

CONGRATULATIONS AND GOOD LUCK DON’T FORGET TO KEEP IN TOUCH VIA THE VETERAN’S FACEBOOK GROUP!

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ADDITIONAL SCRIPTS

SCRIPT – MOLLY

PUBLIC HOUSE INT (AFTERNOON)

Molly is 16 years old and of Irish descent but born in Australia. She has been working in Walhalla with a group of women based at one of the public houses.

Molly An’ where’s the fun without the demon drink? These miners need to relax, and what better way to do that than with a song, a dance, a drink and fumble? Can you see it? Underground for 12, 15 hours a day, underground, no sunlight, just hope, hoping you’ll strike lucky? But all they really strike is heartache. Look at ‘em all, out of all those thousands of miners, how many really get rich?

Pause for a beat.

Molly So I’ll give ‘em a dream, a happy time… Yes. It’s with grog and they escape for a while. An’ those bastards who own the hotels keep on making money. Money upon money, an’ the minders pay and pay and pay. And that’s what I’ll be doing for the rest of my days. Paying and paying. For there’ll be no sunlight for me. No family, no child of my own. An’ my friends, my darlings, will disappear one by one. Drink, disease, rape or killed. But will me spirit lie down and be killed? Damn yer eyes it will not.

In a singsong style.

Molly I’ve heard the men singing down at the piano, that youth, it soon passes, and beauty will fade, but I gave them their pleasure…

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SCRIPT – EBENEZER

HOUSE INT (EVENING/NIGHT)

Ebenezer is ageless, this part can be played by any. This monologue comes from the pantomime Aladdin. Ebenezer is a typically evil character.

Ebenezer Demonic, evil laughter… Ha, ha, ha. Hello boys and girls. Let me introduce myself. My name is Ebenezer. You’ve all heard of me, haven’t you boys and girls? (Assuming no response). Haven’t you boys and girls? (Assume answer is no). What?! You’ve never heard of Ebenezer?! Prince of magicians, arch wizard, Lord High Necromancer, Guardian of Most Secret Spells?! A curse on those who have never heard my name… and trembled in fear!

Pause for a beat.

Ebenezer So why is it, that I, greatest of all magicians, am walking on such a dark and terrible night as this? Shall I tell you why? Because I’ve been case out of my castle, my very home, left to wander the world. And all because I turned the King’s son into a miserable toad. Well… He looked the part anyway. Face full of warts and great bulging eyes. And after all, he did call me, the great Ebenezer, a common spell maker. Well, I’ll be revenged on the lot when I receive my power. Yes, boys and girls, shall I let you into my secret? Well, shall I?

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SCRIPT – BALLET AUDITION

PRACTICE STUDIO INT (DAY)

Melinda is practicing Jazz ballet steps as best she can in the wrong shoes. Getting frustrated, she keeps stopping and starting running the music back to the start and so on. Finally, she flops to the floor and begins unlacing her shoes, muttering angrily to herself.

Melinda What’s the use?! Stupid shoes!

Each tug at her laces punctuates her words.

Melinda Stupid steps! Stupid blood audition!

She flings one shoe away and stares at it, looking at the tape recorder accusingly then storms over and turns it off. She starts attacking the other shoe.

Melinda Come on Tony! How much longer? More unlacing… I want to go home.

The door opens slowly as Tony enters. He is silent and morose.

Melinda How’d it go?

Silence.

Melinda Come on, it can’t have been that bad.

Silence.

Melinda Tony?

Still, silence.

Melinda Fine then, don’t answer, see if I care.

Tony Sorry.

Melinda Smiling kindly at him… So how did it go, really?

Tony Hopeless.

Melinda Really??

Tony You’ll do alright.

Melinda Nope! She smiles as she tosses her other shoe away… I’m not doing it. Are There Productions P/L trading as the Australian College of Dramatic Arts 145 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

Tony You what?

Melinda I’m not doing the audition. I was just waiting to see how you went so we could go home.

Tony Don’t be such a quitter! You’re not backing out.

Melinda So I’m a coward – see if I care.

Tony Picking up her shoes and pushing her to them… You are going in if I have to throw you through that door myself!

Melinda Pushing him and the shoes away… Leave it Tony, this is my problem not yours.

Tony Don’t be a martyr and get those shoes on! You’ve got time. They’ve slotted another girl in before you. He pushes a shoe onto her foot and starts lacing it, as she fights, but he’s stronger.

Melinda It’s no use. I’m not going in there!

Tony You’ll do as your told! I’m not letting my screw up be all for nothing!

Melinda Less stubborn, more caring now… What do you mean?

Tony I got my steps all muddled. Ended up doing a mixture of Jazz and Classical. I made a right old mess of my audition.

Melinda Oh, Tony, I’m so sorry, this is all my fault.

Tony It’s not your fault, I wasn’t saying that.

Melinda Then what happened?

Tony You were right after all. I told you you’d do alright. Tony finishes lacing her shoes, which she has stopped fighting, and pauses then turns away… It’s a classical audition, not Jazz.

Are There Productions P/L trading as the Australian College of Dramatic Arts 146 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – SAM, SUE, TESS AND SASHA

FENCE NEAR THE SIDE OF SCHOOL EXT (DAY)

Sam, Tess and Sasha are chatting in their usual spot by the fence at the side of their school, eating their lunch. Sue, on crutches with her ankle heavily bandaged, comes up to them, not happy.

Sue Saddened… Hey.

Sam Distressed… Sue!

Tess Quickly… Is it broken?

Sue Wan smile… Oh, it’s nothing really. Holds her foot out… Looks worse than it is. It’s not broken, just badly sprained.

Tess We thought is must be bad when you didn’t turn up to school this morning.

Sue I had to go back to the doctors. Been there all morning. He said it’ll be alright, but I’m supposed to keep off it. Mum’s seeing the teachers now about setting me some homework, worst luck.

The others tut with sympathy and concern.

Sasha Worried… What did your Mum say?

Sue Rolling her eyes… She’s furious! And Dad! You should’ve heard them! Anyone’d think it was THEM that got hurt.

Tess Parents are funny like that, they take everything to heart.

Sue I know. Every time something happens they go wild at me, as if I deliberately go out to hurt myself. It’s not like I’m enjoying this! I’m in pain!

Sam My Mum’s the opposite, she fusses around like an old hen.

Sasha Does it hurt much?

Sue It’s killing me.

Sasha Sympathetically… Poor thing.

Sue Oh it’s alright. Laughs… I got a week off school anyway, and I miss the auditions for the school play.

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Sam Oh no that’s awful!

Tess No it’s not.

Sasha What do you mean?

Sue I really don’t want to audition.

Tess Her parents want her too!

Are There Productions P/L trading as the Australian College of Dramatic Arts 148 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – HUNGRY

GUY’S DOCTOR OFFICE INT (AFTERNOON)

Hungry is a ‘funny man’ and Guy just wants to get through the check up. Hungry is a long time patient, and Guy get’s over his antics quickly, but he does care for him.

Hungry Hey Spanner. You’ve heard of Doctor Feelgood, look who’s here, Doctor Lookgood. How’s it hangin’, Doc?

Guy How’s what ‘hangin’’ Hungry?

Hungry Life man, life. Geez, where’ve you come from? Hey, that’s not a bad question, where HAVE you come from with that slick back?

Guy I take it you don’t like my hair?

Hungry Man, I love your hair, it’s the only hair I’ve seen that doesn’t move in 80 knot winds!

Guy That’s cute Hungry, real cute.

Hungry Hey Doc, don’t try a line on me, you’ll end up treating yourself in hospital.

Guy That a threat?

Hungry You bet it is. Having you as a quack, a bloke would end up having his insides lacquered down. Raucous laughter.

Guy Yeah, right. Pause… Hey Hungry, what’s that bruise on your jaw?

Hungry Hungry’s mood changes to somber and evasive… It’s nothing. It’s a bruise that’s all.

Guy How’s your old man, Hungry?

Hungry Oh you know, the same as usual. Drinking himself to death.

Guy Listen, I want you to come and talk to me, privately, okay?

Hungry Hesitantly… Ah, maybe. I’ll think about it.

Guy I mean it Hungry, promise?

Hungry Alright, enough with the slush talk. I’ll come over later.

Guy Good.

Are There Productions P/L trading as the Australian College of Dramatic Arts 149 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – HALFWAY ACROSS THE GALAXY AND TURN LEFT

SCENE 1 DOVIS’ BEDROOM DOOR INT (AFTERNOON)

Helca watches David knocking on Dovis’ bedroom door.

David Astrella? Astrella, please say something.

Dovis No, David. I don’t want to talk to you.

David looks to Helca imploringly. She frowns and motions him to persevere. He squares his shoulders and continues.

Helca To herself… This may take longer than I thought.

David Astrella, please. Your Aunt explained your fear of kissing to me. About how you’re afraid of bacteria and stuff and… Astrella I’m sorry, I acted like an insensitive idiot the other day after the cricket match. I was… I don’t know… I was swept away by your beauty Astrella. I’m sorry I couldn’t help it…

Silence. David gives up. He hangs his head and leans on the door. Helca is disappointed too. Then Dovis’ door opens suddenly and David falls flat on his back. Dovis looks at him.

SCENE 2 DODGEM RIDE INT (AFTERNOON)

The others go for a ride in the dodgem cars, while X and Colin are having a great time sharing a car. A local boy rams QWRK’s dodgem and laughs.

Local Boy Revving his engine menacingly… Where’s you get your licence? Ina raffle?

QWRK Glaring at him as he recovers from the jolt… If I had a Zoomsled, I’d show you a thing or two.

Local Boy Zoom what? Hah! You’re on a dream world pal!

He reverses a couple of feet and rams QWRK again.

Local Boy Any time you want a race, you know where to find me!

He speeds off around the track spraying sparks. Colin and X cruise by.

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X Are you okay, QWRK?

QWRK is deep in thought and doesn’t seem to hear.

QWRK A few simple modifications should do it. An electrostatic intensifier… Inertia less drive field… Yeah! I’ll give him a race alright!

Colin Looking at X… He must be okay. I can’t understand a word he’s saying.

Jenny Appears at the track, signaling X madly.

Jenny Charlotte! Charlotte, quick!

Are There Productions P/L trading as the Australian College of Dramatic Arts 151 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – FERGUS McPHAIL

SCENE 1 STREET NEAR CCC EXT (DAY)

Fergus and Lambert approach Regina and Lucia, using questionable French accents.

Fergus ‘Allo, can you ‘elp us, please, merci very much?

Lambert We are French and we are lose.

Lucia is immediately sympathetic. Regina is a little more cautious.

Regina Lost?

Lucia Where do you want to go?

Fergus We are, ‘ow you say, zee tourists. Looking for zee tourist sights. Like zee movies.

Regina Oh that’s a shame, we were just going to eat lunch, weren’t we, Lucia?

Fergus You are hongree?

Lucia And thirsty.

SCENE 2 CCC EXT (DAY)

Fergus and Lambert are settled in CCC with Regina and Lucia.

Regina Service is a bit slow.

Lucia Can you guys see a waiter?

Lambert spots Angelo but Fergus intervenes sotto.

Fergus Not zat one, Lambaire.

Regina What’s wrong with him? A waiter is a waiter.

Lambert He has, ‘ow you say, zee attitude.

Regina So what do you guys do back home anyway?

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Lambert My fazzer is a French boss drivaire. Wiz a uniform.

Fergus And a moose-tash.

Regina I expect, Lambaire, you’re used to croissants and brioche.

Lambert Stumped… I hev not been to eizer place.

Fergus He eez from Paris.

Fergus and Lambert are pleased. Their plan is working. Or so they think. Regina is onto them.

Regina Shame you guys are tourists, I mean, imagine having a French boyfriend.

Lucia Every girl’s dream. French men really understand women.

Fergus Zere are plenty of us to go around, you know.

Lucia I just love, love, lurve the French accent too! Don’t you Regina?

Regina Can’t get enough of it! Pause… Look, can we…

Fergus Oui?

Regina …Hear you guys speak French?

Lucia Oh please! I love to hear French.

Regina Long, French sentences, with heaps of long words.

Lucia and Regina look expectant. Fergus and Lambert are up against it.

Are There Productions P/L trading as the Australian College of Dramatic Arts 153 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – DO YOU WANT TO KNOW A SECRET?

PLANTROOM LEVEL UNDER THEIR WORK INT (AFTERNOON)

Fergus and Lambert approach Regina and Lucia, using questionable French accents

Em I’ve got a ticket for the concert tonight.

Randolph So have I. But when everybody goes home, there won’t be any coppers left around here, then’s your chance.

Em Chance to what?

Randolph To meet the Beatles. They’re just up there you know, The Fab Four?

Em They’re on the twelfth floor.

Randolph And we’re behind enemy lines.

Em Pausing to consider and trying to fathom what Randolph is getting at… We can’t get up there from here.

Randolph Tunnel out way, like they did in The Great Escape.

Danny What an idiot. He leans against the boiler, which is hot… Ow!

Randolph Mind, it’s hot.

Danny glares.

Randolph To Em… See that? A pipe… It probably goes all the way up to their room. He pushes his ear to the pipe, which is one of many, and listens. His face lights up… There she blows. A toilet flushing. Wonder who it might be, John, maybe, George, Ringo, or…

Danny Cutting him off… There’ s hundreds of people in this joint.

Randolph Or me cousin George.

Danny You’re full of shit.

Randolph So are these pipes, so you never know do you where they go. Pause… Or where they come from.

They all pause and watch him put his ear to it again. Danny walks up to Didi sitting down and snatches the cigarette from her mouth.

Didi Hey! Are There Productions P/L trading as the Australian College of Dramatic Arts 154 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

He drags on it.

Randolph You shouldn’t be smoking there.

Danny glares at him and flicks the squashed butt at the danger sign. It falls through a metal grid.

Randolph That was stupid.

Danny goes to grab him, but is stopped by the sound of rumbling, getting louder. Everything begins to shake.

Randolph It’s going to blow!

The shaking and rumbling intensify, and everyone looks around at one another and panics. They all run for the door and start clawing and screaming to get out.

Em Help!

Didi Help us!

Danny runs at the door with a chair.

Danny Outta the way!

He smashes the chair up against it, but it’s no good. The basement shakes and rumbling intensifies. Fade up, music intro.

Randolph Oh, look out!

An explosion is heard. The plantroom metal wall is ripped open and a body comes Flying out. A plump girl with bright red tinted hair lands with a thud on the floor. She flicks her long fringe off her face. It’s Vicki. Smeared with dirt and dust. She looks up and sees the others staring at her in amazement.

Vicki What floor am I on?

Randolph You’re in the plantroom love.

Danny extracts Vicki’s duffel cot from the ventilator mains. It’s been shredded by the massive fan spinning.

Vicki Which floor is that?

Em The basement, you can’t go any lower.

Are There Productions P/L trading as the Australian College of Dramatic Arts 155 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – TURBO AND NIPPER

NIPPER’S BEDROOM INT (NIGHT)

Nipper is laying tucked into bed, under the covers, a wan and feeble boy. Turbo is sitting at his side.

Turbo So, the Prince thinks he’s a real clever dude, see? He reckons he can save the whole kingdom by himself. He doesn’t need the magician anymore. So he leaves him there, right behind the door, and he goes straight to the tower, where all the snakes are, to make them disappear…

Nipper No! He can’t make them disappear.

Turbo What? Why not?

Nipper He should just tell them to go away.

Turbo Yeah, alright, well he tries that, and it doesn’t work. No luck, see? So there he is. This Prince dude is in BIG trouble, facing all these pythons. What’s he need?

Nipper Not magic?

Turbo Yep, magic. Just when it looks really bad, the magician shows up! He zaps the snakes and sets the kingdom free. So, you see, the Prince needed the magician after all.

Nipper Okay, yeah, but it’s just a story.

Turbo Sure, but… Softly as though secretive… Just between you and me, every now and then, I need a little magic myself. Yesterday, you know where I finally found my keys? In my jacket – you were right!

Are There Productions P/L trading as the Australian College of Dramatic Arts 156 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – LATE FOR SCHOOL

CLASSROOM INT (MORNING)

Mr. Lavery Continuing to call off… No, I don’t want to hear any of your pathetic excuses! Just get back to class! Go on, go!

Mr. Dicks Morning Mr. Lavery, one of the student’s giving you a bit of trouble? Laughs…

Mr. Lavery No, it was the bloody Science Master asking for a pay rise again! He never learns!

Mr. Dicks Oh.

Mr. Lavery To the class… Now, listen up you lot. We’ve got a new Year 11 student starting up today. Annabel Maclean.

Horne Is that a boy or a girl sir?

Mr. Lavery Oh very funny Hickey. Two weeks detention!

Tim But sir…

Mr. Lavery Ah, here she is now.

Annabel appears at the classroom door. She is a very pretty and shy girl.

Mr. Lavery Come in love, take a seat.

Annabel walks in, and all the boys are immediately showing interest in her. There is an audible intake of breath. Annabel is looking around, she is having trouble finding a seat.

Annabel Ah…

Mr. Lavery I’m sure one of the boys will be so kind to offer you a seat.

All the boys immediately stand up and offer her their seat.

Boys Here, please, mine (etc.).

Mr. Lavery Now, now fellas. Don’t be bloody ridiculous.

They all sit down, disappointed.

Mr. Lavery Hickey, don’t be so rude, give the lady your seat.

Tim stands up and Annabel smiles at him then takes his seat. Tim loiters. Are There Productions P/L trading as the Australian College of Dramatic Arts 157 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

Mr. Lavery There you go. Now I’m sure you’re going to be very happy here. I know you’ll have no trouble with any of my boys, trust me. They are a group of fine, polite, well natured and mannered, mature and respectable young men.

Annabel Thank you Mr. Lavery, that’s very reassuring.

Mr. Lavery You’re very welcome Annabel.

Mr. Lavery exits.

Mr. Dicks Well Annabel, good to have you on board. Now just to bring you up to date with what we’ve been talking about today…

School bell rings and the students jump to their feet, ready to leave.

Mr. Dicks Excuse me, I haven’t dismissed you yet.

The students all groan and sit again.

Mr. Dicks Thank you. He picks up his clipboard from his desk and tucks it under his arm enthusiastically… Now, as you’re no doubt aware, the Year 11 mid year arts spectacular will include your very own production of Romeo and Juliet. Now, auditions will be held over the next two weeks so when I dismiss you, those wishing to be involved should form an orderly line along here …gestures… Thank you. Class dismissed.

All the students rush out.

Mr. Dicks Single file please, along here. Thank you. Last name first, first name last. He places down the clipboard… Now because there are only a few of roles, of course some people are doing to be disapp…

Dicks looks up and realises he is alone. Cut to corridor, and Tim is chatting to Dennis, both looking up the corridor.

Tim Mate, is a she a little honey or what?

Dennis What… Old Mrs. Moody from Home Ec?

Tim No, don’t be stupid. Reconsiders… Mind you… Snaps out of it… No, Annabel! Isn’t she gorgeous? And did you catch the way she smiled at me when I gave her my seat? Mate she wants me. Bad.

Dennis Well why don’t you go ask her out then?

Tim Don’t you worry mate, I’m way ahead of you. Got a bit of money put aside. Got it all planned out. I’ll get a chauffeur driven sports car.

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We’ll drive up to the movies with the top down, polish off a few nibbles, be a big night.

Annabel suddenly appears.

Annabel Hi!

Tim is suddenly wide eyed and open mouthed.

Annabel To Dennis… Thanks for giving me your seat.

Dennis That was Tim here. Tim, speaking of which, wasn’t there something you wanted to say to Annabel?

Tim Nervously stuttering… Ah, no, I am, was there?

Dennis Pointedly… Yes. Remember?

Tim Still very nervous and stammering… Oh, yeah, uh, hi. I was just wondering if like, you’d, ah… Like to have my chauffeur take some pictures of you with you top down? Realising what he said... OH! NO! Um, I mean, I could polish off your nipples? NO! Oh, will you excuse me?

Tim takes two steps away besides the sports locker. He takes some deep breaths in an attempt to gather himself. Annabel watches, confused, then turns to Dennis.

Annabel So, are you going to audition for this Romeo and Juliet thing?

Dennis Oh, nah not me. I’m not good at that sort of thing, but Tim is, aren’t you Tim? Tim??

Tim is head in hands.

Tim Looks up… Hey?

Dennis I was just telling Annabel here that you’re thinking of auditioning for Romeo and Juliet.

Tim What? Me? No way! Couldn’t think of anything worse than prancing around on stage in front of 500 people in a pair of tights looking like a complete idiot! Forget it mate, no way on earth.

Annabel I’m thinking of auditioning.

Tim Really? I mean, me too! What a coincidence! Lets go find Mr. Dicks.

Tim escorts Annabel out, looking over at Dennis and nods and winks.

Are There Productions P/L trading as the Australian College of Dramatic Arts 159 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – THE FLYING DOCTORS

CAFÉ INT (AFTERNOON)

This is an 80s Australian scene.

Sam Never really got the hand of it, to tell you the truth.

Emma Every second Saturday, they show a movie in the institute. You like movies?

Sam Some of them.

Emma What kind do you like?

Sam What kind have they got?

Emma This Saturday they’re showing “Back to the Future”.

Sam Back to the Future?

Emma Yeah, haven’t you heard of it?

Sam BACK, to the, FUTURE?

Emma That’s what it’s called, it’s supposedly really good.

Sam How can you go BACK to the future? That doesn’t make any sense, the future is AHEAD of you not BACK.

Emma That’s just what it’s called.

Sam I was wondering, like… If you were doing anything on Saturday night?

Emma No, I’m not, why?

Sam You maybe want to… Do something? With me?

Emma Well okay, what did you have in mind?

Sam Well, what happens here on a Saturday night, is there something to go to?

Emma Oh yeah, this place really comes alive on a Saturday night.

Sam Yeah?

Are There Productions P/L trading as the Australian College of Dramatic Arts 160 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

Emma Yeah, it’s a really swinging scene. Jack Crothers has to go on traffic duty. Pause as Sam starts to smile… There’s a dance… You like dancing?

Reaction shot.

Are There Productions P/L trading as the Australian College of Dramatic Arts 161 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – SUSAN AND FELICITY

SUSAN’S OFFICE INT (MORNING)

11am Susan sits behind her desk with Flick seated on the other side. She looks very serious while Flick has a hint of defiance on her face, she’s pretty certain a dressing down is coming.

Susan How are things at home, Felicity?

Flick quickly covers her surprise; this is now what she was expecting.

Felicity Fine. I’m living with Joel now.

Susan I’m aware of that. Is it difficult to study there?

Felicity Not really. Why?

Susan A couple of your teachers have noticed a drop in your marks.

Felicity This is about Joel isn’t it.

Susan No, it’s about your poor performance at school. Only, if you’re suggesting there’s a connection…

Felicity Well there’s not.

Susan Good. Because setting yourself up for a career is the most important thing at your age. That’s what this year is for. You’ve got years to work out your love life.

Felicity Why does everyone treat me and Joel as if this is some stupid schoolgirl crush?

Susan Well it’s up to you to prove them wrong. Pause… Anyway, you certainly impressed the Year 7s this morning.

Felicity has been waiting for this to come up.

Felicity Are you telling me it’s wrong to kiss my boyfriend goodbye?

Susan No, not wrong. Given the time and place, it was perhaps, inappropriate. As an afterthought… Personally, I always think real love doesn’t need a public demonstration.

Flick is mortified at these words. They’ve hit home.

Felicity Is that all?

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Susan Nods, then pauses… Just remember, study as hard as you play and you’ll do alright. You have an English Lit assignment due Friday. Make sure it’s done on time and up to standard. You know it you fail English you’ll fail your VCE.

Felicity Yeah, I know, and I won’t fail.

Susan Good.

Flick leaves, slightly defiant still but trying to hide that Susan’s words have given her something to think about.

Are There Productions P/L trading as the Australian College of Dramatic Arts 163 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – ANGIE

CAFETERIA INT (AFTERNOON)

Angie What’s going on Harmony? I don’t get it, why is it when you become a teenager, everything gets so confusing? I mean, what are they doing? Spiking the makeup? Is there some unwritten law that when you become a teenager, you move into the realm of insanity? If I remember correctly, that’s about the time everything started getting nutty. Think about it! I’m supposed to wash my face BEFORE I exercise to prevent build up. No, I’m supposed to wash my face AFTER I exercise to prevent break outs. I’m NOT supposed to eat chocolate because it causes pimples, but I’m SUPPOSED to eat chocolate before I take a test because it’s great ‘brain food’. I AM supposed to have lots of iron rich food to help my circulation. Hold on, now I’m NOT supposed to have iron because it stops my body form absorbing calcium properly. Wow. Okay. If I can survive being a confused teenager, I think I can survive anything! Change of heart… Let’s get out of here, I’m hungry!

Are There Productions P/L trading as the Australian College of Dramatic Arts 164 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – ANDY AND MARK

MARK AND ANDY’S HOUSE INT (NIGHT)

Mark What’s wrong?

Andy Nothing... After a bit, he mumbles… Had another nightmare.

Mark Shifting… What about?

Andy Nothing.

Mark Well it must have been something. What was it?

Andy It doesn’t matter. Sniffles.

Mark Not unkindly… Please yourself.

Mark rolls over and tries to get some sleep but Andy doesn’t move. His eyes are wide open and he stares into space. There is a long silence.

Andy What’s going to happen?

Mark Sleepily… Whaddya mean?

Andy Whispers… He doesn’t like us anymore.

Mark Now wide awake, he hitches himself up to lean on one elbow, turns the lamp on and faces Andy… Why do you say that?

Andy They don’t act like they used to. Pause… And he never wants to know what I’m doing anymore. And he never reads me books anymore.

Mark Forcing a smile, he scruffs Andy’s hair… Don’t be an idiot. He’s our Dad. You want to see Billy’s? He bashes his Mum. Dad’s just unhappy because he’s not teaching anymore. He still loves you.

Andy Sniffing, he looks at Mark with hope… Promise?

Mark Uncertain himself, putting on a brave face… Of course I promise.

Are There Productions P/L trading as the Australian College of Dramatic Arts 165 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

SCRIPT – MURIEL’S WEDDING

SCENE 1 INNER CITY EXT (DAY)

Muriel, looking dazed, walks down an inner city street and stops outside a bridal shop. She stares in the window at a bridal model. A sign reads, Cinderella’s Bridal Wear. She enters the shop.

SCENE 2 BRIDAL SHOP INT (DAY)

The shop is pink and mauve, with white wedding dresses hanging on racks. In a far corner is a small platform facing three full length mirrors. Muriel is drawn to a mannequin wearing a white silk dress. She gently takes the fabric of the billowing skirt between her fingers. A middle aged manageress moves up behind Muriel.

Manageress Silk. Chantel. Imported. When’s your big day?

Muriel September.

Manageress Spring. Ivory.

Close up as the zip is fastened. The shoes are sating. The train is beaded. Muriel stares at herself in the mirrors. She is dressed as a bride and the effect is stunning. She removes the veil as the manageress approaches.

Manageress What’s your fiancé’s name?

Muriel Bill.

Manageress Well Bill’s in for a big surprise. Will your mother be coming out to see the dress?

Muriel No. Well, she can’t. She’s in hospital. She’s got a tumor in her spine. She has to have an operation.

The manageress looks moved. She crosses to a desk

Manageress We usually don’t do this.

She takes a Polaroid camera from the drawer. The assistance impulsively takes a single white lily from a case and places it in Muriel’s hands. Holding the lily like a bouquet, Muriel smiles into the camera and the manageress takes her photo.

Manageress You mother has to see how beautiful you look in that dress.

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SCENE 3 FLAT INT (DAY)

Muriel’s hands tear off the plastic that covers a new white wedding album. Gold embossed letters on the cover read ‘Our Wedding Day’. She sits on the floor of the lounge room. Her fingers peel back the transparent adhesive plastic on the first page of the album. She carefully mounts four Polaroid photos showing her in the wedding dress. Muriel soothes down the plastic and admires the photos.

SCENE 4 HOSPITAL INT (DAY)

In the rehabilitation center gym, Muriel walks alongside Rhonda, who is working on the parallel rails under the supervision of a female physiotherapist.

Physio You’re doing well. Isn’t she doing well Muriel?

Muriel You’re doing really well.

Physio Now, this foot forward. You can do it. Good. Now the other one. Good, that’s good. And…

Rhonda I have to sit down.

Physio Come on…

Rhonda I have to sit down!

Physio Alright, alright. I’ve got you. Don’t panic. Swing around. That’s it. Your hand back. Take a break honey, you’re doing really well.

Rhonda sobs as she sinks into the wheelchair. Muriel kneels beside her.

Rhonda How can you stand this? You push me around in this chair. You cook for me. You even have to dress me! I hate this!

Muriel When I lived in Porpoise Spit, I’d just stay in my room for hours and listen to ABBA songs. Sometimes I’d stay in there all day. Since I’ve met you, I’ve moved to Sydney, I haven’t listened to one ABBA song. That’s because now my life is as good as an ABBA song. It’s as goof as Dancing Queen.

Rhonda Come off it! Promise me something? We never go back there.

Muriel What do you mean?

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Rhonda I mean I can’t go back and live in Porpoise Spit with Mum. Not in a wheelchair, not with her…

SCENE 5 FLAT INT (DAY)

Muriel’s fingers trace Bridal Boutiques in her directory. She circles Hugs For Brides.

SCENE 6 FLAT INT (DAY)

Rhonda is in her wheelchair watching TV. There is knock at the door. Rhonda answers it.

Driver Taxi for the rehabilitation center?

Rhonda Hang on, I have to get my smokes.

Driver Okay.

SCENE 7 VIDEO SHOP INT (DAY)

Muriel takes a Polaroid camera from behind the counter and leaves the shop. A sign on the door reads ‘Back in 10 Minutes’.

SCENE 8 FLAT INT (DAY)

Rhonda wheels into her bedroom, she takes a cigarette packet from beside her table. It’s empty. She moves to Muriel’s bedroom and opens a cupboard, revealing a small carton of cigarettes. She takes out a full packet and turns for the door. She stops…

SCENE 9 BUS STOP EXT (DAY)

Muriel misses the bus.

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SCENE 10 FLAT INT (DAY)

Rhonda finds Muriel’s photo album hidden behind the door. The cover inscription reads ‘Our Wedding Day’.

SCENE 11 BUS STOP EXT (DAY)

Muriel waist at the bus stop. She gazes at the mannequin bride in the window of a bridal shop.

SCENE 12 FLAT INT (DAY)

Rhonda picks up the album and opens it. On the first page are 8 Polaroid photos of Muriel, modeling a pair of wedding dresses… She rapidly flips through the album, revealing page after page of photos of Muriel wearing dresses of different styles, colours and cost. In all photos Muriel has the same misty eyed look of satisfaction.

SCENE 13 BRIDAL SHOP DOOR EXT (DAY)

Muriel enters the bridal shop.

SCENE 14 TAXI EXT (DAY)

Rhonda sits in the back of the taxi. She sees the sign on the door of ‘Video Heaven’, readying ‘Back in 10 Minutes’.

Rhonda Keep going. She lights a cigarette and looks out her window. She glimpses Muriel outfitted in a flowing white bridal gown.

Rhonda Stop the car! The taxi screeches to a halt.

SCENE 15 BRIDAL SHOP INT (DAY)

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In the bridal store, a manageress and her assistant admire Muriel in the dress.

Manageress Beautiful. I hope the photos help your sister out of that coma. Muriel poses and giggles as the manageress aims the camera.

Rhonda Muriel! What are you doing?

Muriel Squeals and whirls around… N-nothing.

Rhonda Why didn’t you tell me that you were going to marry Tim!

Muriel Who?

Rhonda Tim Simms, your fiancé.

Manageress Now wait just a minute, you can’t come in here and threaten brides. I don’t care how unfortunate you are.

Rhonda Oh shut up!

The manageress gasps. Muriel retreats into a back storeroom. Rhonda follows, cornering Muriel amongst dismembered mannequins and unfinished dresses.

Rhonda What’s going on Muriel? I’ve seen your wedding album. You’ve tried on every dress in Sydney.

Muriel That doesn’t mean I’m getting married.

Rhonda What else could that mean?

Muriel I want to get married! I’ve always wanted to get married! If I can get married, it means I’ve changed. I’m a new person.

Rhonda How?

Muriel Because who’d want to marry me?

Rhonda Tim Simms.

Muriel There is no Tim Simms. I made him up. In Porpoise Spit no one would even look at me. But when I moved to Sydney and become Muriel, Brice asked me out. That proves I’m already different than I was and if someone wants to marry me, then I’m not ‘her’ anymore. I’m me.

Rhonda Her?

Muriel Muriel! Muriel Heslop! Stupid, fat, useless. I hate her! I’m not going back to being her again. Weeping… Why can’t it be me? Why can’t I be the one?

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Muriel sinks to the floor, sobbing, as the manageress approaches Rhonda.

Manageress Have you been in a coma?

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SCRIPT – OCEAN GIRL

BEACH EXT (DAY)

Neri and Jason have been swimming together, exploring the reef. Neri has been able to stay underwater long and swim much faster than Jason. This is the first time they’ve been alone together. Neri settles on the beach and throws her head back, shaking her hair to dry it in the hot sun. Jason, out of breath, arrives from the water and squats down beside her. He’s a bit put down that she beat him, but in admiration.

Jason You must’ve stayed under for about 5 minutes. At least.

Neri doesn’t know what minutes are.

Neri That’s a long time?

Jason It’s amazing! Then you beat me back to shore and you’re not even winded.

Jason sticks his tongue out and pants like a dog. Neri laughs.

Neri You’re funny! And not very pleased, are you?

Jason Me? Why not?

She looks down at the sand with a little smile.

Jason Oh! Brett’s been telling you all about my big head, right?

Neri Why should he say your head is big? It looks the right size to me. A little shyly… It’s a nice head.

Jason No, big head means… Oh nah, forget it.

Jason takes a stick and draws in the sand for a moment.

Jason So who taught you to swim like that anyone? Somebody must have…

Neri Hesitates… A friend.

Jason You said there was nobody else on the island though?

Neri I said no people for a very long time.

Jason And before that?

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Jason Neri, we’re your friends, me and Brett. That means its safe to tell us anything. Hey! We’re not even telling anyone you exist, we promised, remember?

Neri Yes, right!

Jason So who was here… Before?

Neri hesitates again. But she likes Jason, and really wants to share what she has never talked about.

Neri My Father, and some other people too… When I was very little, but I can’t remember them. I remember my Father though. He was a strong, tall man with kind eyes, blue like yours, only very old and wise. We lived together in the tree house while I grew up. He taught me how to stay alive. What fish and plants to eat, how to keep healthy. How to speak like I’m speaking to you.

Jason And to swim?

Neri No, he was too old to swim much.

Jason Trying to make sense of the story… So, what happened to him?

Neri Staring ahead of her, out to the sea, she speaks gently but with no tears or grief… He… Stopped living. We took him out to sea on a raft at sunset, the way he always told me to, and we buried him.

She continues to gaze ahead of her, lost in memory. Jason looks at her, moved.

Jason I’m sorry, Neri.

Neri Breaking her thought and looking back at Jason… Why be sorry? It was his time

Jason You must have been lonely though.

Neri rolls over and looks at the sand for a moment.

Neri Yes, sometimes. She turns to Jason with a friendly smile… But not now!

Jason Hey, just a minute, you said ‘we’ took him out to sea and buried him. Who’s ‘we’?

Neri Me and Charlie.

Jason Charlie…?

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Neri The big fish. She gestures size…

Jason can hardly believe what he’s hearing.

Jason The whale?

Neri Yes, my friend.

Jason You mean, the whale taught you to swim?

Neri laughs.

Neri Of course. Jason you are so funny when you’re surprised. Your eyes pop, just like a fish yourself!

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SCRIPT – PARADISE BEACH

SCENE 1 BEDROOM INT (DAY)

Jo has come through a turbulent year of living at Paradise beach. She has an older brother Max, who she loves but is often judgmental and a bore. She loves her parents but can’t live with them and get along with them. She is self centered and sometimes selfish, but ahs a big heart and generous nature with her friends. She’s determined, brave, headstrong and sometimes naïve. Andrew enters the bedroom, munching on a piece of fruit. He finds Jo packing her things into a suitcase.

Andrew So, you’ve made your mind up.

Jo Nods… You were right, Andrew. I’ve only got one Father. I should make the most of whatever time he’s got left and spend it with him.

Andrew No need to hit the panic button. Your Dad’s not that old yet. He could be right as rain for years to come.

Jo sees through this casual reassurance.

Jo Then why is he taking those pills and why doesn’t he want Mum to know about it?

Andrew Yeah, right… Munches an apple… Does sound like a worry.

Jo A worry? You don’t know my Dad. If he was hit by a truck, he might admit he needed a few aspirin. I should be there to help take care of him, Andrew. He’s always done his best to look after me. Pauses… Maybe that’s why he’s sick…

Andrew The stress of raising you and Wonder Boy? Nah, don’t kid yourself.

Jo The stress and strain of running a business for 25 years. And he doesn’t know what to do with himself when he isn’t working. That’s why Mum was so surprised when he decided to stay up here.

Andrew, listening, not commenting, has realised this is something she has to get off her chest.

Jo And what have I done? Just caused more agro by thinking about myself? That’s got to stop. She pauses to look at Andrew… I’m going to do the right thing for once in my life.

Andrew holds up his hands defensively.

Andrew Fine, I think what you’re doing is exactly the right thing.

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Jo Surprised… You do?

Andrew I do. And I’m proud of you.

Jo Really?

Andrew Uh huh… He wraps a reassuring arm around her.

Andrew I just hope you’re around to look after me when I’m over the hill.

She grins and he gives her a light, affectionate kiss. Jo is heartened. A warm moment between them is felt. Andrew indicates to the suitcase.

Andrew You want a hand with that?

Jo Thanks. She closes is… I just wish Sally was here so I could thank her for putting up with me.

Andrew hefts the suitcase.

Andrew Plenty of time to catch up with Sally, you’re going to your parent’s place, not the moon.

Jo nods, accepting and considering this. She takes a final nostalgic look around the bedroom, a flicker of regret is felt.

Jo It’s going to be different, that’s for sure.

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SCRIPT – NELL AND WENDY

CAR INT (DAY)

In the car on the way to an audition.

Nell Aaaahhh!!

Nell returns to the wheels, while Wendy flops back into the passenger seat. Nell’s anxiety is getting the better of her.

Nell I can’t wear my tap shoes without socks. They’re too big.

Wendy You’re getting hysterical, Nell.

Nell I’m not!

Nell and Wendy battle through the traffic.

Wendy Made a decision about the job?

Nell Thanks for the offer, but this part I’m going for is MADE for me.

She begins rehearsing dialogue.

Nell ‘I can’t take it anymore Johnny. You’re always trying to change me into someone I’m not. What’s the point in going on if you can’t accept me and love me the way I am?’.

Wendy Looking at Nell, deadpan… What happens if you don’t get it?

Nell Undaunted… Something will come alone… A panto… A commercial…

Wendy I don’t know why you don’t just give this whole acting thing a miss. It’s not exactly like it’s paying it’s way…

Nell I need to act, Wendy. I need an outlet for my emotions.

Wendy Sardonically… Why don’t you try living?

Nell I did.

Just in front of Nell, a line of mounted police turn into the road from a side street. Cars are forced to stop while horses move out onto the road. Nell looks at the registration sticker on her car windshield.

Nell Through clenched teeth… Put something over the registration…

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Wendy You still haven’t renewed it? Jesus. See what I mean? You need a steady job.

As soon as Wendy opens the glove box, a pile of red apples, parking fines and bills spills into Wendy’s lap.

Wendy What do you want me to cover it with? A gas bill or a parking fine?

Nell Anything! Quick!

Wendy shoves the apples and fines back into the glove box and chooses a gas bill. She winds down the window and places the bill under the wiper, over the sticker. It starts to drizzle and without thinking, Nell turns the wipers on. Wendy watches the gas bill get dragged across and windscreen and looks at Nell blankly. Nell turns the wipers off and Wendy leans out, grabs the bill and places it back under the wiper. Nell strains to see out the window. The horses have formed rows which take up the entire width of the busy narrow street. The traffic pace slows to that of a snail.

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WORKBOOKS

The workbooks to the UOC’s are on the next pages. They are also found online on the ACDA website by using your student login. It is your choice whether you complete them online or hand write and submit a hard copy. Make sure you name the document properly according to the notes in Universal files.

Reasonable Adjustments Please talk to your teacher if you do not understand any part of the tasks required or if you have any learning issues/needs that may need additional help for your assessment.

There are no workbooks for the Actings UOC’s: Expand skills for auditions Expand script knowledge and performance skills Extend acting techniques

These UOC’s are continually assessed throughout the year with final assessments being conducted at the end of Term 3.

After you have finished your elective group project, please fill out the EVALUATION form on the next page and add to your folio.

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Certificate III Elective Evaluation

The number rating stands for the following: 1 = rarely, 2 = once in a while, 3 = sometimes, 4 = most of the time, 5 = almost always.

Name the group (film) you were part of ______

Name the people within your group ______

1. Was the prior knowledge/details of the filming project current and relevant? Did it give you enough detail to develop your specialist elective? 1 2 3 4 5 Any further comments: ______

2. Did everyone within the group participate in the pre-production process? 1 2 3 4 5

Any further comments: ______

3. Did everyone within the group participate in the filming process? 1 2 3 4 5

Any further comments: ______

4. Did everyone within the group participate in the post-production process? 1 2 3 4 5

Any further comments: ______

Do you have any other feedback/comments? ______

I hereby certify that the written work contained here, other than the research evidence, is my own work: ______

Hours spent on this workbook: ______

Student Signed Dated

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22072VIC Certificate III in Acting (Screen) Year 2

BSBDIV301 Work effectively with diversity

Australian College of Dramatic Arts STUDENT WORKBOOK Name:______School:______

1st Submission Resubmission Reasonable Comment Result Teacher Date & Adjustments S/NS Sign

Due Date: Act ____

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BSBDIV301 Work effectively with diversity

What This Unit is About: This unit describes the skills and knowledge required to recognise and interact productively with diversity in the workplace. It covers sensitive responses to, and interactions with, all manner of diversity that might be encountered during the course of work. It applies to individuals who work in a variety of contexts where they will be expected to interact with a diverse client and/or co-worker population. They may also provide some leadership and guidance to others and have some limited responsibility for the output of others.

Some Information About the Film and Television Industry: Diversity is celebrated and needs to be reflected in modern day film and television works. Not only do we need to see it on our screens, but we need to learn to respect diversity in different races, religions, genders, cultures, ages (and the list could go on!) in the workplace.

Checklist: You will need: This workbook, including a cover page, which includes your name An index of all the materials you have included Carefully label each question/response to match the unit of competency workbook questions Add additional information if you think it will benefit you All work should be your own and if it is not, this is referenced as research Interviews attached and questions checked prior to conducting them

Resources: www.immi.gov.au/immigration/, visas, immigrations and refugees, the Victorian Equal Opportunity and Human Rights Commission, The Victorian Charter of Human Rights and Responsibilities Act 2006, and other CURRENT websites.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) BSBDIV301 Work effectively with diversity

See Marking guides for assessment requirements Target Group: VETis – Year 10/11 15 to 17 year olds Method/s of Assessment: This unit describes the skills and knowledge required to recognise and interact productively with diversity in the workplace. It covers sensitive responses to, and interactions with, all manner of diversity that might be encountered during the course of work. It applies to individuals who work in a variety of contexts where they will be expected to interact with a diverse client and/or co-worker population. They may also provide some leadership and guidance to others and have some limited responsibility for the output of others. Instructions to Students: you must complete the following Assessment Task 1 Due date: Act 5 Participation in classroom reading and discussion Assessment Task 1: Assessment Task 2 Due date: Act 9 Write the answers to the workbook provided, plus interviews Assessment Task 3: Due date: Continual assessment Devise an improvisation in groups Assessment Task 4: Due date: Practical demonstrations of Participate in the planning and filming of a skills and interactions with others with short video on cultural differences. final assessments occurring at the end of Term 3. Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, journal entries, workbook Evidence: Compulsory class attendance for Act 6, film on SD card, student uploads to personal computer, journal entries, workbook, email/hard copy homework, improvisation

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Student Workbook – Element Questions

Work in a Culturally Diverse Environment The policy for Diversity Australia is based on 4 principles. Firstly, responsibilities for all: all Australians have a civic duty to support those basic structures and principles of Australian society, which guarantee us our freedom and equality and enable diversity to flourish in our society. Next, respect for each person. Subject to law, all Australians have the right to express their own culture and beliefs and have a reciprocal obligation to respect the rights of others to do the same. Then, there’s fairness for each person, stating that all Australians are entitled to equality of treatment and opportunity. Social equity allows us to contribute to the social, political and economical life we live, free from discrimination of any kinds, including but not limited to the grounds of race, culture, religion, language, location, gender or place of birth. Lastly, benefits for all, as All Australians benefit from “Diversity Works!”. That is, the significant cultural and economic dividends arise from the diversity of our population.

Shareen Muhammad, a Muslim feminist, is a member of Victoria’s Islamic Council. She gave some notes on understanding Islam. Muslims are very diverse. They compromise 1% of Australia’s population but they come from 70 countries of origin. Muslims have no issues with Christians but there are many negative stereotypes about Muslims. Specific issues usually involve patriarchy, religious symbolism, and the media. While some of their culture may appear to clash with religion, Islam culture is not religion. This is because each Muslim country has its own unique culture.

Because it was males who originally interpreted the Koran in ancient Arabic, they often distorted it with the meaning to suit their own patriarchal cultures and this has created much deviation from the original meaning. In order to rebalance this, Muslims need more female leaders and scholars. For example, they dress code. Woman can choose their own dress code. Those who choose to cover all but their face, do so out of respect to God and not to please men. Another example is education, which is compulsory for both men and women.

The word jihad, which we are told is a holy war, in reality means struggle to survive against something or someone. This could be childbirth, raising children, a battle against oneself, or the eradication of poverty. Terrorism has no religion and is not restricted to Muslims. Suicide bombing is a most dishonorable act.

Though born in Australia, Shareen is a devout Muslim. She has 4 children and her husband is a surgeon. They all pray 5 times a day at set times (except for her husband, who must do as his surgery allows).

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Element 1: Practically Communicate with Individuals from Diverse Backgrounds

1.1 Think about teamwork. Develop some improvisation games to improve teamwork and break down barriers. Plan and make notes below. ______

1.2 Communication styles are important. Misunderstandings happen because of differing communication styles, work suffers, tempers flare, and people are hurt. Design some more improvisation games to explore the many ways we communicate and engage in role play to practice different ways of getting a respectful messages across. Plan and make notes below. ______

1.3 In our multicultural society, companies need diversity to succeed. Design some more improvisation games on how to explore diversities such as ethnicity, belief, skill, gender, and background. Learn how it feels to be in the shoes of a victim of discrimination. Plan and make notes below. ______

Teacher Comment: ______

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1.4 What is successful and effective leadership? How do you inspire confidence in a group? Discuss and make notes below. ______

1.5 Devise an improvisation in groups where you show people from different backgrounds. Include any of the following: Hate, embarrassment, standing up for beliefs, taking sides, resolution, unresolved issues. Plan and make notes below. ______

1.6 Devise an improvisation in groups where a racial slur is said in the heat of the moment, it has been further exacerbated because the shoot has been slow and frustrating. Resolve the issue positively. Plan and make notes below. ______

Teacher Comment: ______

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1.7 What do you think cultural awareness is?

______

1.8 Discuss respect for people of different cultural backgrounds with your teacher and colleagues. Write down key notes. ______

1.9 Research different cultures and write a few things you learnt.

Different Culture What I found out

Teacher Comment: ______

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1.10 Take account of different traditions and communications. Research how to greet people with different cultures.

Cultural group Greeting EXAMPLE EXAMPLE Anglo Saxon Handshake and eye contact EXAMPLE EXAMPLE Japanese Handshake, hands together and bow

1.11 Filming overseas, what are the advantages for working with people from different backgrounds ethnically? ______

1.12 What could cause cultural conflicts on set? ______

1.13 Write about your family traditions around events (such as Christmas, birthdays or Easter). ______

Teacher Comment: ______

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______

1.15 Briefly write about your understanding of: A refugee: ______

An asylum seeker: ______

A temporary protection visa holder: ______

1.16 Provide some basic statistics highlighting Victoria’s cultural diversity. ______

1.17 Write down anything you can think of to resolve cultural misunderstandings before they lead to conflict. ______

Teacher Comment: ______

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1.18 You must interview 4 people - one person from a different race, two older Australians (for example: ask them about how they thought migrants were treated in the 50s and 60s), and one Australian from any race (for example: ask them how they think present day migrants are treated). Transcribe the interviews. BEFORE you conduct the interviews, discuss them in class, write the questions and check with your teacher. If they have not been approved, the interviews will not be accepted. Your aim is to find out and understand what it’s like to be a migrant, to come from a different country to live here, and be different.

Example questions: “Why did you move here?” “How is the Australian way of life different?” “What do you miss about your home?” And so on. Ask at least six questions.

Teacher sign when questions have been checked: ______

The Universal Declaration of Human Rights On December 10th, 1948, the General Assembly of the United Nations adopted and proclaimed the Universal Declaration of Human Rights. The General Assembly proclaims this as a common standard of achievement for all people of all nations, to the end that every individual and every society shall strive by teaching education to promote respect for these rights and freedoms, and by progressive measures, national and international, to secure their universal and effective recognition and observance.

Article 1: All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.

Article: Everyone is entitled to all the rights and freedoms set forth in this Declaration, without distinctions of any kind, such as race, colour, sex, language, religion, political or other opinion, national or social origin, property, birth or other status. Furthermore, no distinction shall be made on the basis of the political, jurisdictional or international status of the country or territory to which a person belongs, whether it be independent, trust, non self governing or any other limitation of sovereignty.

Article 3: Everyone has the right to life, liberty and security of person.

Article 4: No one shall be held in slavery or servitude; slavery and the slave trade shall be prohibited in all their forms.

Article 5: No one shall be subjected to torture or cruel, inhuman or degrading treatment or punishment.

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Article 6: Everyone has the right to recognition everywhere as a person before the law.

Article 7: All are equal before the law and are entitled without any discrimination to equal protection of the law. All are entitled to equal protection against any discrimination in violation of this Declaration and against any incitement to such discrimination.

Article 8: Everyone has the right to an effective remedy by the competent national tribunals for acts violating the fundamental rights granted him by the constitution or by law.

Article 9: No one shall be subjected to arbitrary arrest, detention or exile.

Article 10: Everyone is entitled in full equality to a fair and public hearing by an independent and impartial tribunal, in the determination of his rights and obligations and of any criminal charge against him.

Article 11: Everyone is charged with a penal offence has the right to be presumed innocent until proven guilty according to law in a public trial at which he has had all the guarantees necessary for his defence.

No one shall be held guilty of any penal offence on account of any act or omission which did not constitute any penal offence, under national or international law, at the time when it was committed. Nor shall a heavier penalty be imposed than the one that was applicable at the time the penal offence was committed.

Article 12: No one shall be subjected to arbitrary interference with his privacy, family, home or correspondence, nor to attacks upon his honour and reputation. Everyone as the right to the protection of the law against such interference or attacks.

Article 13: Everyone has the right to freedom of movement and residence within the borders of each state.

Everyone has the right to leave any country, including their own, and return to their country.

Article 14: Everyone has the right to seek and to enjoy in other countries asylum from persecution.

This right may not be invoked in the case of prosecutions genuinely arising from non political crimes or from acts contrary to the purposes and principles of the United Nations.

Article 15: Everyone has the right to a nationality.

No one shall be arbitrarily deprived of his nationality nor denied the right to change his nationality.

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Article 16: Men and women of full age, without any limitation due to race, nationality or religion, have the right to marry and to found a family. They are entitled to equal rights as to marriage, during marriage and at its dissolution.

Marriage shall be entered into only with the free and full consent of the intending spouses.

The family is the natural and fundamental group unit of society and is entitled to protection by society and the State.

Article 17: Everyone has the right to own property alone as well as in association with others.

No one shall be arbitrarily deprived of his property.

Article 18: Everyone has the right to freedom of thought, conscience and religion; this right includes freedom to change his religion or belief, and freedom, either alone or in community with others and in public or private, to manifest his religion or belief in teaching, practice, worship and observance.

Article 19: Everyone the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers.

Article 20: Everyone has the right to freedom of peaceful assembly and association.

No on may be compelled to belong to an association.

Article 21: Everyone has the right to take part in the government of his country, directly, or through freely chosen representatives.

Everyone has the right of equal access to public service in his country.

The will of the people shall be the basis of the authority of government; this will shall be expressed in periodic and genuine elections, which shall be by universal and equal suffrage and shall be held by secret vote or be equivalent free voting procedures.

Article 22: Everyone, as a member of society, has the right to social security and is entitled to realisation, through national effort and international cooperation and in accordance with the organisation and resources of each State, of the economic, social, and cultural rights indispensable for the dignity and the free development of personality.

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Article 23: Everyone has the right to work, to free choice of employment, to just and favourable conditions of work and to protection against unemployment.

Everyone, without any discrimination, has the right to equal pay for equal work.

Everyone who works has the right to just and favourable remuneration ensuring for himself and his family an existence worthy of human dignity, and supplemented, if necessary, by other means of social protection.

Everyone has the right to form and to join trade unions for the protection of his interests.

Article 24: Everyone has the right to rest and leisure, including reasonable limitation of working hours and periodic holidays with pay.

Article 25: Everyone has the right to a standard of living adequate got health and wellbeing of themselves and of their family, including food, clothing, housing and medical care and necessary social services, and to the right security in the event of unemployment, sickness, disability, widowhood, old age or other lack of livelihood in circumstances beyond his control.

Motherhood and childhood are entitled to special care and assistance. All children, whether born in or out of wedlock, shall enjoy the same social protection.

Article 26: Everyone has the right to education. Education shall be free, at least in the elementary and fundamental stages. Elementary education shall be compulsory. Technical and professional education shall be made generally available and higher education shall be equally accessible to all on the basis of merit.

Education shall be directed to the full development of the human personality and to the strengthening of resect for human rights and fundamental freedoms. It shall promote understanding, tolerance and friendship among all nations, racial or religious groups, and shall further the activities of the United Nations for the maintenance of peace.

Parents have a prior right to choose the kind of education that shall be given to their children.

Article 27: Everyone has the right freely to participate in the cultural life of community, to enjoy the arts and to share in scientific advancement and its benefits.

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Everyone has the right to the protection of the moral and material interests resulting from any scientific, literary or artistic production of which they are the author.

Article 28: Everyone is entitled to a social and international order in which the rights and freedoms set forth in this Declaration can be fully realised.

Article 29: Everyone has duties to the community in which alone the free and full development of his personality is possible.

In the exercise of their rights and freedoms, everyone shall be subject only to such limitations as are determined by law solely for the purpose of securing due to recognition and respect for the rights and freedoms of others and of meeting the just requirements or morality, public order and the general welfare in a democratic society.

These rights and freedoms may in no case be exercised contrary to the purposes and principles of the United Nations.

Article 30: Nothing in this Declaration may be interpreted as implying for any State, group or person any right to engage in any activity or to perform any act aimed at the destruction of any of the rights and freedoms set forth herein.

Read the Declaration above. Choose three and re explain them in your own words.

Article Number: ______

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TVC

6.1 In groups, create a short TVC, on the topic “How would you promote the culture of (topic to be assigned)” and submit on a USB (mov or mp4) or via emailing your teacher and [email protected]

Teacher Comment: ______

I hereby certify that the written work contained here, other than the research evidence, is my own work: ______

Hours spend on this workbook: ______

Student Signed Dated

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Assessment Marking Guide -Confidential Student Record- UOC BSBDIC301: Work effectively with diversity

Assessment Includes: This unit describes the skills and knowledge required to recognise and interact productively with diversity in the workplace. It covers sensitive responses to, and interactions with, all manner of diversity that might be encountered during the course of work. It applies to individuals who work in a variety of contexts where they will be expected to interact with a diverse client and/or co-worker population. They may also provide some leadership and guidance to others and have some limited responsibility for the output of others. Compulsory class attendance for Act 6, class discussions, workbook, research, improvisations, TVC film.

Student Name: ______Assessor Name / Signature: ______Date: ______

0 (unacceptable) 1 (less than acceptable) 2 acceptable 3 (more than acceptable 0 1 2 3 Recognise and respect individual differences in colleagues, clients and customers Respond to differences sensitively Ensure behaviour is consistent with legislative requirements and enterprise guidelines Accommodate diversity using appropriate verbal and non-verbal communication Recognise and document knowledge, skills and experience of others in relation to team objectives Encourage colleagues to utilise and share their specific qualities, skills or backgrounds with other team members and clients in order to enhance work outcomes Ensure relations with customers and clients demonstrate that diversity is valued by the business Effective acting presentation on TVC Effective vocal work on TVC Awareness of techniques in front of camera Effective script writing Effective group/ensemble work Produce a message of diversity that 15-18 year olds will engage with and understand Sustain an appropriate and consistent focus on the task and did not get side-tracked

Clarifying comments to support assessment/observations:

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22072VIC Certificate III in Acting (Screen) Year 2

CUFIND401A Provide services on a freelance basis

Australian College of Dramatic Arts STUDENT WORKBOOK Name:______School:______

1st Submission Resubmission Reasonable Comment Result Teacher Date & Adjustments S/NS Sign

Due Date: Act ____

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CUFIND401A Provide services on a freelance basis

What This Unit is About: This unit describes the performance outcomes, skills and knowledge required to operate as a freelancer within the creative arts industry. Success as a freelancer requires a high level of self-motivation and discipline, an ability to develop industry networks and an entrepreneurial attitude when pursuing work opportunities. Freelancers are usually responsible for negotiating their own contracts outside of having an agent do so, as well as testing knowledge of the industry.

Some Information About the Film and Television Industry: This unit covers the necessary research to be able to ascertain whether or not you can be part of the Film and Television Industry from a business perspective. An actor can be defined as his or her own small business. You don’t sell products, but you sell your personal talent, look and skills. Are you a marketable product? Have you done the work necessary to be part of this industry? Are you competent? Do you excel in talent at acting? Do you train in this profession? It’s not a matter of thinking you can do and are all these things, it’s a matter of producing the goods on demand and being realistic. Can you take the pressure? Can you take more no’s than yes’s? We develop and learn at different times. Are you ready for the risks?

Resources: Please list all the resources you use for this workbook.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) CUFIND401 Provide services on a freelance basis

See Marking guides for assessment requirements Target Group: VETis – Year 10/11 15 to 17 year olds Method/s of Assessment: This unit describes the performance outcomes, skills and knowledge required to operate as a freelancer within the creative arts industry. Success as a freelancer requires a high level of self-motivation and discipline, an ability to develop industry networks and an entrepreneurial attitude when pursuing work opportunities. Freelancers are usually responsible for negotiating their own contracts. Evidence of knowledge and skills of being a freelance actor within the Film and Television Industry in Melbourne and Australia, how to network and manage own business. Instructions to Students: you must read the information within the Learners Manual and complete the workbook Assessment Task 1: Understanding of Due date: Workbook due Act 13 being a freelance actor and how to promote End of year assimilation of tasks from yourself to potential employers the delivery of clustered UOC’s Assessment Task 2: Understanding how Due date: Workbook due Act 13 to negotiate work within the Film and End of year assimilation of tasks from Television Industry the delivery of clustered UOC’s Assessment Task 3: Manage own Due date: Workbook due Act 13 business affairs, develop skills and End of year assimilation of tasks from knowledge in financial and business within the delivery of clustered UOC’s the Film and Television Industry Assessment Task 4: Plan work Due date: Workbook due Act 13 opportunities and seek feedback about work End of year assimilation of tasks from practices the delivery of clustered UOC’s Materials / Equipment Required to Conduct Assessment: Industry knowledge, compulsory attendance at VET Industry Days with Industry Guests, Workbook, Learners Manual and filming equipment. Evidence: Workbook, observation of knowledge and skills, research and preparation of filming tasks from a range of tasks. Preparation of elective and Participate in negotiations filming tasks. Ability to self tape, prepare promotional materials, understand industry practices specifically the work of the agent, casting consultant, identify networking platforms and the requirements for an audition and screen-test. Teacher Assessor Name: Date/Time of Assessment: Student Declaration I declare that no part of this assessment has been copied from another person’s work, except where clearly noted on documents or work submitted. I declare that no other person has written any part of this assessment for me. I understand that plagiarism is a serious offence that may lead to disciplinary action. Student Signature:______Date: ______

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Element 1: Promote Yourself to Potential Employers

1.1 If you have an agent, what opportunities are open to you? ______

1.2 If you don’t have an agent, how can you find out about acting auditions and opportunities? ______

1.3 Explain the work of an agent. ______

1.4 Explain the work of a freelance actor. Are you capable of doing this? ______

1.5 What materials (tools of the trade) do you need to freelance? ______

1.6 Where would you go if you needed specialist acting industry advice? ______

1.7 Where should you advertise yourself as an actor?

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______

1.8 As a freelance actor, whilst also being at school, how would you find the time to keep in contact with actor networks? ______

1.9 How is technology helping the industry? ______

Teacher Comment: ______

Element 2: Negotiate Work Arrangements

2.1 What is an acting contract? ______

2.2 Research the MEAA site for UP TO DATE information on pay and conditions for different types of roles. (www.alliance.org.au). Write your notes below. ______

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______

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2.3 What is a basic negotiated fee? ______

2.4 You are in Year 12 and really want to finish your final year of study, but have gained a part in Neighbours. You are offered the basic negotiated fee, but no access to an on set tutor. What would you do? ______

2.5 You are an experienced young actor and have gained a part in a film, but have only been offered basic negotiated fee. What would you do? ______

2.6 You are having trouble understanding a contract and cannot afford legal help. Where do you go? ______

2.7 You have been asked to be a lead in a cooperative film (meaning any profits made you will receive a percentage of, but if not profit is made you receive no pay). This is your 10th. On the day of filming, you have been asked to be an extra in a low budget TVC. What would you do? ______

Teacher Comment: ______

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Element 3: Manage Financial and Business Aspects

3.1 How much money is needed to help you get into the industry? Below is an example of start up costs. Write your own in the box below. Materials Costs Professional headshot Allow $300 Paper and printing for CV $5 p/year Mobile phone $50 p/month MEAA fees $60 p/year Showcast/AT2/Star Now $100 p/year Grooming needs (hair and clothes) $50 p/month Classes and training $30 p/week Filming and editing a working tape Allow $200 Travel $20 p/fortnight for Myki OR $60 p/week for petrol

Materials Costs

3.2 Assuming you get 1 job in 6 months and work for around $25 an hour (standard extras rate), for about an 8 hour day (before tax), do you think you can afford some of the set up costs? ______

3.3 Identify any technical competencies; personal skills and attributes that you think will enhance your chances/ ______

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3.5 How do you keep track of your payments in and out? You need to be very organised especially if you have to submit tax returns. Please write an explanation of how you keep track of your money. ______

3.5 On the next page is an example invoice. On the page after, please produce your own in a similar manner, including your name, mailing address, email, phone number, invoice number, tax file number (made up), production name and address, the job you did and the date. When you are a freelance actor you have to be responsible for finding your own auditions and screen-tests and then when hired, negotiating your own contract and fee. For TVC’s, radio ads, corporate vids you will need to invoice the production company. So you need the skills of being able to invoice and be able to check when the payments have been made to you.

The MEAA (Actors Equity) is a good source of information.

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Your Name: ______INVOICE Address: ______Invoice #: ______Phone: ______Date: ______/______/______Email: ______

BSB: ______Acc #: ______ABN: ______

Super Fund: ______Member #: ______

BILL TO: Company Name: ______

Address: ______

Phone: ______Email: ______

Services Performed: Time: Hours: Price:

TOTAL OWED:

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Blank page for 3.5 your invoice

Teacher Comment: ______

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Element 4: Undertake Strategic Planning

3.1 Undertake your own feasibility study to determine your suitability to this industry. Use the SWOT formula below.

Strengths Weaknesses Opportunities Threats

3.2 Personal conflicts regarding money can cause stress. How will you resolve these before getting to that stage? ______

3.3 Personal conflicts also occur within families. How will you resolve conflicts before they escalate? ______

4.4 Do you foresee any other problems that could get in your way? Think laterally about being in this industry and write down any ideas that will help you deal with them. ______

Teacher Comment: ______

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Assessment Marking Guide -Confidential Student Record- UOC CUFIND401A: Provide services on a freelance basis

Assessment Includes: This unit describes the performance outcomes, skills and knowledge required to operate as a freelancer within the creative arts industry. Success as a freelancer requires a high level of self-motivation and discipline, an ability to develop industry networks and an entrepreneurial attitude when pursuing work opportunities. Freelancers are usually responsible for negotiating their own contracts.

Student Name: ______

Assessor Name / Signature: ______Date: ______

0 (unacceptable) 1 (less than acceptable) 2 acceptable 3 (more than acceptable) 0 1 2 3 Find and establish acting networks, ability to be proactive Communicate with potential employers Write and maintain CV Ability to interview Understand actor BHF, contracts Know the work of the MEAA and where to find contracts Seeks feedback Establish personal financial records and develop a budget Develop a working plan for freelance acting Ability to seek assistance Keep updated with industry developments Participate in professional development opportunities and training Ability to use the internet for information Use a computer for records keeping

Clarifying comments to support assessment/observations:

I hereby certify that the written work contained here, other than the research evidence, is my own work: ______

Hours spent on this workbook: ______

Student Signed Date

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22072VIC Certificate III in Acting (Screen) Year 2

VU21843 Write the script

Australian College of Dramatic Arts STUDENT WORKBOOK Name:______School:______

1st Submission Resubmission Reasonable Comment Result Teacher Date & Adjustments Sign

Due Date: Act ____

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VU20184 Write the script

What This Unit is About: This unit is about script writing knowledge and understanding of ‘story’ and storyline setup, including climax.

Some Information About the Film and Television Industry: This unit describes the skills the skills and knowledge required to develop, analyse and write scripts from original narrative for any production, within the cultural industries.

Resources: Character backstory questions in Learner’s Manual, contemporary scripts, period and futuristic scripts, www.theatrelinks.com, www.simplyscripts.com, www.imsdb.com, www.scriptorama.com.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) VU21843 Write the script

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13, 15 to 18 year olds

Method/s of Assessment: Evidence includes: Understand what a narrative is, research scripts: contemporary, period or futuristic, ability to obtain feedback from self-written scripts, to utilise the final draft for filming purposes, to draft and redraft such as: elective script, to laugh/cry, special skills, contemporary monologues, to implement and document changes to script, research tasks and complete homework.

Instructions to Students: you must complete the following

Assessment Task 1: Write scripts Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 2: Complete workbook Due date: Continual assessments with final assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, Learner Manual, workbook Evidence: Journal notes, workbook by Act 23

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Student Workbook – Element Questions

Element 1: Review the Narrative

1.1 Research and below draw a labeled example of a classic setup.

1.2 Write in your own words what you think a story is. ______

1.3 What are the ingredients in a story? Other than ‘beginning, middle and end’, what is necessary for a good story? ______

1.4 What is a storyline and how do you construct one? ______

1.5 What is a storyboard? Please fill out the boxes on the next page as an example, and below explain your understanding of a storyboard. ______

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Teacher Comment: ______

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1.6 Find a monologue from a Film or TV series and write the name. Examine the monologue and its importance within the scene, and note why you think the script is effective (or why not). ______

1.7 Examine the use of observation as stimulus for an improvisation. Write some examples of ideas.

EXAMPLE: An old man slumped in a doorway

1.8 Using the following headings, give examples of possible ingredients for writing. Choose 3 and write a possible scenario for each below. An example has been given. Location: A place that appeals to you Characters: A type of person Observation: An incident Inspiration/Imagination: A sudden idea or thought/make it up Life Experience: Something that has happened to you Actual Events: Something you’ve seen/happened to friends Existing Dramatic Material: From a script, play, DVD… Historical Events: Something that happened in history

Teacher Comment: ______

EXAMPLE EXAMPLE

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Character – the local CFA Possible impro: leading a bush fire where captain houses and lives are being threatened

1.9 The following indicates where you might find a stimulus for writing a monologue. Choose 3 and write a 15 second monologue for each. Observation Life experience Newspapers Films/DVDs Discussions Research Questions Lateral thinking Storylines Plots Inspiration Actual events History Brainstorming Role play Phrases Triggers End lines Imagination Dramatic material Photos Hot seats Exercises Improvisation

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Monologue 1 Topic: ______

Monologue 2 Topic: ______Monologue 3 Topic: ______

1.10 What is an inner monologue and how does it help understanding character? ______

Teacher Comment: ______

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1.11 Explain what subtext is and include an example. ______

1.12 Examine the ingredients of character backstory. Write what is important to include in a backstory. a. ______b. ______c. ______d. ______e. ______f. ______g. ______h. ______i. ______j. ______k. ______l. ______m. ______n. ______o. ______

Teacher Comment: ______

Element 2: Write the First Draft

2.1 What is a bit part? ______

2.2 Does a character a long term drama series stay the same from the screen test for the next 12 months? Determine in what way a script can aid character evolution. ______

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2.3 In the day to day of a working production, actors often must arrive to set and be greeted with change(s) of the script presented on different colours of paper. Because the actor is so immersed in the character, it does not appear to be upsetting that they must relearn lines. Choose a script from your Learner’s Manual and name it below, then make four line changes. ______

2.4 Write an original monologue (2 minute duration) that can be used in a screen test. Use the newspaper as a stimulus for this monologue. ______

2.5 Write an opening for a presenter for a children’s show. This will be presented in class, but write the monologue below. ______

Teacher Comment: ______

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2.6 Write a duologue script concentration on the relationship and interaction of 2 characters for effective dramatic portrayal, using one of the stimulus forms 1.9. ______

2.7 Explain the differences of style within the script types below, and give examples by naming relevant films or plays.

Style Name Difference EXAMPLE EXAMPLE EXAMPLE Futuristic Star Trek Creatures/language Futuristic

Contemporary

Historical

2.8 As actors go through the method of memory recall for the development of a character, think about writers. Do they do the same? Explain. ______

2.9 Is it important to create the right environment and information for characters to be believable? Why or why not? ______

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2.10 Write a duologue that uses high perception of emotion and sensitive subject matter. ______

2.11 Choose one of the duologues you have done this year. In finer detail, write the backstory of one character, including the vocal, physical, mannerisms, and emotional behaviour both outward and underlying. ______

______

Teacher Comment: ______

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2.12 Write 2 monologues (1 minute duration) that describe the alienation of a character within a strange environment/location. Use the same environment for both.

EXAMPLES: A check out chick in a submarine or your Mum at a bush doof or rainbow serpent festival. DO NOT USE THIS EXAMPLES, MAKE UP YOUR OWN.

Monologue 1 Character and Location: ______

______

Monologue 2 Character and Location: ______

______

Teacher Comment: ______

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Element 3: Write the Final Draft This is to be done in class throughout the year by writing and editing scripts and through improvisations, rehearsing and performance, as well as the elective film project.

This includes the other self-written scripts in the year: Electives scripts To laugh/cry script Special skills script Self written contemporary monologue

Please attach copies of all the scripts you’ve written through the year, or prior to handing this workbook in, email them to your teacher titled “*YOUR FULL NAME* Write the Script – Element 4: Other Written Scripts” and clearly title the documents EXAMPLE: “Special Skills Script – Danaë Grieef”.

Teacher Comment: ______

I hereby certify that the written work contained here, other than the research evidence, is my own work: ______

Hours spend on this workbook: ______

Student Signed Dated

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Assessment Marking Guide -Confidential Student Record- UOC VU21843: Write the script

Assessment Includes: This unit covers the knowledge and skills to develop, write and perform a script for a performance piece for a filmed production. The skills and knowledge described in this unit are used by actors who may work on a wide range of film, television and other screen-based productions, in preparing basic scripts in order to further enhance and develop their delivery skills, and to provide original material for their own use. Evidence includes: Writing, drafting, editing scripts for rehearsal, filmed performance.

Student Name: ______

Assessor Name / Signature: ______Date: ______

0 (unacceptable) 1 (less than acceptable) 2 acceptable 3 (more than acceptable) 0 1 2 3 Ability to understand what a narrative is Knowledge of researching scripts – contemporary, period or futuristic Ability to obtain feedback from self- written scripts Ability to draft Ability to redraft Ability to utilise the final draft for filming purposes Ability to implement and document and changes it script Managed performance anxiety Welcomed feedback on own script and filming Able to identify personal strengths and weaknesses Able to self reflect Demonstrated research abilities to the task Demonstrated reflective journal/workbook writing Elective script To laugh/To cry script Special skills script Contemporary monologue

Clarifying comments to support assessment/observations:

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22072VIC Certificate III in Acting (Screen) Year 2

FNSCUS401 Participate in negotiations

Australian College of Dramatic Arts STUDENT WORKBOOK Name:______School:______

1st Submission Resubmission Reasonable Comment Result Teacher Date & Adjustments S/NS Sign

Due Date: Act ____

Workbook developed by Merilyn Brend © 2019 FNSCUS401 Participate in negotiations Are There Productions P/L trading as the Australian College of Dramatic Arts 232 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

What This Unit is About: This unit describes the knowledge and skills necessary to take part in negotiations either as individuals or part of an ensemble. There will be practical role play involved.

Some Information About the Film and Television Industry: Having negotiation and communication skills is of key importance in the Film and Television industry. Organisation, discussion, understanding, listening and questioning are huge parts of communication as a whole, and you will need to learn these, plus other skills, to be successful.

Checklist: You will need: This workbook, including a cover page, which includes your name An index of all the materials you have included Carefully label each question/response to match the unit of competency workbook questions Add additional information if you think it will benefit you All work should be your own and if it is not, this is referenced as research Prepared screen test script SD card Prepared chat to camera Audition time organised with the college Printed CV with relevant professional headshot

Resources: Research on the ‘negotiation’ (please include this in your notes).

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ASSESSMENT TASKS

Certificate and level Certificate III in Acting (Screen) FNSCUS401 Participate in negotiations

See Marking guides for assessment requirements Target Group: VETis – Year 10/11 15 to 17 year olds Method/s of Assessment: This unit describes the skills and knowledge required to take part in negotiations as an individual or member of a team, plan and prepare, and apply effective negotiating techniques to finalise an agreement. Research, class discussion on dealing with conflict and negotiations, role play, improvisation, compulsory attendance at screen test, workbook. Instructions to Students: you must complete the following Assessment Task 1: Select a script. Due date: Act 20 Assessment Task 2: Film a chat to Due date: Act 21 camera. Assessment Task 3: Deal with conflict and Due date: Act 21 Participate in negotiations to reach a win win resolution. Assessment Task 4: Attend a screen test Due date: End of Term 3 with date to with a third party Industry Agent, a Casting be negotiated between teacher and consultant or director and your teacher. student Assessment Task 4: Submit workbook Due date: Act 23 Materials / Equipment Required to Conduct Assessment: Script, workbook, folio, camera and tripod, SD card Evidence: Evidence of warm up regime, rehearsal of chosen script, written folio entries matching the workbook, filming in front of camera, ability to be critiques, overcome performance anxiety Rehearsal to be filmed on SD card, student uploads to personal computer, workbook, third party filming critique. Teacher Assessor Name: Date/Time of Assessment: Student Declaration I declare that no part of this assessment has been copied from another person’s work, except where clearly noted on documents or work submitted. I declare that no other person has written any part of this assessment for me. I understand that plagiarism is a serious offence that may lead to disciplinary action. Student Signature:______Date: ______

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Student Workbook – Key Concepts in Negotiations

Participate in Negotiations: Key Skills Assessment of the following will be an essential knowledge of, and skills in: • Communication • Presentation and possible questioning skills • Research skills • The ability to analyse and organise information

Negotiation Style: • Collaborative – Combined, joint, mutual • Competitive – Contend, vie, strive in rivalry • Subordinate – Secondary, lesser, minor, lower

Communicate Effectively: • Active listening • Open and closed questioning • Non-verbal communication • Health conditions that affect communication • Cultural differences • Empathy • Positive introductions • Team and ensemble work

Non-Verbal Communication (which is key to support verbal): • Eye contact • Gestures • Postures • Facial expression • Tone of voice • Dynamic of voice • Touching • Distance

Effective Questioning Techniques: • Open ended questions (Why? How? Could you explain? Rather than closed (yes or no answers)) • Reflective questions (Should I have? When you said? Can you explain?

Techniques for Breaking a Deadlock Conflict: • Restating the position • Clarifying the positions of both parties • Differing the decision • Summarising the progress to date • Preparing a compromise • Third party help • Proposing a trial

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Diffusing Conflict: • Listening and effective feedback • Time out, distance and space • Commitment to a peaceful resolution • Distraction • Focus on issue • Firm, assertive and honest approach • Non threatening body language • The “step back” process: both mental and physical • Aim for the win/win

Aim for Win/Win: The win/win is an outcome or solution that meets both the set of needs – yours and theirs. It is commonly believed that there must be a winner and loser. This is true of competitive sport, but not a hard and fast rule of life. You won’t always get what you want, so be prepared to settle for something that is acceptable to both sides, so that everyone’s major objectives are overcome and people come away feeling okay.

The advantage of the win/win approach is that you discover better solutions and relationships grow better and stronger. Both parties are tied to the solution. If you are going to deal with a person more than once (or even if you’re not), it pays to deal fairly with them, to promote better negotiation next time.

Work relationships are nice when you’re around like-minded people that share your passion or expertise. Having colleagues you enjoy being around makes work much better. We rely upon our colleagues to a greater extent than others do. Whether we like it or not, we need as much support as we can get. You may regret getting on the wrong side of a colleague next time you want somebody to pick up your lunch from down the street.

Even if you don’t closely work with anyone, it’s still always good to try to like the people who you do work with. You don’t want to feel like punching somebody’s head in every time you pass them. Assault charges aren’t all that fun when you think about it.

The purpose of this page is to identify a good working relationship. This is the sort of relationship you have to work at, because let’s face it, it is human nature to want to drag somebody’s name through the mud just because… well, just because we can, really.

However, professionalism and a healthy working relationship are not impossible if you put your mind to it. Always remember that nobody is perfect, and yet, nobody is completely pathetic either. People talk, so if you say something about a colleague, it will get back to them. Be nice to your colleagues because we don’t always have to like the people we work with, but there’s no point avoiding them.

Body Language: Body language is the unspoken communication that goes on in every face to face encounter with other people. It tells you their true feelings towards you and how

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well your words are being received. Between 60-80% of our message is communicated through body language, and only 7-10% is the actual words we say.

Your ability to read and understand another person’s body can mean the difference between making a great impression or a really bad one. It can help in that job interview, that meeting, business function, social event or even dating! First impressions count, and you only get one, so make it work for you no matter what the situation (work, social or romantic). Get taken seriously at interviews and meetings. Learn the signals you give others without realising it and how to interpret what others really think and what you are saying. Get your point across positively. Improve the results you get in all areas of your life by understanding the mind and body connection. The body doesn’t know how to lie; it’ll therefore give you away when you do!

Every one of us has experienced that feeling of instant like or dislike about somebody without actually knowing why. We just weren’t happy, there was just something about them. We often refer to this as a hunch or gut feeling, which describes our body’s physiological reactions. Everyone has experienced the feeling that someone is lying to them, and the words of the conversation probably weren’t directly what we noticed, but the body movements and signals. Darting eyes, palms not visible, shifting from one foot to another, hand fidgeting… These are all clues. Our subconscious picks these up and decodes that the words and gestures don’t match. Whenever there is a conflict between the words that someone says and their body tells us, we almost always believe their body.

Body Language in Use: To be effective in your communication and to gain a better understanding of people around you, practice some of the following simple areas of body language. • Eye Contact is one of the most important aspects while dealing with others, especially when you have just met someone. Good eye contact shows respect and interest in the person (but be aware of different meanings in different cultures). In saying this, don’t be too intense; just show interest in them and their conversation. • Posture is the next thing to master. Notice how you sit or stand, and chances are you slouch a bit. This collapses the chest and prevents good breathing, which can make you feel nervous or uncomfortable. • Head Position is another great one. Keep yourself confident by keeping your head level horizontally and vertically. This also helps others take you seriously. Conversely, when trying to be friendly and listen, tilt your head to one side or the other. You can shift at different points too. • Arms give away clues about how open we are as well. Keep your arms out to the side of your body or behind your back. Try and strike a natural balance in movement of your arms, and be sure not to cross your arms! • Legs are the furthest point from the brain, and are the hardest bit of our bodies to control. They tend to move more when we are nervous or stressed (which is why people pace sometimes), so try and keep still, especially in work meetings or job interviews, and be careful in how you cross your legs. • Body Angle is another indication of attitude towards others. Angling towards someone means we find them attractive, friendly and interesting, but away means we don’t like them. Are There Productions P/L trading as the Australian College of Dramatic Arts 237 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

• Gestures are so numerous but briefly; palms upward and open is friendly, down means dominance or even aggression. • Physical Distance is crucial as well. Stand too close and you’re seen as pushy or in their face, but too far and it’s keeping your distance, nervous, uncomfortable and standoffish. Neither is what we want. Also note if someone steps back, you may just be too close so pull back slightly. • Ears actually play a vital role. Although most of us cannot move them much if at all, it’s important to show we are listening twice as much as we’re talking. • Mouth Movements can also give away all sorts of clues. We purse our lips and can twist when we’re thinking. This also might be used to hold back an angry comment. Then on the other hand smiling means a whole different thing. • Nothing Crossed is essential. Keep arms, legs and feet relaxed and uncrossed. Also, if you’re wearing a jacket keep it open. This can relay honesty and openness. • Lean Forward within 6 to 8 feet of someone, and leaning forward demonstrates paying attention and genuine interest. • Mirroring people is a strange concept, but pay attention to them. If they talk fast or slow, mirror that, it makes people feel comfortable. • Handshake should be not too hard or soft. Firm, but don’t hurt them.

Body Language at Work • Colours can means very different things. Red asserts authority and confidence and can give you an energy boost. But avoid red if you want others to open up, it can be intimidating. Green can help you concentrate. Blue can calm you, but avoid it if you need to be creative. Purple is a brain booster. Black can get you taken seriously, but can conform you to corporate stereotypes. • Looking Sharp can win you points if you look fascinated in what your boss is saying. Lean forward, cock your head to one side, and make (not too intense) eye contact. Don’t let your eyes wonder above your head. • Hands should be seen. Hidden hands can be seen as untrustworthy, but beware of too much movement as that can take away from your speech.

Read and Role-Play: Improvise around these characters to create a workplace scene. • Antagonist – is rude and unpleasant to all • Baseless Bob – always has an excuse for everything • Whiner – complains no matter what they’re asked to do • Thumb twiddler – lacks motivation and initiative • Insubordinate/Subordinate – challenges you in front of others • Tortoise – shows up late or not at all • Amy attitude – has negative attitude that brings everyone down • Hand holder – needs constant supervision • Early retiree – has been around a while and practices leaving strategies • Worry wart – has personal problems that infringe on all aspects of life • Clock watcher – refuses to do anything extra even during deadlines

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Element 1: Plan the Negotiation

1.1 Complete the role play as described below: Person A is an agent, and Person B wants to join their agency. The agent is busy and short of time, but has arranged this interview. The agent is well known in Melbourne and has respectable clientele. Your drama school has recommended you to them, and you have a reasonable CV for someone your age. You have had a lead in many school plays, bit parts in two short films, one of which won an award. You have a good working tape. The interview does not go as you expected. The agent wants to cut the interview short after receiving a phone call, and becomes impatient. How do you react? This is now a conflict situation as you feel as though you are not being treated fairly. Use effective techniques to break down the conflict, and reach a win/win for both parties.

Element 2: Conduct the Negotiation

2.1 Write down what you think you should do in the above situation. ______

2.2 If the agreement is not reached, describe your next approach or alternatives. ______

Role Play Screen Test Interview This is a practical assessment that will be done one on one with an industry guest – a Television Producer or an Agent.

1. A role play interview will be arranged so that you can screen test with an Industry Professional. Prepare grooming and CV as you would with an agent or employer. This interview will deal with a level of questioning where you need to participate. This will require you to learn a monologue as well as perform a chat to camera. In previous years, two common faults have been that the chat to camera was not effective or rehearsed enough, and the monologue was not from Film or TV. Some students have used their Shakespearian monologue that they are using for their end of year auditions for NIDA, VCA, WAAPA or Federation. Please ensure your audition pieces are for Screen Acting.

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Element 3: Screen Test Interview Reflection This written element must be handed in the first class after your interview.

3.1 What happened? Did the interview go as you envisaged? Were you prepared? ______

3.2 What part of the practical role play did not allow you to negotiate? ______

3.3 Would you change your plan or how you implemented it if you got to do this again? Why or why not? ______

3.4 Evaluate the outcome and determine if you need to take any further action. ______

Teacher Comment: ______

I hereby certify that the written work contained here, other than the research evidence, is my own work: ______

Hours spent on this workbook: ______

Student Signed Dated

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Assessment Marking Guide -Confidential Student Record- UOC FNSCUS401: Participate in negotiations

Assessment Includes: This unit describes the skills and knowledge required to take part in negotiations as an individual or member of a team, plan and prepare, and apply effective negotiating techniques to finalise an agreement. Research, class discussion on dealing with conflict and negotiations, role play, improvisation, compulsory attendance at screen test, workbook.

Student Name: ______

Assessor Name / Signature: ______Date: ______

0 (unacceptable) 1 (less than acceptable) 2 acceptable 3 (more than acceptable) 0 1 2 3 Ability to understand non-verbal language Knowledge of negotiation skills Ability to improvise/role play with conflict and negotiation situations Able to be interviewed using key skills of chat to camera, audition and screen-test Ability to listen and communicate with interviewer Sustained appropriate level of enthusiasm and interest during the interview Managed performance anxiety Ability to think laterally about the interview Welcomed feedback on own interview, ability to evaluate negotiation situation Able to identify personal strengths and weaknesses Able to self reflect Awareness of OHS

Clarifying comments to support assessment/observations:

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22307VIC Certificate III in Acting (Screen) Year 2

CUFMUP401A Design, apply and remove makeup

Australian College of Dramatic Arts STUDENT WORKBOOK Name:______School:______

1st Submission Resubmission Reasonable Comment Result Teacher Date & Adjustments S/NS Sign

Due Date: Act

Time Required: 160 hours

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CUFMUP401A Design, apply and remove makeup

What This Unit is About: This unit is delivered by an industry professional and in class. This unit requires the operator to analyse the client's skin type, facial shape and required context to design a make-up and apply appropriate products and techniques. The operator is also required to demonstrate the use of products, tools and techniques to the client. This unit requires knowledge and skill in the safe use of products and the application of legislation and policy, particularly in regard to hygiene.

Some Information About the Film and Television Industry: This unit describes the performance outcomes, skills and knowledge required to design, apply and remove standard make-up for productions in the screen, media and entertainment industries. Makeup artists apply the skills and knowledge described in this unit, which covers the design, application and removal of standard makeup for performers and/or talent appearing in films, television shows or photographic shoots.

Creativity is the key to being a successful makeup artist, along with the ability to design makeup that meets production requirements and brings out, or builds on, the subject's best features. Good communication skills are also essential, since makeup artists need to create a work environment where performers and/or talent feel at ease.

Depending on the nature of the job, a makeup artist can work alone, as an assistant to a more senior colleague or as part of a makeup design team. Employment is usually on a contract basis and hairstyling skills are often required.

Checklist: You will need: A folio with all of your work Evidence of 160 hours practical makeup application This workbook, including a cover page, which includes your name An index of all the materials you have included Carefully label each question/response to match the unit of competency workbook questions Add additional information if you think it will benefit you All work should be your own and if it is not, this is referenced as research

Resources: You must write a list of the resources you used and include this in your folio.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) CUFMUP401A Design, apply and remove make-up

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13 15 to 18 year olds Method/s of Assessment: Design, apply and remove standard make-up for productions in the screen, media and entertainment industries. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: development of make-up plans that demonstrate an ability to: identify and deal with requirements of performers/talent, select appropriate products and application techniques, incorporate colour design principles into make-up designs, take production environment into account when designing make-up, meet production requirements, consistent application of local health and hygiene requirements/regulations in relation to make-up services, consistent application of OHS practices in regard to the provision of make-up services , correct make-up product application and removal techniques, collaborative approach to work, ability to communicate effectively with performers/talent in relation to make-up application. Evidence of participation for the elective film project and submission of individual workbook. Instructions to Students: you must complete the following Assessment Task 1: Design make-up Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 2: Apply make-up Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 3: Apply and maintain make-up Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 4: Remove make-up Due date: Continual assessments with final assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, workbook, folio (digital or hard copy) Evidence: Knowledge of camera shots, work filmed on SD card, student folio uploads, journal/folio entries, email/hard copy homework, and evidence of 160 hours of work. Submit film Act 20.

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Student Workbook – Folio

The college will organise an excursion or incursion time with a professional makeup artist. You can either complete this workbook, or create a folio and answer elements there instead.

Meeting Production Requirements • Pre-production o Plan the script o Identify crew tasks o Cast the script o Plan all aspects of the filming • Scripting • Use Audition student for auditioning cast • Location planning and permission • Equipment needed – use Shoot TV student for behind camera needs • Safety requirements, OHS, stunt/safety reports • Cast/crew needs when filming • Costuming • Use Makeup and hair students for cast needs • Scheduling • Communication • Production • Arrive on time to start crew set up tasks • Be ready for cast • Commence filming as per schedule/script • Be aware of safety/OHS concerns • Be helpful and nice to all – this is a volunteer project • Post production o Thank all people involved o View footage o Plan your edit o Edit – use Shoot TV student o Finalise footage/titles (ACDA must be acknowledged on the footage

Evidence Folio Please keep a weekly folio of makeup designs and photos of makeup you do on yourself and others. This must equate to a minimum of THREE hours a week and a total overall of 160 hours, include designs, photos, research.

A professional makeup artist and the CEO mark your folio and evidence of work.

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Element 1: Prepare Client It is advised (but not compulsory) to work through this workbook with a makeup artist or instructor.

1.1 Please explain the below skin conditions:

Bacterial, viral or fungal infections

Acne

Impetigo

Warts

Lice

Scabies

Rashes

Boils/Carbuncles

Sunburn

Candidiasis

Other visibly non normal skin

1.2 One of your classmates has a skin condition. What do you do when applying makeup to them? ______

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1.3 Make a list of some of your classmates and actors and list their skin types and any conditions:

Skin Type Name Name Name Name Name Name Normal Dry Oily Combination Sensitive Pigmented Couperose Damaged Mature

Element 2: Cleanse Face

2.1 Assess what type of product is needed for each skin type, and relate this to your actors and classmates. Research and include cleansing soaps, milks and creams, alcohol or organic toners, and organic, chemical or alcohol based moisturisers:

Name Skin Type Needs

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2.2 Please make a list of your makeup tools and assess their purpose, as well as cleaning methods from manufacturer (where possible).

Makeup Tool Purpose Cleaning

Element 3: Analyse Face and Design Makeup

3.1 Discuss the colour wheel and tonal values:

3.2 Assessment Task Elective Filming Project: Apply makeup to the cast. You will be part of the elective film group where you will apply and maintain makeup for the film. Discuss makeup and hair requirements for the actors with the director. Read and dissect the script in accordance with the actors. Request that the cast attend the shoot earlier than filming time to prepare. Have your own hair and makeup kit prepared, sterile and hygienic. Discuss the kit with the guest makeup artist. Log the sequence and procedures of makeup applications. Take before, during and after photos for your folio. Make note of location, lighting, health, and hygiene requirements. You must also fill the face charts and plan the makeup. Attach to your folio.

3.3 After you have done the makeup, assess if expectations of the actors and directors were met:

Name/ Day/Evening Artificial Natural Y/N Actor Y/N Director Character Light Light Satisfied Satisfied

Actor 1 ______

Actor 2 ______

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Actor 3 ______

Actor 4 ______

3.4 Advise if your colleague needs any suitable homecare products/treatments that would benefit the health of their skin:

Name Recommendation Actor 1 ______

Actor 2 ______

Actor 3 ______

Actor 4 ______

3.5 Apply and/or check makeup for headshots for the Industry Day Excursion: This must be suitable for screen tests and headshots, so natural. List the students you helped with makeup for, and add the time to your total

1. 9. 2. 10. 3. 11. 4. 12. 5. 13. 6. 14. 7. 15. 8.

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3.6 Design makeup: Think of THREE characters either from a film, play or story. Design and apply makeup in this style using 3 models (not your classmates or yourself). Log all face designs with detailed notes and photos in your folio.

Element 4: Select products and equipment

4.1 Explain some makeup products and their uses:

Product Use:

4.2 List any actions or indications that makeup used may cause adverse effects on your colleagues. List why:

Makeup/Action Adverse Effect

Apply Makeup This is done as part of filming.

Apply False Eyelashes If this is not done for filming or character, please include notes about application in your folio.

Advise on Further Product Use As you research new products, please log them as well as your recommendations and experiences with these products.

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Assessment Marking Guide -Confidential Student Record- UOC CUFMUP401A: Design, apply and remove makeup

Assessment Includes: Design, apply and remove standard make-up for productions in the screen, media and entertainment industries. Evidence includes: participation at the elective film project and submission of individual folio, which will be assessed by a Professional Makeup Artist.

Student Name: ______

Assessor Name / Signature: ______Date: ______

0 (unacceptable) 1 (less than acceptable) 2 acceptable 3 (more than acceptable) 0 1 2 3 Deal with talent tactfully and respectfully Discuss with talent their preferences and sensitivities regarding skin care Consult with production personnel about makeup issues to ensure creative and technical production requirements are met Inform talent of the procedures for applying, touching up and removing makeup Relate to people from diverse backgrounds and people with diverse abilities Prepare and update makeup plans Showed initiative, enterprise and creativity in the context of creating and refining makeup design, concepts and adjusting makeup requirements as required Showed planning and organising skills sufficient to use time effectively to control product waste, meet deadlines, select and acquire makeup products and equipment to meet production requirements Technical skills sufficient to use the internet for research Budget in relation to design concepts and makeup requirements estimate the quantity of products required, estimate the time required to apply makeup Showed self management skills sufficient to work under pressure, follow manufacturer specifications and enterprise policies and procedures Workbook and folio completed satisfactorily with makeup designs, photos and character examples totalling at least 160 hours

Clarifying comments to support assessment/observations:

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22307VIC Certificate III in Acting (Screen) Year 2

CUFAIR302A Develop techniques for presenting information to camera

Australian College of Dramatic Arts STUDENT WORKBOOK Name:______School:______

1st Submission Resubmission Reasonable Comment Result Teacher Date & Adjustments S/NS Sign

Due Date: Act

Time Required: 30 hours

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CUFAIR302A Develop techniques for presenting information to camera

What This Unit is About: This unit describes the performance outcomes, skills and knowledge required to communicate effectively when presenting to camera. Organisation of own work schedules, monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: ability to read scripted information in a natural way, effective on-camera presentation style, collaborative approach to work.

Some Information About the Film and Television Industry: Trainee presenters at television stations and volunteer presenters in community television apply vocal and personal presentation techniques described in this unit. This work is usually performed under the direct supervision of a producer and in close collaboration with technical crew.

Checklist: You will need: A folio with all of your work This workbook, including a cover page, which includes your name An index of all the materials you have included Carefully label each question/response to match the unit of competency workbook questions Add additional information if you think it will benefit you All work should be your own and if it is not, this is referenced as research

Resources: You must write a list of the resources you used and include this in your folio.

Evidence of work: Folio and film. Please make sure you label your answers with the question numbers.

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ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) CUFAIR302A Develop techniques for presenting information to camera

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 113 15 to 18 year olds Method/s of Assessment: This unit describes the performance outcomes, skills and knowledge required to communicate effectively when presenting to camera. Organisation of own work schedules, monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: ability to read scripted information in a natural way, effective on-camera presentation style, collaborative approach to work. Evidence of participation for the elective film project and submission of individual workbook. Instructions to Students: UOC applies to trainee presenters at television stations and volunteer presenters in community television apply the vocal and personal presentation techniques described in this unit. You must complete the following: Assessment Task 1: Identify the elements of Due date: Continual assessments with final effective television presentation assessment occurring at the end of Term 3 Assessment Task 2: Develop techniques for reading Due date: Continual assessments with final scripted material assessment occurring at the end of Term 3 Assessment Task 3: Develop techniques for Due date: Continual assessments with final communicating effectively on camera assessment occurring at the end of Term 3 Assessment Task 4: Record scripted material for Due date: Continual assessments with final broadcast assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, workbook (digital or hard copy) Filmed work submitted by universal file type on USB/SD Evidence: Work filmed on SD card, student folio uploads. Film and folio Act 20.

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Student Workbook – Folio

Make sure you log all activities in your folio and label them correctly. All filming exercises must also but submitted via USB as an mp4 or Mov and titled according to the element and number.

Meeting Production Requirements • Pre-production o Plan the script o Identify crew tasks o Cast the script o Plan all aspects of the filming • Scripting • Use Audition student for auditioning cast • Location planning and permission • Equipment needed – use Shoot TV student for behind camera needs • Safety requirements, OHS, stunt/safety reports • Cast/crew needs when filming • Costuming • Use Makeup and hair student for cast needs • Scheduling • Communication • Production • Arrive on time to start crew set up tasks • Be ready for cast • Commence filming as per schedule/script • Be aware of safety/OHS concerns • Be helpful and nice to all – this is a volunteer project • Post production o Thank all people involved o View footage o Plan your edit o Edit – use Shoot TV student o Finalise footage/titles (ACDA must be acknowledged on footage)

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Element 1: Identify the elements of effective television presentation

Young Television Presenters: 16 years old – 36 years old

• Grace Koh 22 ABC3 Presenter • Pip Rasmussen 22 ABC3 Presenter • Ivy Latimer 23 ABC3 Presenter • Madeline Slattery 25 Channel 9 (ex student!) • Alfie Gledhill 26 ABC3 Presenter • Marty Smiley 27 SBS Viceland Presenter (ex student!) • Amberley Lobo 27 ABC3 Presenter • Olivia Phyland 27 ABC3 Presenter (Health/Fitness) • Dylan Alcott 27 Presenter on TV and Radio • Anjali Rao 28 Television Presenter • Hannah Wang 29 ABC3 Presenter • Kate Waterhouse 30 Journalist and Media Presenter • Scott Tweedie 30 ABC3 Presenter • Troy Nankervis 30 Triple M News (ex student!) • Kayne Tremills 31 ABC3 Presenter • Ben Crawley 31 ABC3 Presenter • Sylvia Jeffreys 32 9 News Presenter (Today Show) • Tommy Little 33 Television and Radio Presenter • Beau Walker 33 Television Presenter Channel 9 • Stephanie Bendixsen 33 ABC3 Presenter • Tim Maddren 34 Hi 5 Presenter • Giaan Rooney 34 Television Presenter Channel 7 • Lynda Kinkade 35 CNN Presenter • Luke McGregor 35 Comedian • Jack Yabsley 35 Television Presenter • Amber Schultz ? Channel 31

1.1 Log a variety of television programs that have a presenter as the anchor. Identify the pros and cons of their style and include this in your folio or write into the table below.

Name of Show Presenter Pros Cons

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1.2 Discuss ideas about effective presentation styles with colleagues and teachers. Record the answers in your folio.

1.3 Take a series of photos of yourself in different styles of clothes, hair, makeup and looks. Discuss these with your colleagues and log the answers you receive from them, as well as your teacher, and three professional industry workers, making note of person’s name, then what they said separately about hair, makeup and clothes in your folio.

1.4 Research critiques about presenters (close to your age where possible). See example below for your folio.

Name of Show Presenter Critique Channel V Marty Smiley Very natural Are There Productions P/L trading as the Australian College of Dramatic Arts 259 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

1.5 Identify and write about your personal traits that could be identified as positive by viewers. Show three people and record their positive comments about your presenting style in your folio alongside your own thoughts. (Family, friend, teacher)

Element 2: Develop techniques for reading scripted material

2.1 Experiment with using your full vocal range, varying pace, tone and delivery in reading lots of scripted material in a natural way. Explore these different ways and record, which you think, is the most natural for you. Once you have found this style, please film the following lines and hand them in as an mp4 or mov on USB with your folio: • “Hell isn’t only a place for the damned, sometimes it’s a place where the saved take refuge.” • “Seven teenagers take a trip to Hell. And seven came back.” “To Hell. The most powerful novel ever written for young Australians. Get ready. This is real. This is true. What will you do tomorrow?”

Film FOUR intros and outros – Use narration, traffic reports, voice-overs for products or documentaries, weather reports and hand them in as an mp4 or mov on USB with your folio:

2.2 Experiment with an autocue or teleprompter. This can be done by searching for apps or online autocue/teleprompter sites, finding a sample script from a presenter online (or making your own), and using these to practice with different speeds and scripts and styles. Record the results in your folio.

2.3 Use loudness and softness (dynamics) in an aid for communicating a message. Find a presenting script to film loud, then soft and examine which was most effective. Include your notes and script in your folio, as well as the recording on your USB.

2.4 Break sentences/phrases into logical sections based on content as a way to emphasise key information. Find a news item, and film it 3 different ways to emphasise different words or phrases. Log the results and include the script and notes in your folio, and the recording on your USB.

2.5 Check and use the correct pronunciation of words. When you find words that are hard to pronounce, write them into your folio notes and practice until you have mastered the words. Use names of countries, people, places and words in languages other than English.

2.6 Minimise body movements to avoid creating visual distractions. Take direction from filming, and note how you controlled movements.

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Element 3: Develop techniques for communicating effectively on camera

3.1 Look viewers directly in the eye by filming DTB (down the barrel) through the lens of the camera. Record 3 different styles of openings to shows where you are the presenter. Write a script for this material. Include your script work, style ideas, and critiques from colleagues, teachers and yourself.

3.2 Transcribe 2 scripts from on air presenters (as close to your age as possible) and film them. Remember to film DTB or at the surrounding event or people.

3.3 Film 2 youth journalist presenter opening paragraphs by reading scripts from an autocue or teleprompter and include the scripts and recordings in your folio.

3.4 Answer the following: Did you dress in a manner appropriate to the program and avoid clothes that might create a visual distraction?

Did you imagine yourself as the viewer and presenter information in a way that would draw you into the message being conveyed?

Did you self critique your work as a viewer, and do you believe you were successful in conveying the message?

Did you recover from presentation errors and respond with to any equipment malfunction with minimum disruption to program flow?

If you made pronunciation errors or stumbled in speech, did you find a way to keep flow with minimum disruption?

Element 4: Record scripted material for broadcast This is group work.

4.1 Rehearse a piece to camera with production personnel to check sound and vision quality meets production requirements. Include any issues in your folio.

4.2 Record take after take of your group work and include feedback in your folio.

4.3 Evaluate your own performance to identify areas for improvement in your folio.

4.4 Write an evaluation of your work after all filming projects and label them correctly.

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Assessment Marking Guide -Confidential Student Record- UOC CUFAIR302A: Develop techniques for presenting information to camera

Assessment Includes: This unit describes the performance outcomes, skills and knowledge required to communicate effectively when presenting to camera. Organisation of own work schedules, monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: ability to read scripted information in a natural way, effective on-camera presentation style, collaborative approach to work. Evidence of participation and filmed for and within the elective film project, filmed presentations and submission of individual workbook.

Student Name: ______

Assessor Name / Signature: ______Date: ______

0 (unacceptable) 1 (less than acceptable) 2 acceptable 3 (more than acceptable) 0 1 2 3 Research known television presenters Experiment with grooming styles and show photo evidence Identify and record presenting styles that an audience can identify with Experiment and film different acting pieces Experiment and record vocal techniques Ability to use minimal body movements Ability to use a teleprompter Ability to use the technique of DTB Ability to recover from mistakes Able to self-critique Work effectively with the group on the performance brief Filmed a presentation within and for the elective project Effective folio presentation

Clarifying comments to support assessment/observations:

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22307VIC Certificate III in Acting (Screen) Year 2

CUFDRT602A Audition and select performers

Australian College of Dramatic Arts STUDENT WORKBOOK Name:______School:______

1st Submission Resubmission Reasonable Comment Result Teacher Date & Adjustments S/NS Sign

Due Date: Act

Time Required: 50 hours

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CUFDRT602A Audition and select performers

What This Unit is About: This unit describes the performance outcomes, skills and knowledge required to audition and select suitable performers for productions in film, television and interactive media. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: election of performers for screen productions that demonstrates: Understanding of the conventions and practices of casting performers for screen productions, ability to select performers that fit character profiles, effective communication techniques in conveying character requirements to performers.

Some Information About the Film and Television Industry: This unit covers the type of work of a Casting Consultant: audition/screen test planning, audition/screen test notification to actors, specifying the type of script with character and scene back story, filming of actor screen-tests, casting roles, recasting and notifying actors of results of audition/screen test.

Checklist: You will need: A folio with all of your work A camera USB for submission of footage for auditions and call backs (mov or mp4 only) This workbook, including a cover page, which includes your name An index of all the materials you have included Carefully label each question/response to match the unit of competency workbook questions Add additional information if you think it will benefit you All work should be your own and if it is not, this is referenced as research

Resources: You must write a list of the resources you used and include this in your folio.

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Are There Productions P/L trading as the Australian College of Dramatic Arts 266 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

ASSESSMENT TASKS Certificate and level Certificate III in Acting (Screen) CUFDRT602A Audition and select performers

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13 15 to 18 year olds Method/s of Assessment: This unit describes the performance outcomes, skills and knowledge required to audition and select suitable performers for productions in film, television and interactive media. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: election of performers for screen productions that demonstrates: Understanding of the conventions and practices of casting performers for screen productions, ability to select performers that fit character profiles, effective communication techniques in conveying character requirements to performers. Evidence of participation for the elective film project and submission of Audition No. 2 Casting and your individual workbook. Instructions to Students: Selecting the right performers for a role is a critical task in the pre-production phase. It involves detailed analysis of scripts as the basis for developing character profiles that will lead to the most appropriate performers being auditioned and selected. Creative and effective interaction between performers is an important factor for directors to take into account when deciding on the final mix of actors for productions, as is the ability of performers to relate to the camera and their overall appeal on screen. You must complete the following: Assessment Task 1: Prepare for auditions Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 2: Audition performers Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 3: Select performers Due date: Continual assessments with final assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual Evidence: filmed on SD card, student uploads to personal computer, journal, email/hard copy homework. Submit film and folios Act 20.

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Student Workbook – Folio

Use a folio/journal for this workbook. Label it correctly with you name, and code for the UOC. You will be casting for two filming projects, one being the elective video, the other a well-known script. You must know the scripts and characters in accordance with information given to you by the director/audition brief. The purpose of the casting is to satisfy that you are competent at holding an audition/screen test, recording the screen tests, and managing the job of casting performers and negotiating their contract and condition of employment.

During this work, you will be required to record every step of the process in film and folio form. You will also be required to organise and write briefing notes and memos in accordance with methods a Casting Consultant would use. Research may be made from MEAA (www.alliance.org.au) and Film Vic. See Student Resources on the ACDA website for more production forms.

Employability skills gained from this unit include communication, teamwork, planning and organisation, technology use and self management.

NOTE for ELECTIVE VIDEO AUDITIONS NO 1 • Act 13 Pre Production planning – write the script. • Act 14 Pre Production – finalise screen test script and email/post to Year 1’s. • Act 15 Auditions – observe Pigeon script and conduct elective screen test. • Act 16 Film project. • Holiday Work Watch first week of filming raw footage and recap on day with Year 1’s – sort any problems.

AUDITION NO 2 You will be auditioning and selecting for two of the main roles in Tomorrow when the war began. (Use characters that are in the 15 to 18 age range only) You may choose the two main characters, preferably one male and one female. Find two audition scripts and follow the procedures and Elements for Audition and Select as per Elective information below. You must organise this in your own time. Record the auditions on SD card or USB. Please hand in with your folio.

• Scheduling • Communication • Production • Arrive on time to start crew set up tasks • Be ready for cast • Commence filming as per schedule/script • Be aware of safety/OHS concerns • Be helpful and nice to all – this is a volunteer project • Post production o Thank all people involved o View footage o Plan your edit o Edit – use Shoot TV student o Finalise footage/titles (ACDA must be acknowledged on footage)

Element 1: Prepare for auditions This must be done prior to filming.

1.1 Obtain the casting brief, including genre, characters needed, physical descriptions and characteristics from the director and include this in your folio.

1.2 Obtain the deadline for the production shoot. This must be in line with the Acts in the lesson plan and the dates. Keep note of this in a timeline in your folio.

1.3 Develop and write character backstories from the script. This will show potential actors and so needs to be succinct but detailed. Include this in your folio.

1.4 Advertise audition details with actors. Use email, text, Facebook groups or other methods you see fit to attract auditionees. Make a note in your folio of how you advertised and how this worked.

1.5 Match potential actors with characters. View photos and see physical descriptions to characters. Make notes of this in your folio.

1.6 Write audition/screen test briefs for actors including date, venue, script, characterisations, scene backstories and any other details needed into your folio, organise and include a more detailed casting brief, CVs from actors and your advertisements.

1.7 Confirm actor auditions. Create or research casting forms to design a recording of auditions and screen tests, confirmation and call backs. Recordings must be submitted on a USB only in Mov or mp4 format alongside your folio, clearly titled.

1.8 Organise and confirm in writing (in your folio as well) that the facilities and equipment you need are available for auditions. Write to your teacher requesting formal use of space and equipment and include this in your folio. Are There Productions P/L trading as the Australian College of Dramatic Arts 269 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

1.9 Organise and confirm that a cameraperson is available for the audition date. Write to the cameraperson requesting formal availability for the audition date and include this in your folio.

Element 2: Audition performers

2.1 Conduct the audition/screen test continuously to assess abilities of the actors and suitability to role, and make notes during this in your folio.

2.2 Verbally brief auditionees on characterisations and where the character fits into the scene. In addition to the casting brief, this is done in conjunction with the director, and should be written and planned in your folio.

2.3 Organise and conduct the auditions in a comfortable and relaxed manner. Prepare yourself for auditions by understanding how the actor feels. Discuss this in your folio.

2.4 Check with auditionees that all their details provided are correct. Record actor, name, character name and slate before filming.

2.5 Film auditions and screen tests. Allow for repeats if necessary.

Element 3: Select performers

3.1 Playback screen tests and determine most suitable actor for the part. Using lists of actors and characters while you do so. Record this in your folio and match with filming.

3.2 Double check actor CV reflects accuracy of experience to suit the part.

3.3 If necessary, organise other performers if there is issues. Allow more time for auditions if then needed.

3.4 Make final selection and notify all auditionees of the outcome. Write a memo document to send or verbally tell the actors the outcome of their auditions. Make note of how this is done in your folio.

3.5 Organise contracts following MEAA guidelines. In your folio, include one standard acting contract, and your mock one.

I hereby certify that the written work contained here, other than the research evidence, is my own work: ______

Hours spent on this workbook: ______

Student Signed Dated

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Assessment Marking Guide -Confidential Student Record- UOC CUFDRT602A: Audition and select performers

Assessment Includes: This unit describes the performance outcomes, skills and knowledge required to audition and select suitable performers for productions in film, television and interactive media. Filming of two auditions, presentation of folio, workbook. Student Name: ______Assessor Name / Signature: ______Date: ______

0 (unacceptable) 1 (less than acceptable) 2 acceptable 3 (more than acceptable) 0 1 2 3 Devise the script and production requirements with the elective group Develop comprehensive character profiles from script materials to facilitate selection of appropriate performers. Obtain and assess CV’s of potential performers to match character profiles. Schedule and advertise auditions at varying times where possible to maximise availability of potential performers. Flyer distributed to Year 1 in a timely fashion. Ensure auditioning applicants are supplied with relevant audition information prior to or at auditions. Arrange for relevant facilities to be available for conducting auditions and recording performers. Conduct audition process in a manner that facilitates comparative assessments of performers Establish an environment conducive to achieving optimum performance from those auditioning. Brief performers on required characterisation and scene context to assist them in their performance. Require performers to provide relevant slate details for audition tape, including nominating part for which they are auditioning. Allow performers sufficient time and repeats to develop character and subsequently their performance. Review screen tests filming and notes to determine most suitable performers for the production. Consider relevant previous filmed work that may influence selections. Organise additional auditions or call backs where necessary, including assessing ability of Are There Productions P/L trading as the Australian College of Dramatic Arts 271 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

performers to interact with others. Select performers most suited to required roles and ensure all performers are notified of audition outcomes. Organise to contract selected performers in collaboration with relevant production personnel. Knowledge of contracts for pay Knowledge of MEAA guidelines Maintaining a professional attitude Sustained appropriate level of enthusiasm and interest during the task Sustained an appropriate and consistent focus on the task and did not get sidetracked Welcomed feedback on own performance Able to identify personal strengths and weaknesses Able to self reflect Demonstrated research abilities to the task Demonstrated effective folio presentation Demonstrated reflective journal writing Demonstrated ability to finish homework tasks Analysis of character Analysis of character fitting into the scene

Clarifying comments to support assessment/observations:

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22307VIC Certificate III in Acting (Screen) Year 2

CUFCAM401 Shoot a wide range of television content

Australian College of Dramatic Arts STUDENT WORKBOOK Name:______School:______

1st Submission Resubmission Reasonable Comment Result Teacher Date & Adjustments S/NS Sign

Due Date: Act

Time Required: 70 hours

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What This Unit is About: This unit is a practical unit of competency and you will be marked on your folio, elective film group work and personal work and research.

Some Information About the Film and Television Industry: This unit describes the skills and knowledge required by a cameraperson who usually works without supervision, to shoot television content using professional video equipment. This person undertakes preparation of technical aspects of the shoot including sounds, camera and lights. On occasion, the cameraperson may work with a sound recordist or audio engineer. Other duties may include manipulation of camera (on dolly tracks and cable control etc.).

Program styles covered by this unit include news and current affairs, corporate training videos, coverage of events and relatively complex documentary materials. Typically, the cameraperson contributes creatively to the outcomes and works with the producers and directors, as either an employee or freelance.

Checklist: You will need: A folio with all of your work A camera USB for submission of footage (mov or mp4 only) This workbook, including a cover page, which includes your name An index of all the materials you have included Carefully label each question/response to match the unit of competency workbook questions Add additional information if you think it will benefit you All work should be your own and if it is not, this is referenced as research Ability to work within production deadlines and plan and organise all aspects of camera shoots Ability to contribute to creative interpretations and ideas in the context of planning shots to meet production requirements Collaborative approach to work Ability to work under direction Ability to operate a range of camera and technical equipment Knowledge and application of photographic principles

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Resources: You must write a list of the resources you used and include this in your folio.

ASSESSMENT TASKS

Certificate and level Certificate III in Acting (Screen) CUFCAM401A Shoot a wide range of television content

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Student Signature:______Date: ______

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Student Workbook – Folio

Assessment criteria involves you shooting FOUR types of films, and you must present these on USB as an mov or mp4 only. Write notes for assessment tasks 1, 2 and 3 and answer the dot points and reflective comments. The element questions are for the elective film only, please submit a folio for all work.

Assessment 1 Film Task

1. Film some establishing footage of 2 minute duration for potential use in a news report. Use an exterior shot at your school location or VET location. On the USB for submission, title this “Assessment Task 1 – News Report Establishing Shot”

2. Plan the shoot and shot sizes and include planning in your folio, including choice of lens(‘), tripod, microphone and so on.

Assessment 2 Film Task

1. Film the following and on the USB for submission, title this “Assessment Task 2 – Practicing Shots” a. A bird in a tree (wide to close shot) b. A house pet or animal in a paddock (wide to close shot) c. An insect (extreme close up)

2. Plan the shoots and include all in your folio, including storyboard(s), shot lists and how you will plan the location, framing of animals, people and/or objects, how you will stage shots and consistency, pan and tilt background shots, filters, key effects on editing software, pack and travel equipment safely and OHS measures.

Assessment 3 Film Task

1. Film the self tape with another actor. On the USB for submission, title this “Assessment Task 3 – *ACTOR FULL NAME* Self Tape”

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Assessment 4 Film Task – Elective Film Meeting Production Requirements • Pre-production o Plan the script o Identify crew tasks o Cast the script o Plan all aspects of the filming • Scripting • Use Audition student for auditioning cast • Location planning and permission • Equipment needed – use Shoot TV student for behind camera needs • Safety requirements, OHS, stunt/safety reports • Cast/crew needs when filming • Costuming • Use Makeup and hair student for cast needs • Scheduling • Communication • Production • Arrive on time to start crew set up tasks • Be ready for cast • Commence filming as per schedule/script • Be aware of safety/OHS concerns • Be helpful and nice to all – this is a volunteer project • Post production o Thank all people involved o View footage o Plan your edit o Edit – use Shoot TV student o Finalise footage/titles (ACDA must be acknowledged on footage

Element 1: Prepare for shoots

1.1 Attend pre-production briefings and contribute creative ideas for the visual interpretation of intended production(s). Include any discussion in your folio, as well as your pre prepared ideas before the meeting.

1.2 Give your ideas for shots, taking into account potential impacts on costs, scripts, timeline and technical ability and feasibility. Note all your ideas in your folio.

1.3 Visit and survey location(s) prior to shoot. Take raw footage on location and include this on your USB titled “5.3 – *LOCATION* Survey Footage”. Also include any notes about the location(s) including difficulties to film in your folio.

1.4 Plan, prepare and pack all required equipment and accessories for shoots, including any special requirements with lenses or filters if you have them. Make a list in your folio of what you need to pack and how you will transport it safely. Are There Productions P/L trading as the Australian College of Dramatic Arts 279 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

1.5 Ensure gear is all working prior to the shoot. Make note of anything that needs repairing and how you checked the gear in your folio.

1.6 Select capture media that is appropriate for production requirements. This means obtaining and storing external data of imagery or sound for use in editing and post production. Keep these all on your USB with appropriate titles of “5.6 – *CAPTURE MEDIA*”

1.7 Ensure appropriate OHS requirements are met in line with enterprise procedures. Fill in a risk assessment in accordance with breakdown of the scene(s). See the examples below and please include your own in your folio. You may work with the director on this.

Scene Location Weather Risk Actors Safety (L/M/H) Physical Report Ability Lilith Ayden’s Night – M Physically When Lilith wakes bedroom dark, no fit, pre jumps on Charles rain existing bed, up at ankle possibility the end injury for Shayla to of bed hurt leg. Must be cautious. Maybe climb instead of jump.

Scenario Potential Risk Hazard Control Dissect the script • Slip, trip or fall Pre existing injuries and to explain • Strain, sprain medical issues must be scenario • Minor bruising established. Warm up • Skin abrasion exercises are to be • Muscle soreness done and a first aid kit • Possible trauma should be on standby.

Element 2: Set up shoots

2.1 Gain permission in writing for location if it is a privately owned place and include this in your folio, but try not to use private property.

2.2 Shoot some establishing footage which could potentially be used later for a documentary/lifestyle programme.

2.3 Survey sites to determine camera positions and achieve shots and compositions best suited to production requirements and include any notes in your folio and test shots on your USB titled, “6.3 – Test Shots”. Are There Productions P/L trading as the Australian College of Dramatic Arts 280 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

2.4 Generate a range of ideas that offer creative solutions for particular production and list these in your folio.

2.5 Appraise the ideas for cost, scheduling, feasibility, and suitability to production and include appraisals in your folio.

2.6 Set up lighting and install required cables. Include scene by scene lighting plans in your folio.

2.7 Confirm light temperature and exposures are sufficient for production requirements by utilising light meters and make note of measurements in your folio.

2.8 Position microphones and conduct audio checks. Submit these on USB titled “6.8 – Audio Checks” and make note of any issues in your folio and how you overcame them.

2.9 Liaise and collaborate with other production personnel and talent to maximise creative outcomes. Note conversations will all cast and crew in your folio as well as informing them of what shots you are filming in what scenes (for example, makeup crew must know when your are filming a close up and adjust accordingly, as actors must know as well to adjust movement).

2.10 Rehearse shots as required and note any issues or changes in your folio.

Element 3: Shoot content

3.1 Check camera movements to implement planned and rehearsed shots. Note any issues or changes in your folio.

3.2 Ensure captured shots meet editing and post production requirements before leaving the shoot, and re shoot accordingly, making note in your folio of any re shoots.

3.3 Employ photographic and compositional techniques to achieve aesthetic requirements for well composed and well focused shots. Note any issues, new ideas or changes in your folio.

3.4 Collaborate with other production personnel where applicable and respond to direction as required, noting conversations, changes or issues in your folio.

3.5 Coordinate inputs from other crew members as required to achieve the desired images and note these requirements in your folio.

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3.6 Ensure safe work practices were applied at all times and refer to your OHS risk assessment in your folio, writing another for anything that changed and reporting any new safety issues.

3.7 Record audio using appropriate equipment and save on your USB titled “7.7 – Audio Recordings”.

Element 4: Wrap Up Shoot

4.1 Pack and store equipment using safe lifting practices. Include research in your folio of proper lifting techniques.

4.2 Ensure recorded content is identified, labelled and available for post production needs. In your folio, make note of where things are stored as to not lose them.

4.3 Ensure locations are left in original state. Include before and after photos in your folio and/or a checklist of location.

4.4 Brief editors and producers and post production issues as required, and work with them to achieve outcome. Include briefing in your folio.

4.5 Review and reflect on own performance and note areas of improvement in your folio.

4.6 Include a list of all research, materials and equipment in your folio.

B-Roll B-roll is an incredible asset when it comes to creating engaging video content. What is it and do you need it? It’s supplementary footage shown during a production and can making storytelling much easier with added footage. As a general rule, this can include animation, graphics, photos and extra footage.

1. Watch the example video without B-Roll: http://thevideoeffect.tv/wp- content/uploads/2014/01/what-is-b-roll-inside-a-fitness-gym.jpg and comment on your thoughts of the film.

2. Watch the example video with B-Roll: http://thevideoeffect.tv/wp- content/uploads/2014/01/b-roll-what-is-it.jpg and comment on your thoughts of the film.

I hereby certify that the written work contained here, other than the research evidence, is my own work: ______

Hours spent on this workbook: ______

Student Signed Dated

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Assessment Marking Guide -Confidential Student Record- UOC CUFCAM401A: Shoot a wide range of television content

Assessment Includes: Shoot FOUR types of films, you must present these on USB as an mov or mp4 only. Write notes in your folio on the assessment tasks 1, 2 and 3, include reflective notes on the quality of your work. The element questions are for the elective film only. Submit a folio for all work.

Student Name: ______Assessor Name / Signature: ______Date: ______

0 (unacceptable) 1 (less than acceptable) 2 acceptable 3 (more than acceptable) 0 1 2 3 Contribute ideas at pre-production meetings Survey locations for shoots Comply with OHS laws and safety report included Found materials and tools to work with Set up of shots, lighting and sound Liase and collaborate with crew and cast Rehearse and shoot shots Ensure captured shots meet editing requirements and other post production needs Employ photographic and compositional techniques to achieve aesthetic requirements and to capture well composed and well focused shots Explain any rectifications to creative problems from a technical perspective Checked your work from recording process for quality Ensure recorded content is labeled, identified and available for post production Brief editors and producers on post production requirements Evaluate the whole production process Described how this experience has developed your skills and knowledge Welcomed feedback on own performance Identified and wrote about personal strengths and weaknesses Has the ability to self reflect

Clarifying comments to support assessment/observations: Are There Productions P/L trading as the Australian College of Dramatic Arts 283 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

Are There Productions P/L trading as the Australian College of Dramatic Arts 284 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

2307VIC Certificate III in Acting (Screen) Year 2

CUFDRT502A Direct performers

Australian College of Dramatic Arts STUDENT WORKBOOK Name:______School:______

1st Submission Resubmission Reasonable Comment Result Teacher Date & Adjustments S/NS Sign

Due Date: Act

Time Required: 50 hours

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What This Unit is About: This unit is a practical unit of competency and you will be marked on your folio, elective film group work and personal short film work and research.

Some Information About the Film and Television Industry: This unit describes the performance outcomes, skills and knowledge required to direct performers during the filming or recording of productions. Directors are responsible for visualising and defining the style and structure of productions. They must have the capacity to inspire and motivate their team to produce the film they have envisioned, so high level communication and management skills are essential. As time and budgets are important to screen productions, directors are responsible for ensuring that performers and production personnel are well briefed and rehearsed prior to shooting.

Checklist: You will need: A folio and USB with all of your work This workbook, including a cover page, which includes your name An index of all the materials you have included Carefully label each question/response to match the unit of competency workbook questions Add additional information if you think it will benefit you All work should be your own and if it is not, this is referenced as research

Resources: You must write a list of the resources you used and include this in your folio.

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ASSESSMENT TASKS

Certificate and level Certificate III in Acting (Screen) CUFDRT502A Direct performers

See Marking guides for assessment requirements Target Group: VETis – Year 10 to 13 15 to 18 year olds Method/s of Assessment: This unit describes the performance outcomes, skills and knowledge required to direct performers during the filming or recording of productions. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: directing of screen productions that demonstrates: effective communication with cast and crew, ability to develop strategies to adjust planned performances, knowledge of all technical, staging and artistic aspects of a production, ability to meet production deadlines. Evidence of participation for the elective film project and submission of one short film and folio/workbook. Instructions to Students: Even though directors act with a high degree of autonomy and are ultimately responsible for realising the production's creative vision, they are members of a production team and need to collaborate with technical and administrative personnel during rehearsals and on film shoots. A high level of creativity is expected, along with the flexibility to make compromises where necessary. You must complete the following: Assessment Task 1: Prepare for actual productions. Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 2: Facilitate performances. Due date: Continual assessments with final assessment occurring at the end of Term 3 Assessment Task 3: Wrap production Due date: Continual assessments with final assessment occurring at the end of Term 3 Materials / Equipment Required to Conduct Assessment: Scripts, camera and tripod, SD card, Learner Manual, folio. Evidence: filmed on SD card, student uploads to personal computer, journal, email/hard copy homework. Submit films and folio Act 20.

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Are There Productions P/L trading as the Australian College of Dramatic Arts 288 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

Student Workbook – Folio

Make sure you log all activities in your folio and label them correctly. All filming exercises must also but submitted via USB as an mp4 or mov and titled according to the element and number.

Information for Elective and short film As time and budgets are important to screen productions, directors are responsible for ensuring that performers and production personnel are well briefed and rehearsed prior to shooting. Even though directors act with a high degree of autonomy and are ultimately responsible for realising the production's creative vision, they are members of a production team and need to collaborate with technical and administrative personnel during rehearsals and on film shoots. A high level of creativity is expected, along with the flexibility to make compromises where necessary. Required skills and knowledge Well-developed understanding of: • character development • the craft of screen acting • the craft of the director of photography Knowledge of communication techniques, including effective listening, questioning and non-verbal cues Industry knowledge, including: • roles and responsibilities of personnel in the screen production industry • sound understanding of artistic and technical elements associated with productions, e.g. staging, lighting and sound • issues and challenges that arise in directing performers in screen productions • conventions and practices of directing for the screen • broad historical and cultural context for types of productions relevant to area of work • visual story-telling techniques • techniques to transpose written to visual narrative • conditions of industrial awards and workers' compensation in relation to participation of cast and crew in shoots Duty of care to colleagues and general public OHS standards as they apply to directing performers in screen productions.

Meeting Production Requirements • Pre-production o Plan the script o Identify crew tasks o Cast the script o Plan all aspects of the filming • Scripting • Use Audition student for auditioning cast • Location planning and permission Are There Productions P/L trading as the Australian College of Dramatic Arts 289 22307VIC Certificate III in Acting (Screen) Year 2 © Merilyn Brend Version 8 2019

• Equipment needed – use Shoot TV student for behind camera needs • Safety requirements, OHS, stunt/safety reports • Cast/crew needs when filming • Costuming • Use Makeup and hair student for cast needs • Scheduling • Communication • Production • Arrive on time to start crew set up tasks • Be ready for cast • Commence filming as per schedule/script • Be aware of safety/OHS concerns • Be helpful and nice to all – this is a volunteer project • Post production o Thank all people involved o View footage o Plan your edit o Edit – use Shoot TV student o Finalise footage/titles (ACDA must be acknowledged on footage)

Element 1a: Prepare for actual production – Short film

1a Devise your own short film of 2 minutes duration. You may choose any genre but you must follow the procedures set out below. Do not make this short film complicated; make sure crew and cast are fully briefed.

Element 1b: Prepare for actual production - Elective

1.1 Brief performers about any specific technical requirements in collaboration with any production personnel where necessary, in particular type of shots within scenes. Note any discussions in your folio.

1.2 Establish appropriate lines of communication between relevant production personnel to ensure smooth running of production. Take control of the shoot, communicate with cast and crew, and keep notes. Include anecdotal evidence in your folio.

1.3 Inform and update relevant production personnel of any changes in requirements that may have occurred since final rehearsals and log this information.

1.4 Review relevant dramatic elements dealt with in rehearsals. The elements are climax, conflict, contrast, focus, language (verbal and vocal), mood, rhythm, sound, space, symbol, timing and tension. Write in your folio how these are applied, reviewing the script and noting the most important and if the actors have been able to achieve this or not.

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1.5 Throughout actual production, run scenes with performers prior where time allows. Log how actors worked.

Element 2: Facilitate performances

2.1 Create an appropriate environment to maximise performances and characterisations, including conduction of warm ups. Use a studio or theatre environment for preparation in warm ups and rehearsal of scenes, and log all preparation activities.

2.2 Ensure appropriate OHS requirements are met in line with enterprise procedures. Fill in a risk assessment in accordance with breakdown of the scene(s). See the examples below and please include your own in your folio. You may work with the cameraperson on this.

Scenario Potential Risk Hazard Control Dissect the script to • Slip, trip or fall Pre existing injuries and explain scenario • Strain, sprain medical issues must be • Minor bruising established. Warm up • Skin abrasion exercises are to be • Muscle soreness done and a first aid kit • Possible trauma should be on standby.

2.3 Communicate with relevant production personnel and clearly and provide constructive feedback throughout production process. Log some examples of constructive feedback with production personnel.

2.4 Identify and rectify creative problems throughout production in collaboration with relevant production personnel. Log any conversations or notes in your folio.

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2.5 Ensure performers are kept informed of filming order of scenes as required. Log filming order of scenes.

2.6 Assist performers throughout the entire production to understand the desired misé-en-scene effects such as size and framing of each shot, and their role in the context of the scene or shot. In your folio, make research notes on misé-en-scene elements, taking into consideration, choice of film stock, aspect ratio, framing, camera placement and movement, and sound environment.

2.7 Write a misé-en-scene breakdown for the scenes. Engage performers in the control of the narrative by use of the techniques that allow for character subtext. Research subtext and give 3 examples from the elective or a recently filmed script and log how you achieved the desired results from your actors.

Element 3: Wrap production

3.1 Check all scenes are recorded and completed including any spot checks of actual recordings for quality and accuracy. Log results of checking raw footage.

3.2 Release production crew and cast and complete necessary documentation according enterprise procedures. Record all thanks to cast and crew.

3.3 Make arrangements for additional production requirements and ensure relevant production personnel are properly informed. Log post filming and audio requirements and who will complete them.

3.4 Evaluate all aspects of the shoot from a director’s perspective including your own performance, and areas for improvement. Record how the shoot was finished and make comments on cast and crew job achievements with respect to how you were able to manage your own job.

3.5 Provide positive feedback to relevant production personnel and invite them to comment on the shoot. Log examples of comments.

Green Screen What is it? How do you act with it? Green screen is an effects process known as Chromakey. This allows film and television productions to use advanced technology to superimpose the subject onto a virtual background. With digital processing, the editor gets a solid background to easily remove with software, and edit in the background needed. Chromakeying, therefore, is the act of singling out a particulate colour in an image, then using computer software to make that colour transparent, allowing another image (such as animated weather maps on forecasts for the news) to show through. Green is used as the contrast means most modern cameras easily pick up the colour, and it is less common in clothing.

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Tips for recording with a green screen: 5. Avoid shadows – shadows change perceived colour by the camera, so editing will be tricky. 6. Ensure the screen surface is flat and smooth – you can use paint, fabric, paper or anything as long as there are no wrinkles or folds and the colour appears seamless in the back 7. If your camera automatically sharpens images – turn that feature off as artificial sharpening can make it harder for editing software to separate background from subject 8. Watch out for reflections on your subject and on props – shiny things can pick up green screen colours. Blonde hair can also make it tricky, blue screens or using magenta gels on the backlight will counteract the green

Tips for acting with a green screen: 5. Hit your marks precisely – unlike a fully dressed set the room is often empty so this is even more important 6. Eyeline must be accurate and directed to the marks indicated and provided by the director – again, this is even more key with green screen as there is less to look at and use for marks and cues 7. Imagination is important with green screen – you won’t be seeing your scene partner maybe, or the ‘monster’ coming at you, or the dog you’re playing with, so you must be able to act as though it’s real 8. Focus – focus, focus and focus harder. You need to maintain continuity in all ways, be able to portray real emotions… Green screen acting is like regular acting just a lot more challenging!

I hereby certify that the written work contained here, other than the research evidence, is my own work: ______

Hours spent on this workbook: ______

Student Signed Dated

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Assessment Marking Guide -Confidential Student Record- UOC CUFDRT502A: Direct performers

Assessment Includes: Skills and knowledge required to direct performers during the filming or recording of productions. Organisation of own work schedules, to monitor and obtain feedback on work performance, and to maintain required levels of competence. Evidence includes: directing of screen productions that demonstrates: effective communication with cast and crew, ability to develop strategies to adjust planned performances, knowledge of all technical, staging and artistic aspects of a production, ability to meet production deadlines. Evidence of participation for the elective film project, submission of one short film and folio/workbook.

Student Name: ______

Assessor Name / Signature: ______Date: ______

0 (unacceptable) 1 (less than acceptable) 2 acceptable 3 (more than acceptable) Criteria for performance 0 1 2 3 Pre-production Planned and wrote the script with the group Wrote scene and character breakdowns Attended auditions/screen-tests Briefed actors/crew of any technical requirements Briefed actors on the filming process and what is needed to achieve the technical and emotional requirements of the scene Rehearsed scenes Used warm up activities to maximize the actors work Broke script into shooting order Identified and communicated your misé en scene to crew and actors from the workbook Identified OHS/risk and wrote risk assessments Researched and communicated subtext for action and dialogue Production Logged rectifications of creative problems Did spot checks on recordings of scenes for quality Logged all raw footage Reshot any scenes for rectifications to creative problems or technical problems Thanked the crew/cast Post Production Discussed any post production requirements Discussed the editing process

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Discussed and evaluated the final filmed project Evaluated the whole production process Gained feedback on own performance Has the ability to identify personal strengths and weaknesses Has the ability to self reflect

Clarifying comments to support assessment/observations:

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