Drama Unit and Lesson Plans

Stage 6 Drama Unit – Topic 2: Contemporary Australian Theatre Practice
Syllabus outcomes addressed
Making drama -
H1.1 uses acting skills to adopt and sustain a variety of characters and roles
H1.2 uses performance skills to interpret and perform scripted and other material
H1.3 uses knowledge and experience of dramatic and theatrical forms, styles and theories to inform and enhance
individual and group-devised works
H1.5 demonstrates directorial skills
H1.7 demonstrates skills in using the elements of production
H1.9 values innovation and originality in group and individual work
Performing Drama -
H2.3 demonstrates directorial skills for theatre and other media
H2.4 appreciates the dynamics of drama as a performing art
Critically Studying Drama –
H3.1 critically applies understanding of the cultural, historical and political contexts that have influenced specific
drama and theatre practitioners, styles and movements
H3.2 analyses, synthesises and organises knowledge, information and opinion in coherent, informed oral and written
responses
H3.3 demonstrates understanding of the actor-audience relationship in various dramatic and theatrical styles and
movements
H3.4 appreciates and values drama and theatre as significant cultural expressions of issues and concerns in Australian
and other societies (Not assessed)
H3.5 appreciates the role of the audience in various dramatic and theatrical styles and movements.
*Outcomes in italics are taught, but not formally assessed
Australian Drama and Theatre (Core Study) rubric
This topic explores, theoretically and experientially, the traditional and contemporary practices of Australian
drama and theatre and the various ways in which artistic, cultural, social, political and personal issues and
concerns are reflected in different contexts. Students investigate how different Australian practitioners use
dramatic forms, performance styles, techniques and conventions to convey ideas and influence the ways in
which audiences understand and respond to ideas and images presented in the theatre (Board of Studies NSW,
2015, p. 8).
In this topic – Contemporary Australian Theatre Practice, students will explore the following two texts:
• Harrison, Jane 2003, Stolen, Currency Press, Sydney.
• Todd, Mirra, 2012, Fearless, (A Milk Crate Theatre production) Currency Press, Sydney.

Unit Design
Description
This unit is intended to give students an experiential understanding of Stolen and Fearless and a working
understanding and appreciation for Australian Contemporary Theatre Practice. Students will study the context and
content of these plays through a variety of practical and written activities, and work as artists and directors to create
their own interpretive understandings through making, performing and critically studying.
Context and Design
This unit was meant to be taught in Term 2 of the HSC, once students have a basic understanding of the elements of
drama and devising processes. This unit has designed with the Quality Teaching model (Gore, 2007) in mind, and is
meant to be hands on, practical, and Engaging, while also equipping students with practice in critically studying
drama.
Neeland and Goode’s (2000) four varieties of dramatic action (context-building, narrative, poetic and reflective) are
used as an overarching structure to help students gain a practical, Deep Understanding of the significant stories being
told in Stolen and Fearless within Australian Contemporary Theatre Practice. The focus is on students “developing
understandings about both human experience and theatre itself” (Neelands & Goode, 2000, p. 5), and equipping
students with dramatic Metalanguage that they can use to evaluate their own theatrical experiences.
Exploring the different contexts of these Australian plays is particularly important also, which means that Cultural and
Background Knowledge have an important role in this unit. This approach reflects the rubric of this topic, where
students must learn about Australian Contemporary Theatre Practice through “practical experience… through
workshops culminating in presentations and performances using relevant acting techniques, characterisation,
performance styles and spaces” (Board of Studies NSW, 2009, p .23).
Assessment strategies
A design back approach has been used in constructing this unit, which means that the class learning is aligned with
the Summative assessments (Biggs, 2003) and has a high degree of Connectedness. For instance, in lesson 11, 12, 22
and 23, the students create mini “performance essays” (two for each text), which directly link to the Director’s
Discussion in Assignment 1 and the Presentation Essay in Assignment 2.
Creating (synthesizing) is ranked as the highest level of thinking in Bloom’s Revised Taxonomy (Adams, 2015). Higher-
order thinking then, is present in the Summative assessments in this unit, which require students to create their own
performances, discuss their pieces from a director’s perspective and synthesize experience and analysis in a critical
presentation (which includes both written and digital media).
For Assignment 1, students must create a synthesised dramatic statement, carefully selecting scenes from both texts
which best encapsulate this statement: ‘Australian plays are about people who struggle to belong’. This aligns with,
and provides material for their HSC task, where students must select from their theatrical experiences ones that are
most relevant to the question.
Similarly, Assignment 2 is designed to produce a digital record of dramatic experiences, and then give students
practice in selecting and moulding these experiences towards a particular thesis. The presentation essay has been
adapted from Hatton and Lovesy’s Performance Essay (see page 143-155), but here the focus is on getting each
student to create an entire argument by themselves. It’s still very much drawing on practical experience, but giving
each student the full weight of authorship.
The compulsory D-log is formally assessed at the end of the unit (it makes up 5% of Assignment 2) but is informally
checked by the teacher at the end of each week as part of an ongoing assessment for learning. The teacher will give
students appropriate feedback on their progress as the unit progresses, reminding students that this ongoing
reflection provides them with a useful scaffold of analysis for both Assignment 1 and 2 – and also valuable material
for their final HSC essays!

Throughout this unit, students will use Google Drive and Google docs to create an online library of digital performance
experiences, alongside a written record of reflection. This will provide students with a valuable impression of what
their own performance looks like from an audience perspective, as well as practice in analyzing these performances.
Morgan and Saxton (1985) claim that this kind of ongoing reflection can “crystallizing meaning” (p. 212) for students.
This is also in line with Kempe’s (2013) assertion that successful learning in drama should “move beyond the purely
experiential and induce reflection and analysis” (p. 201). Thus, by providing practical, hands on activities alongside an
ongoing framework of analysis, this unit facilitates a Substantive communication and critical engagement with
Contemporary Australian Theatre Practice, meaningfully connecting “theory and problems of practice” (Brandenburg
& Wilson, 2013, p. 71).
Furthermore, because the lessons are very practical, the teacher can informally assess student progress in an ongoing
way, giving verbal encouragement and feedback on how to improve. In this way, students will be “informed of their
own progress” (Reeves, 2011, p. 106) throughout the learning process.
Diverse learners
This unit can accommodate diverse learners by building a class culture of positive encouragement and strategic
differentiation. Failing and risk taking needs to be seen as a normal part of the drama classroom, because access and
“participation” are the primary goals. This reflects the recommendations of the Disability Standards for Education
2005 (Australia, & Department of Education, 2006, p. 19). The teacher must also consider that students with special
needs may need to be assessed using the Life Skills outcomes (see Appendix B) to ensure equity.
Furthermore, the teacher will try to support struggling students by giving them extra time, technology or “physical
and/or verbal assistance” (New South Wales & Board of Studies, 2003, p. 7) as needed. The teacher will also make a
point of making sure students feel comfortable and safe with the texts of this topic, (some of which are confronting!)
grouping students with friends if this proves helpful.
Because this is a very emotionally charged unit of work (consider for instance, the multiple suicides in Fearless), the
teacher may need to provide alternative or modified activities for students who are struggling with the confronting
subject matter (See Lesson Plans for detail). In the rehearsal and performance process, the teacher will also monitor
the different groups and make sure they are challenged and extended appropriately.
ICT in the classroom
Teachers will:
• Develop skills in the use of Google Drive and Google
docs online software
• Develop skills in capturing footage using school
cameras or personal phones
• Support students in managing video files of class
performances and teach them how to manage their
online written reflections and video library
Students will:
• Reflect on dramatic experiences using Google docs
• Electronically capture rehearsals and performances
using school cameras or personal phones
• Manage digital files and keep an online, reflective
digital logbook (D-log) including a database of video
files
• Create an analytical presentation using software such
as Powerpoint or Prezi

Timing and Purpose Summary of lesson topics (blue = samples)
Week 1
Stolen
a) Context-building action
These lessons are focused on helping students come
to grips elements of Stolen, and in particular the
context behind the play. This means exploring the
historical, cultural and political context of the Stolen
Generation, as well as considering what this means
for us as performers and audiences in Australians
today.
The goal is for students to learn and experience some
of this knowledge on a more personal level. Helping
students develop understanding, respect, and
empathy is a priority for this sensitive topic.
Lesson 1: What’s going on in this play?
Unseen script impro (Take turns improvising dialogue)
Carousel impro (scene 1)
Life tableaus (with character summaries narrated over the top)
Reflect in D-log
Lesson 2: Building empathy— What could it feel like?
Historical, background context on Stolen Generations (see Appendix C)
Records of deaths in prison, Reconciliation day, The Rabbits
Destruction of memory (Memories symbolically torn up)
Group still images (Living in fear, wanting to go home, trapped)
Simulation in role (Welfare workers coming to take children)
Reflect in D-log
Lesson 3: Context and audience – how do we see the context?
Discuss the expressionism in the play (Breaking 4th
wall at the end)
Stories of separation (An Aboriginal Community Elder shares significant
experiences with the class. Alternatively, watch the
32 min Bringing them Home DVD) (See Appendix D for note sheet)
Class discussion and personal response
Reflect in D-log
End of week D-log checkup (1 uploaded video and 1 written reflection per student)
Week 2
Stolen
b) Narrative action
The purpose of these lessons is to give students a
solid understanding of the plot and themes of Stolen,
as well as a detailed understanding of the key
characters and their dramatic journeys.
Lesson 4: Characters in crisis
Critical events (character arc mapping)
Discussion of the non-linear narrative (what effect does this have?)
Group devising (Acting characters’ moments of crisis)
Reflect in D-log.
Lesson 5: Characters resolved
Group Hot seating (what motivates the different characters?)
Interview (with an adoptive family)
Group devising (Acting characters’ final ‘resolution’ moments)
Reflect in D-log.
Lesson 6: Themes
Loss – Still images (Shirly’s departure, Jimmy and his mother)
Abuse – Group devising (Ruby’s descent into madness scene)
No home – Carousel impro (Anne vs Sandy)
Reflect in D-log.

Week 3
Stolen
c) Poetic action
theoretical and experiential understanding of the
poetic dimensions of Stolen, including exploring the
director’s role in shaping meaning. Jane Harrison’s use
of the theatrical conventions will be examined, and
key symbols in the play will be explored through
activities. Finally, students will be given directorial
opportunities to engage with and interpret the play as
symbol makers. This will begin to prepare them for
their summative Assignment 1.
Lesson 7: Elements of drama
Examining 2 scenes in detail:
Time (shifting, circling structures
Minimalist staging
Intercutting dialogue
Alter-ego (Thought-tracking improvisation of an inner monologue)
Reflect in D-log
Lesson 8: Symbols
Symbolic rituals (Line ups, children’s games)
Beds – 5 places (Symbolic transitions between different locations)
Objects- impro (Out of date can of food)
Babies – Group tableau peel off (Improvised separation and attachment)
Reflect in D-log
Lesson 9:
This way/That way (group devised alternate endings of final scenes)
Voices in the head (offstage advice and dialogue at critical moments)
Model a sculpture (A director moulds a group still image of various scenes)
Reflect in D-log
Week 4
Stolen
d) Reflective action
The purpose of these lessons is to engage with Stolen
on a personal and critical level. The aim is for students
to gain experience in responding to questions from
the topic rubric using the structures of a Drama essay
(in verbal form). This also provides a scaffold of
practice towards both Assignment 1 and 2, where
students are required to respond to a question from
the rubric. The teacher will provide students with
ongoing feedback here (and in particular in lesson 12)
so students are given practical advice on how to
improve their work before the formal assessments.
Lesson 10: Reflecting on the play as creative interpreters
If I was you (Group offering personal advice to a character)
Choral Speak (scene analysis, creative vocal reinterpretation)
Marking the moment (Choosing, acting and discussing ‘key’ scenes)
Reflect in D-log
Lesson 11: Analysing through performance 1
Mini performance essays (responding to an essay question)
Group brainstorm of questions from the rubric
Small group devising
Performance of 1 scene with verbal analysis
Reflect in D-log
Group discussion (How could we better answer the questions?)
Reflect in D-log
Week 5
Fearless
Lesson 13: What’s going on in this play?
Unseen script impro (Take turns improvising dialogue from scene 1)
Carousel impro (Lotte and Pepper)

These lessons are focused on helping students
understand the basics of Fearless, and in particular
the varying contexts behind the play. In particular,
this involves considering the loneliness of various
characters in the play and what this means for us as
performers and audiences in Australians today.
The goal is for students to learn and experience some
of this knowledge on a more personal level. Helping
students develop understanding, respect, and
empathy for ‘the downtrodden’ and the lonely is one
of the key priorities in Fearless.
3 stage life tableaus (with character summaries narrated over the top)
Reflect in D-log
Lesson 14: Building empathy— What could it feel like?
Australia’s homelessness context (see Fearless teacher notes)
Group Still image opposites (Homeless vs houseless, belonging vs lonely)
Tag Simulation in role (A day in the life of Pepper)
Reflect in D-log
Lesson 15: Form and audience – how do we see the context?
Realism vs Expressionist (Musical theatre conventions)
Montage to illustrate new ‘truths’
Actors who have experienced homelessness (Group discussion)
Reflect in D-log
Week 6
Fearless
b) Narrative action
The purpose of these lessons is to give students a solid
understanding of the plot and concerns of Fearless,
such as homelessness, suicide, post-traumatic stress
disorder, gambling, alcohol and drug use, anger
management, isolation and grief. Through studying
the characters and their dramatic journeys, students
will gain an experiential understanding of the play as a
whole.
Lesson 16: Characters journeys
Emotion memory (making the character’s feelings truthful for the audience)
Critical events (character arc mapping)
Group devising (acting characters’ tactics of self-preservation)
Reflect in D-log.
Lesson 17: Characters personal ticks
Examining the dialogue (How do characters speak? Why does this matter?)
Scene Impro (Using animal characteristics to enhance character movement)
Group devising (Acting characters’ final ‘resolution’ moments)
Reflect in D-log.
Lesson 18: Loneliness, and all her friends
Isolation – Still images (Carlotta, Crystal and Clipper)
Difficult relationships – Group devising (Living on the street)
Grief – Carousel impro (Dog-Tag’s post-traumatic stress )
Suicide –Group devised, (Pepper – how does this relate to Stolen?)
Reflect in D-log.
Week 7
Fearless
c) Poetic action
theoretical and experiential understanding of the
poetic dimensions of Fearless, including exploring the
director’s role in shaping meaning. Mira Todd’s use of
the theatrical conventions will be examined, and key
symbols in the play will be explored through activities.
Lesson 19: Theatrical conventions –What stands out?
Disconnected, episodic structure (Segues and Transitions)
Didactic social activism – Brechtian Subtitles (Directed improvisations)
Alter-ego (Thought-tracking improvisation of an inner monologue)
Reflect in D-log
Lesson 20: Symbols
Parable songs, and coloured lighting – group directors’ discussion
Lotte as Narrator– narrator exercise (embodying a description)
Shadows – off stage whispers (an reactive, sound-based improvisation )

Finally, students will be given directorial opportunities
to engage with and interpret the play as symbol
makers. This will begin to prepare them for their
summative Assignment 1.
“The Hell Room” – Group devised (confessions)
Reflect in D-log
Lesson 21:
This way/That way (group devised alternate endings of final scenes)
Voices in the head (offstage advice and dialogue at critical moments)
Model a sculpture (directors craft group still image of various scenes)
Reflect in D-log
Week 8
Fearless
d) Reflective action
The purpose of these lessons is to engage with the
‘transformative theatre’ of Fearless on a personal and
critical level. The aim is for students to gain
experience in responding to questions from the topic
rubric using the structures of a Drama essay (in verbal
form). This also provides a scaffold of practice
towards both Assignment 1 and 2, where students are
required to respond to a question from the rubric.
The teacher will provide students with ongoing
feedback here (and in particular in lesson 12) so
students are given practical advice on how to improve
their work before the formal assessments.
Lesson 22: Reflecting on the play as creative interpreters
If I was you (Group offering personal advice to a character)
Choral Speak (scene analysis, creative vocal reinterpretation)
Marking the moment (Choosing, acting and discussing ‘key’ scenes)
Reflect in D-log
Group brainstorm of questions from the rubric
Reflect in D-log
Group discussion (How could we better answer the questions?)
Reflect in D-log
Week 9
Stolen + Fearless
Assessment 1: Performance and Director’s Discussion
These lessons have been set aside for student
rehearsal and performance of their scenes for
Assessment 1: Performance and Director’s Discussion.
Performance videos will provide students with quality
material to use for Assignment 2: Presentation Essay.
Watching each other’s performances and verbal
reflections should give students a rich bed of
experience to draw analysis from.
Lesson 25: Rehearsal
Rehearse scenes from both plays
Show back to class
Reflect in D-log
Lesson 26: Assessment 1: Performances and Director’s Discussion
Lesson 27: Assessment 1: Performances and Director’s Discussion (continued)
End of week D-log checkup (1 video and 1 written reflection per student)
*Teacher responsible for uploading performance videos to Google Drive.

Resources & reference material used
Adams, N. E. (2015). Bloom’s taxonomy of cognitive learning objectives. Journal of the Medical Library Association :
JMLA, 103(3), 152–153. http://doi.org/10.3163/1536-5050.103.3.010
Australia, Attorney-General’s Department, Australia, & Department of Education, S., and Training. (2006). Disability
standards for education 2005. Barton, ACT: Attorney-General’s Dept., Dept. of Education, Science and Training.
Retrieved from
http://www.comlaw.gov.au/ComLaw/Legislation/LegislativeInstrument1.nsf/all/search/4B28EE956766891FCA2
56FCC0004EF81
Australian Curriculum, Assessment and Reporting Authority. (2015). Drama: Curriculum. Retrieved from
http://www.australiancurriculum.edu.au/the-arts/drama/learning-in-drama
Biggs, J. (2003). Aligning teaching for constructing learning. Retrieved from:
https://www.heacademy.ac.uk/sites/default/files/resources/id477_aligning_teaching_for_constructing_learnin
g.pdf
Blake, J. (2012). Dark, but by no means gloomy. Sydney Morning Herald. Retrieved from
http://www.smh.com.au/entertainment/theatre/dark-but-by-no-means-gloomy-20120918-
264el.html#ixzz468IPwIgj
Board of Studies NSW. (2015). Drama Stage 6 Course Prescriptions – Higher School Certificate 2015–2017. Retrieved
from http://www.boardofstudies.nsw.edu.au/syllabus_hsc/drama.html
Board of Studies NSW. (2009). Drama: Stage 6 Syllabus. Retrieved from
http://www.boardofstudies.nsw.edu.au/syllabus_hsc/drama.html
Board of Studies NSW. (2009). Stage 6 Creative Arts Life Skills Syllabus. Retrieved from
http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/creative-arts-life-skills-st6-syl-from2010.pdf
Brandenburg, R., & Wilson, J. Z. (2013). Pedagogies for the future leading quality learning and teaching in higher
education. Rotterdam; Boston: SensePublishers. Retrieved from http://dx.doi.org/10.1007/978-94-6209-278-5
Burton, B. (2011). Living drama. Port Melbourne, Vic.: Pearson Australia.
Week 10
Stolen + Fearless
Assessment 2: Presentation Essay
These lessons are for prepare and presenting Assessment 2:
Presentation Essay. Students will be able to draw on video material
from the previous weeks, as well as their D-log analysis.
Lesson 28: Preparing presentation
Lesson 29: Presentation Essays 1
Lesson 30: Presentation Essays 2

Gore, J. (2007). Improving Pedagogy: The challenges of moving teachers towards higher levels of quality teaching. In
Butcher, J., McDonald, L. (Eds.). (2007). Making a difference: challenges for teachers, teaching, and teacher
education. Rotterdam: Sense Publishers.
Hatton, C., & Lovesy, S. (2009). Young at art: classroom playbuilding in practice. London ; New York:
Routledge.
Kempe, A. (2013). Drama and History: A Kind of Integrity. In Anderson, M., & Dunn, J. (Eds.). (2013). How drama
activates learning: contemporary research and practice. London ; New York: Bloomsbury.
Lovesy, S. (2014). Building capacity for implementing the Drama Stage 6 Course Prescriptions–HSC 2015–2017: Topic
2 Australian Contemporary Theatre Practice –Fearless. State of NSW, Department of Education and
Communities. Retrieved from
http://www.curriculumsupport.education.nsw.gov.au/secondary/creativearts/assets/drama/pdf/Fearless.pdf
Milk Crate Theatre and Currency Press. (2015). Fearless: Teachers Notes. Retrieved from
http://monkeybaa.com.au/wp-content/uploads/2015/10/Fearless-Seminar-Teacher-Resource.pdf
Morgan, N., & Saxton, J. (1985). Working with drama: A different order of experience. Theory Into Practice, 24(3),
211–218. http://doi.org/10.1080/00405848509543175
Reeves, A. R. (2011). Where great teaching begins planning for student thinking and learning. Alexandria, Va.: ASCD.
Retrieved from
http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=408349
State of NSW, Department of Education and Communities. (2014). Building capacity for implementing the Drama
Stage 6 Course Prescriptions – HSC 2015–2017: Topic 2 Australian Contemporary Theatre Practice –Fearless.
Retrieved from
http://www.curriculumsupport.education.nsw.gov.au/secondary/creativearts/assets/drama/pdf
Thompson, C., & Davis, S. (2014). Teachers’ Notes on Fearless. Retrieved from
http://static.harpercollins.com/harperimages/ommoverride/Teacher_Notes_on_Fearless_by_Colin_Thompson
_and_Sarah_Davis.pdf

Appendix A: Unit Assessments and Marking Guidelines
Assessment 1: Group Performance and Director’s Discussion (20%)
Topic: Australian Drama and Theatre – Contemporary Australian Theatre Practice
Assessment weighting: 20% (Making 10%, Performing 5% Critically studying 5%)
Outcomes to be assessed:
H1.3 uses knowledge and experience of dramatic and theatrical forms, styles and theories to inform and enhance individual and
group-devised works
H3.3 demonstrates understanding of the actor-audience relationship in various dramatic and theatrical styles and movements
Task description:
Performance:
In groups of 3-4, perform a (2-4 min) excerpt from Fearless and a (2-4 min) excerpt from Stolen in response to this
statement: Australian plays are about people who struggle to belong.
Note that you will need to perform at least one scene from both plays and your total performance time should not
exceed 8 minutes. You will be marked on your ability to understand and creatively interpret core themes from the
plays, using the elements of drama and convincing characterisation. You will also be assessed on your ability to reflect
on your piece as creative directors.
Director’s Discussion:
At the end of your performance, your group will be asked the following questions. Each group member must answer
one question, on behalf of the group. Answers should reflect the group’s views as they emerge from group discussion.
Each answer should not exceed 1 minute. Here are the Questions:
1. Discuss your vision for the piece. What key themes/ideas of Stolen and Fearless did you try to capture?
2. What elements of drama and production techniques did you use and why?
3. What did you want the audience to feel after watching your work? What is the ideal audience response?
4. What have you learnt about Contemporary Australian Theatre practice through your study of these plays?
Marking Criteria:
Students will be assessed on their ability to:
1. interpret and sustain roles and themes from contemporary Australian theatre (Making - 1.1, 1.2, 1.3)
2. use directorial skills to enhance performance through the elements of production (Making and Performing -
1.5, 1.7, 2.3)
3. demonstrate an understanding of the actor-audience relationship (Critically studying – 3.3)
Feedback - You will receive feedback in the form of written comments, and a marking guidelines grade.
Comments:

Assessment 1: Marking Guidelines. Your performance and discussion show that Marks
• You have critically and creatively interpreted key themes from Stolen and Fearless in your
performance, showing an outstanding understanding of issues in these plays. Your characters are
very convincing and sustained throughout the entire piece.
• You have made very effective design choices to enhance your piece. You have used elements of
production (ie tension, space, roles, rhythm, focus, movement and symbols) to create an original
and interesting dramatic statement.
• You have a sophisticated understanding of key actor-audience relationships operating Stolen and
Fearless. You have also very successfully crafted your own performance to evoke a particular
responses from the audience.
A
(17 - 20)
• You have interpreted key themes from Stolen and Fearless in your performance, showing a well-
developed understanding of issues in these plays. Your characters are mostly convincing and
sustained through most of the piece.
• You have made effective design choices to enhance your piece. You have used elements of
production (ie tension, space, roles, rhythm, focus, movement and symbols) to create a well-
developed dramatic statement.
• You have a substantial understanding of key actor-audience relationships operating Stolen and
Fearless. You have also successfully crafted your own performance to evoke a particular responses
from the audience.
B
(13 – 16)
• You have interpreted themes from Stolen and Fearless in your performance, showing an adequate
understanding of issues in these plays. Your characters are mostly convincing, and somewhat
sustained.
• You have made sound design choices to enhance your piece. You have used elements of
production (ie tension, space, roles, rhythm, focus, movement and symbols) to create a sound
dramatic statement.
• You have a good understanding of key actor-audience relationships operating Stolen and Fearless.
You have also adequately crafted your own performance to evoke a particular responses from the
audience.
C
(9 – 12)
• You have interpreted themes from Stolen and Fearless in your performance, showing a basic
understanding of issues in these plays. Your characters are convincing at times, but under-
developed overall.
• You have made basic design choices to enhance your piece. You have used some elements of
production (ie tension, space, roles, rhythm, focus, movement and symbols) but your dramatic
statement is unclear.
• You have a basic understanding of key actor-audience relationships operating Stolen and Fearless.
Your performance evokes a general, responses from the audience.
D
(5 – 8)
• Themes from Stolen and Fearless appear in your performance in a limited way. You have a limited
or confused understanding of issues in these plays. Your characters are under-developed.
• You have made few design choices to enhance your piece. You have used only 1 or 2 elements of
production (ie tension, space, roles, rhythm, focus, movement and symbols) and your dramatic
statement is unclear.
• You have a limited or no understanding of actor-audience relationships operating Stolen and
Fearless. Your performance evokes a limited responses from the audience.
E
(1 – 4)

Assessment 2: Presentation Essay and D-Log (15%)
Topic: Australian Drama and Theatre – Contemporary Australian Theatre Practice
Assessment weighting: 15% (Critically studying)
Outcomes to be assessed:
H3.1 critically applies understanding of the cultural, historical and political contexts that have influenced specific
drama and theatre practitioners, styles and movements
H3.2 analyses, synthesises and organises knowledge, information and opinion in coherent, informed oral and written
responses
Task description:
Presentation: (10%)
As individuals, you must deliver a 6-8 min presentation (ie using PowerPoint or Prezi) that answers this question:
How do the Australian dramas you have studied use particular forms and conventions to explore cultural, historical
and political experiences of living in this country?
Your presentation should be structured like an essay argument with a thesis, body of examples and conclusion. You
will need at least 4 examples from Stolen and Fearless (ie two from each play). You can use video examples of drama
experiences you have uploaded to Google Drive, as long as you analyse these scenes in verbal or written form in your
presentation.
Step by step instructions (this is one way you could approach the task)
1. Develop a thesis (argument/answer to the question)
2. Select the most relevant scenes from Google Drive (scenes that show significant experiences). Don’t forget to
consider the cultural, historical and political contexts of Stolen and Fearless and how these shape our experiences of
Australia in significant ways.
3. Edit the scenes so that you only show the most relevant parts in your presentation
4. Analyse the scenes in terms of the elements of drama – What forms and conventions are used in the scenes (and
experienced by you) and what effect does this have?
5. Fit your video scenes and analysis into an overall written argument in Presentation software (ie Powerpoint). I’m
expecting you to have at least 600 words (point form is ok).
6. Present your argument as enthusiastically and creatively as you can!
D-Log: (5%)
If you have uploaded 8 videos and with 8 substantial reflections on your D-Log, you will receive the full 5%.
If you are worried about the quality of your reflections, ask the teacher for feedback before the assessment date.
Marking Criteria:
Students will be assessed on their ability to:
1. Understand and express the cultural, historical and political contexts of Stolen and Fearless (H3.1)
2. Analyse information in your D-log and Presentation in a thoughtful, coherent way (H3.2)
Feedback - You will receive feedback in the form of written comments, and a marking guidelines grade.
Comments:

Assessment 2: Marking Guidelines. Your Presentation and D-log show that Marks
• You have explained key cultural, historical and political context from Stolen and Fearless and
demonstrated how these shape significant experiences in Australia in a sophisticated way
• Your reflections and analysis are extremely thoughtful and coherent, with plenty of insightful,
supporting evidence*
A
(13-15)
• You have explained some cultural, historical and political context from Stolen and Fearless and
demonstrated how these shape significant experiences in Australia in a convincing way
• Your reflections and analysis are quite thoughtful and coherent, with insightful, supporting
evidence*
B
(10-12)
• You have explained some cultural, historical and/or political context from Stolen and Fearless and
adequately demonstrated how these shape significant experiences in Australia
• Your reflections and analysis are adequately thoughtful and coherent, with some insightful and
supporting evidence*
C
(7-9)
• You have explained basic context from Stolen and Fearless and made a basic link to significant
experiences in Australia
• Your reflections and analysis are basic, with some supporting evidence*
D
(4-6)
• You have a very limited understanding of context in Stolen and Fearless and/or a very limited
understanding of significant experiences in Australia
• Your reflections and analysis are limited or incorrect, with little or no supporting evidence*
E
(1-3)

Appendix B: Drama Lifeskills outcomes:

© Australian Human Rights Commission 2010 | www.humanrights.gov.au/education/bringing_them_home
20
rightsED | Bringing them home
The following stories were received as submissions to the National Inquiry into the Separation of
Aboriginal and Torres Strait Islander Children from Their Families. For additional stories see:
www.humanrights.gov.au/social_justice/bth_report/about/personal_stories.html
Paul
For 18 years the State of Victoria referred to me as State Ward No 54321.
I was born in May 1964. My Mother and I lived together within an inner suburb of Melbourne. At the
age of five and a half months, both my Mother and I became ill. My Mother took me to the Royal
Children’s Hospital, where I was admitted.
Upon my recovery, the Social Welfare Department of the Royal Children’s Hospital persuaded my
Mother to board me into St Gabriel’s Babies’ Home in Balwyn ... just until Mum regained her health. If
only Mum could’ve known the secret, deceitful agenda of the State welfare system that was about to
be put into motion – 18 years of forced separation between a loving mother and her son.
Early in 1965, I was made a ward of the State. The reason given by the State was that, ‘Mother is
unable to provide adequate care for her son’.
In February 1967, the County Court of Victoria dispensed with my Mother’s consent to adoption.
This decision, made under section 67(d) of the Child Welfare Act 1958, was purportedly based on an
‘inability to locate mother’. Only paltry attempts had been made to locate her. For example, no attempt
was made to find her address through the Aboriginal Welfare Board.
I was immediately transferred to Blackburn South Cottages to be assessed for ‘suitable adoptive
placement’. When my Mother came for one of her visits, she found an empty cot. With the stroke of a
pen, my Mother’s Heart and Spirit had been shattered. Later, she was to describe this to me as one of
the ‘darkest days of her life’.
Repeated requests about my whereabouts were rejected. All her cries for help fell on deaf ears by a
Government who had stolen her son, and who had decided ‘they’ knew what was best for this so-
called part-Aboriginal boy.
In October 1967 I was placed with a family for adoption. This placement was a dismal failure, lasting
only 7 months. This family rejected me, and requested my removal, claiming in their words that I was
unresponsive, dull, and that my so-called deficiencies were unacceptable. In the Medical Officer’s
report on my file there is a comment that Mrs A ‘compared him unfavourably with her friends’ children
and finds his deficiencies an embarrassment, eg at coffee parties’.
Upon removal, I was placed at the Gables Orphanage in Kew, where I was institutionalised for a
further two years. Within this two years, I can clearly remember being withdrawn and frightened, and
remember not talking to anyone for days on end.
I clearly remember being put in line-ups every fortnight, where prospective foster parents would view
all the children. I was always left behind. I remember people coming to the Gables, and taking me to
their homes on weekends, but I would always be brought back. Apparently I wasn’t quite the child they
were looking for.
My dark complexion was a problem.
The Gables knew my dark complexion was a problem, constantly trying to reassure prospective foster
parents that I could be taken as Southern European in origin.
In January 1970, I was again placed with a foster family, where I remained until I was 17. This family
had four natural sons of their own. I was the only fostered child.
Personal stories
Resourcesheet
2.
Appendix C: Stolen Generations Historical Context

21
During this placement, I was acutely aware of my colour, and I knew I was different from the other
members of their family. At no stage was I ever told of my Aboriginality, or my natural mother or father.
When I’d say to my foster family, ‘why am I a different colour?’, they would laugh at me, and would tell
me to drink plenty of milk, ‘and then you will look more like us’. The other sons would call me names
such as ‘their little Abo’, and tease me. At the time, I didn’t know what this meant, but it did really hurt,
and I’d run into the bedroom crying. They would threaten to hurt me it I told anyone they said these
things.
My foster family made me attend the same primary and secondary school that their other children had
all previously attended. Because of this, I was ridiculed and made fun of, by students and teachers.
Everyone knew that I was different from the other family members, and that I couldn’t be their real
brother, even though I’d been given the same surname as them. Often I would run out of class crying,
and would hide in the school grounds.
The foster family would punish me severely for the slightest thing they regarded as unacceptable or
unchristian-like behaviour, even if I didn’t eat my dinner or tea. Sometimes I would be locked in my
room for hours. Countless times the foster father would rain blows upon me with his favourite leather
strap. He would continue until I wept uncontrollably, pleading for him to stop.
My Mother never gave up trying to locate me.
Throughout all these years – from 5 and a half months old to 18 years of age, my Mother never gave
up trying to locate me.
She wrote many letters to the State Welfare Authorities, pleading with them to give her son back.
Birthday and Christmas cards were sent care of the Welfare Department. All these letters were shelved.
The State Welfare Department treated my Mother like dirt, and with utter contempt, as if she never
existed. The Department rejected and scoffed at all my Mother’s cries and pleas for help. They inflicted
a terrible pain of Separation, Anguish and Grief upon a mother who only ever wanted her son back.
In May 1982, I was requested to attend at the Sunshine Welfare Offices, where they formerly
discharged me from State wardship. It took the Senior Welfare Officer a mere twenty minutes to come
clean, and tell me everything that my heart had always wanted to know. He conveyed to me in a
matter-of-fact way that I was of ‘Aboriginal descent’, that I had a Natural mother, father, three brothers
and a sister, who were alive.
He explained that his Department’s position was only to protect me and, ‘that is why you were not told
these things before’. He placed in front of me 368 pages of my file, together with letters, photos and
birthday cards. He informed me that my surname would change back to my Mother’s maiden name of
Angus.
The welfare officer scribbled on a piece of paper my Mother’s current address in case, in his words, I’d
‘ever want to meet her’. I cried tears of Relief, Guilt and Anger. The official conclusion, on the very last
page of my file, reads:
‘Paul is a very intelligent, likeable boy, who has made remarkable progress, given the unfortunate
treatment of his Mother by the department during his childhood.’
Confidential submission 133, Victoria. When Paul located his mother at the age of 18 she
was working in a hostel for Aboriginal children with 20 children under her care. She died
six years later at the age of 45.
Paul’s story appears on page 68 of Bringing them home.

22
Greg
I was born on Cape Barren. At the time I was taken the family comprised mum, my sister and [my two
brothers]. And of course there was my grandmother and all the other various relatives. We were only
a fairly small isolated community and we all grew up there in what I considered to be a very peaceful
loving community. I recall spending most of my growing up on the Island actually living in the home of
my grandmother and grandfather. The other children were living with mum in other places.
Until the time I was taken I had not been away from the Island, other than our annual trips from Cape
Barren across to Lady Baron during the mutton bird season.
The circumstances of my being taken, as I recollect, were that I went off to school in the morning and
I was sitting in the classroom and there was only one room where all the children were assembled and
there was a knock at the door, which the schoolmaster answered. After a conversation he had with
somebody at the door, he came to get me. He took me by the hand and took me to the door. I was
physically grabbed by a male person at the door, I was taken to a motor bike and held by the officer
and driven to the airstrip and flown off the Island. I was taken from Cape Barren in October 1959 [aged
12].
I had no knowledge [I was going to be taken]. I was not even able to see my grandmother [and I had]
just the clothes I had on my back, such as they were. I never saw mum again.
To all intents and purposes, I guess my grandmother was looked upon as my mother in some respects
because of my association with her and when I was taken there are actual letters on my file that
indicate that she was so affected by the circumstances of my being removed from the Island that she
was hospitalised, and was fretting and generally her health went on her. A nursing sister on the Island
had my grandmother in hospital and she was in fact writing letters to the Welfare Department to find
out, you know, how I was getting on and that sort of thing, and asking if I could go back to the Island
for holidays. That was refused. My grandmother was removed from the Island and placed in an aged-
care hospital, and I was taken to see her and when I did she had basically lost her mind and she did
not know who I was.
It is fairly evident from reading my welfare file that [the teacher] was the eyes and ears of the Welfare
Department and that he was obviously sending reports back to them about the conditions on the
Island.
There is a consent form on [my] file that mum signed and it did include [my sister and my two brothers]
– and their names were crossed out and mine was left. I do not know whether it was because I was
at the top or not. I might add that most people that I have spoken to said that mum, whilst she could
read her name, could not read or write, and obviously would not have understood the implications of
what she was signing. [It] has been witnessed by the schoolmaster.
I was flown off the Island and ... I was flown to where the small planes land at Launceston. I was
eventually placed with some people in Launceston. I have some recollection of going to school at
some stage. I noted from my file that I was transported to Hobart in 1960 – my recollection of that was
being put into a semi-trailer and picked up on the side of the road by some welfare officers down there.
I was placed with some people in [Hobart], and I guess, fortunately for me, I could not have been in
better hands because I still maintain a relationship with them; they look on me as their son. They had
one daughter but Mrs –– used to care for other foster children and the house was full of other non-
Aboriginal children.
I had always wanted to return to the Island but I could never bring myself to hopping on a plane and
returning. [It was] thirty years before I went back. [The night I returned] I could not settle. I think I had
a cup of tea and I decided I would go in a different direction and I walked around the sand spit and – I
do not know, something just made me turn around and look back and I looked to the school and – I
just looked back to where we used to live as kids. My whole life flashed before me and I just collapsed

23
in the sand and started crying ... And when I composed myself as best I could I just sort of reflected
on things and my whole life was just racing through my mind and I guess I just wanted to be part of a
family that I never had. I just wanted to be with my mum and my grandmother and my brothers and
sisters.
Confidential evidence 384, Tasmania. The consent form signed by Greg’s mother states the
reason for his removal: ‘I am a widow, in poor health’. After Greg was taken his mother
had another daughter but Greg was not aware of her existence until 1994. One of Greg’s
brothers states that after Greg went their mother ‘was in total despair’. They lived in
conditions of extreme poverty in ‘a run down shanty’. One afternoon their mother went
drinking and suffered a fatal accident. Later the police came with a warrant to collect
the children and flew them to Launceston. The boys were fostered together but each of
the girls went to a different family. The first time the five children were all together was in
1995.
Greg’s story appears on page 99 of Bringing them home.
Evie
My grandmother was taken from up Tennant Creek. What gave them the right to just go and take
them? They brought her down to The Bungalow [at Alice Springs]. Then she had Uncle Billy and my
Mum to an Aboriginal Protection Officer. She had no say in that from what I can gather. And then from
there they sent her out to Hermannsburg – because you know, she was only 14 when she had Uncle
Billy, 15 when she had Mum. When she was 15 and a half they took her to Hermannsburg and married
her up to an Aranda man. That’s a no-no.
And then from there, when Mum was 3, they ended up taking Mum from Hermannsburg, putting her in
The Bungalow until she was 11. And then they sent her to Mulgoa mission in New South Wales. From
there they sent her to Carlingford Girls’ Home to be a maid. She couldn’t get back to the Territory and
she’d had a little baby.
Agnes [witness’s sister] and I have met him [their older brother]. We met him when he was 35. He’s
now 42 so that’s not that far away. Mum had him and she was working but she doesn’t know what
happened to her money. When she kept asking for her money so she could pay her fare back to Alice
Springs they wouldn’t give her any.
I’ve got paperwork on her from Archives in New South Wales. There’s letters – stacks of ‘em – between
the Aboriginal Protection Board, New South Wales, and Northern Territory. All on my mother. They were
fighting about which jurisdiction she was in - New South Wales yet she was a kid from the Northern
Territory. So one State was saying we’re not paying because she’s New South Wales, they should pay.
In the end New South Wales said to Mum, ‘I’ll pay your fare back on the condition that because you
haven’t got a husband and you’ve got a baby, you leave that baby here’. So she left her baby behind
and came back to the Territory.
And then she had me and then my brother and another two brothers and a sister and we were all
taken away as soon as we were born. Two of them were put in Retta Dixon and by the time they were
18 months old they were sent down south and adopted. She had two kids, like they were 15 months
apart, but as soon as they turned 18 months old they were sent down south and adopted out.
One of them came back in 1992. He just has that many problems. The others we don’t know where
they are. So it’s like we’ve still got a broken family.
I was taken away in 1950 when I was 6 hours old from hospital and put into Retta Dixon until I was 2
months old and then sent to Garden Point. I lived in Garden Point until 1964. And from Garden Point,
Tennant Creek, Hermannsburg. While in Garden Point I always say that some of it was the happiest

24
time of my life; others it was the saddest time of my life. The happiest time was, ‘Yippee! all these
other kids there’. You know, you got to play with them every day. The saddest times were the abuse.
Not only the physical abuse, the sexual abuse by the priests over there. And they were the saddest
because if you were to tell anyone, well, the priests threatened that they would actually come and get
you.
Everyone could see what they were doing but were told to keep quiet. And just every day you used to
get hidings with the stock-whip. Doesn’t matter what you did wrong, you’d get a hiding with the stock-
whip. If you didn’t want to go to church, well you got slapped about the head. We had to go to church
three times a day. I was actually relieved to leave the Island.
In 1977 I had three children. In 1977 my oldest was three years old then. I had another one that was
twelve months and another one that was two months old. All those kids were taken off me. The reason
behind that was, well, I’d asked my girl-friend and so-called sister-in-law if she could look after my kids.
She wouldn’t look after my daughter because my daughter’s black. So, she said she’d take the two
boys and that was fine. And while I was in hospital for three months – that’s the only reason I asked
them to take ‘em ‘cause I was going to hospital because I had septicaemia.
I couldn’t get my kids back when I came out of hospital. And I fought the welfare system for ten years
and still couldn’t get ‘em. I gave up after ten years. Once I gave up I found out that while I was in
hospital, my sister-in-law wanted to go overseas with my two boys ‘cause her husband was being
posted there for 12 months from foreign affairs. And I know she brought some papers in for me to
sign while I was in hospital and she said they were just papers for their passports. Stupid me, being
sick and what-have-you didn’t ask questions – I signed ‘em and found out too late they were adoption
papers. I had 30 days to revoke any orders that I’d signed.
And with my daughter, well she came back in ‘88 but things just aren’t working out there. She blames
me for everything that went wrong. She’s got this hate about her – doesn’t want to know. The two
boys know where I am but turned around and said to us, ‘You’re not our mother – we know who our
real mother is’.
So every day of your bloody life you just get hurt all the time ...
Confidential evidence 557, Northern Territory.
Evie’s story appears on page 147 of Bringing them home. Last updated 2 December 2001.
Karen
I am a part Aboriginal woman, who was adopted out at birth. I was adopted by a white Australian
family and came to live in New Zealand at the age of 6 months. I grew up not knowing about my
natural Mother and Father. The only information my adoptive parents had about my birth, was the
surname of my birth Mother.
I guess I had quite a good relationship with my adoptive Mum, Dad and sisters. Though my adopted
Mother said I kept to myself a lot, while I was growing up. As I got older I noticed my skin colouring
was different to that of my family. My Mother told me I was adopted from Australia and part Aboriginal.
I felt quite lonely especially as I approached my teens. I got teased often about being Aboriginal and
became very withdrawn and mixed up, I really did not know where I belonged.
As a result of this I started having psychiatric problems. I seem to cope and muddle along.
I eventually got married to a New Zealander, we have two boys, who are now teenagers. One of our
boys is dark like myself, and was interested in his heritage. I was unable to tell him anything, as I didn’t
know about it myself.

25
My husband, boys and myself had the opportunity to go to Melbourne about 7 years ago on a
working holiday for 10 weeks. While in Melbourne I went to the Aboriginal Health Centre and spoke
to a social worker, as I had a copy of my birth certificate with my birth Mother’s name on it. The social
worker recognized my Mother’s surname ‘Graham’, and got in touch with my aunty, who gave me my
Mother’s phone number.
I got in touch with my birth Mother and made arrangements to meet her. I have a half brother and
sister. My birth Mother and Father never married, though my Father knew my Mother was pregnant
with me. My Mother did not know where my Father was, as they parted before I was born. My sister
decided to call a local Melbourne paper and put our story in the paper on how I had found them after
29 years.
My Father who was in Melbourne at the time, saw the article and a photo of my Mother and myself
in the paper. He recognized my Mother and got in touch with her. My Mother and I had been
corresponding, after we returned to New Zealand. For her own reasons, she would not give my Father
my address, so my Father went through the social service agency and got in touch with me two and
a half years ago. I have met my birth Father, as I had a family wedding in Melbourne shortly after he
made contact with me, so I made arrangements to meet him.
We kept in contact with one another, but I feel we will never be able to make up for lost time, as my
birth parents live in Australia and myself in New Zealand.
I still feel confused about where I belong, it has been very emotional and the result of this caused me
to have a complete nervous breakdown. I am on medication daily and am having to see a counsellor
to help me come to terms and accept the situation, where I am at right now and to sort out some
confused feelings. My adoptive family really don’t want to know too much about my birth family, which
also makes it hard.
I feel that I should be entitled to some financial compensation for travel purposes, to enable us to do
this.
Confidential submission 823, New Zealand.
Karen’s story appears on page 244 of Bringing them home.

29
Part A
Before watching the Bringing them home DVD, read the questions below. While you are watching the
DVD make some notes in the table provided.
Discussion questions Notes
After the opening section, the DVD switches
between different people’s accounts of
separation from their families.
Choose one of these stories.
Name the character you have chosen.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
What stood out about the story you have
chosen? (List two things that happened to the
person.)
What experiences do the people in the DVD
share with those from the stories you have
read?
The DVD shows some black and white
newsreels from the main period when children
were removed.
What information do they give?
Who would have been watching these
newsreels when they were first shown?
Many viewpoints are presented in the DVD.
These include Professor Mick Dodson, Sir
Ronald Wilson, viewpoints of various people in
the newsreels and the personal stories at the
beginning of the DVD.
Which viewpoints are most believable?
Why?
Bringing them home DVD
DVDactivitysheet
3.
Appendix D: Context Discussion (Backup activity)

30
Part B
Working in groups, read out the following newsreel transcripts from the DVD while remembering the
images that were presented with the voiceovers.
Newsreel 1
‘Children of the Melville Island Mission Station
arrive in Melbourne where they await transfer
to a country home. A little bewildered by it all
at first, their shyness is soon conquered and
they’re just happy kids on a corroboree’
Newsreel 2
‘Mother very soon realised that she was indeed
amongst friends – people who really cared
for her and for her baby. The Aborigine has
become a vanishing race, except on mission
stations.’
Images, texts and contexts
Select some keywords from each newsreel. Discuss the attitudes, assumptions and general beliefs1.
that surround these terms.
...............................................................................................................................................................
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What images accompanied each of the newsreel excerpts? What is the general tone of the2.
newsreels? Describe how this tone is established.
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Whose voices are represented by the newsreel texts? Who is speaking? Who isn’t speaking?3.
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...............................................................................................................................................................

31
Ways of telling
The second newsreel says that Indigenous women and their babies were ‘amongst friends’ on1.
the missions. From your reading of the stories, what were conditions like on the missions for most
Indigenous children?
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How do the stories told by the newsreel compare and contrast with the stories told by Julie Lavelle2.
and Peter Costello (interviewees)?
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Six Sample Lessons from my
Australian Drama and Theatre Unit
on Stolen and Fearless
Gilbert Walker: c3127041

Lesson 2: Context— What was it like?
Unit: Australian Drama and Theatre
Week: 1
Lesson: 2 out of 12 lessons on Stolen
Syllabus outcomes addressed in the lesson:
H1.3 uses knowledge and experience of dramatic and theatrical forms, styles and theories to inform and enhance individual
and group-devised works
H3.1 critically applies understanding of the cultural, historical and political contexts that have influenced specific drama and
theatre practitioners, styles and movements
Lesson focus:
The core focus of this lesson is on giving students contextual background on Stolen, focusing on the Stolen Generation.
Students will begin to develop empathy and respect for Indigenous experiences, and work as reflective artists to create
personal, symbolic responses to some of the key themes of Stolen. Students will also discuss and write reflections on class
experiences in preparation for Assessment 2.
Lesson outcomes:
By the end of this lesson students should:
• Have a more personal understanding of why the Stolen Generations is a relevant issue for audiences today
• Have a richer understanding of the cultural, historical and political context that influenced Stolen
• Demonstrate acting/directing skills to create symbolic presentations
• Begin to understand the actor-audience relationship in Australian Drama by linking themes with elements of drama
and a desired audience response
Risk assessment:
Cultural sensitivity: I’ll need to make sure that the class is respecting
the personal stories presented in this lesson, addressing
disrespectful behavior as it arises.
Building empathy: acting out stories does not make us experts! They
can help us begin to understand what it might have been like, but it is
different to experiencing it!
Social support: I will monitor the symbolic destruction and still images
activities in particular and if students are feeling threatened or unsafe
they can sit out and photograph work for the D-log or begin work on
their logbook reflection.
Photography: Double check I have signed release forms.
Resources required for this lesson:
• Paper for memory activity
• Infographic (Appendix A)
• 3 video clips -accessed with permission from
http://aso.gov.au/titles/documentaries/stolen-
generations/clip2/#
• Group still image story slips (Appendix B)
• Logbook reflection question scaffold
(Appendix C)
Learning activities: Purpose:
(5 min) Symbolic destruction of memory: Individual sketch
Give students a slip of paper and ask them to think of a happy childhood memory.
In 1-2 mins they should quickly describe the scenario and/or sketch a picture:
ie. A birthday party, a holiday with the family, christmas at home.
Now ask students to hand you their pieces of paper. Ok, are you ready for this?
Symbolically rip up their childhood memories, and ask the students:
Imagine if those memories of your family and childhood were gone. What would
that mean for you as a person? How would it make you feel? What would that
mean for your sense of belonging/identity?
Lesson Focus: Today we’re going to be learning about the context of Stolen,
focusing on the Stolen Generations and why it is important to the play and
to us today.
(15 min) Infographic and video clips: Class Discussion
Hand out Stolen Generations infographic sheets (Appendix A) and play the
historical perspectives clips (on smartboard, projector or laptop). Afterwards,
discuss with students: What ongoing issues do these personal stories and
accounts reveal?
Do you think the Stolen Generations is still a relevant topic today? Why?
What issues are still important?
(10 min) Still image sequence: Group work –Devising
In groups of 3-4 students devise a sequence of 3 freeze frames that tell a
-Engages attention, arouses motivation
-Helps students see the significance of
the SG on a more personal level
-Helps students come to terms with the
emotive scope and depth of Stolen
-Orients the focus and reflection from
the beginning of the lesson
-Engages students in personal stories
from the historical, social and political
context of the time
-Prompts students to reflect on the
ongoing effects of the SG
-Prompts students to realise that it’s still
a very relevant topic today
-Gives students opportunities to
respond creatively and symbolically in
the light of the stories they have heard

symbolic story. Give them the Story handout (Appendix B) using the personal
accounts they have heard as inspiration. Note that there are 2 different endings,
so students can see the possibly contrasting experiences that exist. The three
frames should be based on the following:
1. TORN (Moment of separation from family)
2. CAPTIVITY (Wishing to be with family and loved ones)
3. HOME (Rediscovering family)
OR
3. SEARCHING (still looking for family or disowned by family)
(15 min) Performance workshop:
Each group performs and refines their still image story in the following steps:
a) Group performs their 3 freeze frames
b) The teacher (or class) picks 1 frame to reconstruct.
c) Students remain frozen in the chosen freeze while the teacher asks for
feedback from the class. How could this image be sharpened to enrich the
theme/concept?
d) Changes are made to the freeze
e) The group performs their modified freeze frames again – photographed
Question - What themes can you see in the freeze frame performances? How do
the different endings affect the meaning you as an audience member?
*If students are distracted/disengaged in the audience, they can start on their D-
LOG reflections
(15 min) Logbook Brainstorm: Group Reflection:
a) Sitting in a circle, students get out their laptops/logbooks and the Log Reflection
Questions sheet (Appendix C).
b) The teacher will ask 1-3 students to give a verbal response to each question,
while the rest of the students writes down answers. Keep going around until every
student has had a chance to answer verbally. Any unanswered questions can be
completed as homework.
*Remind the groups to upload their Still image photos and written
reflections to Google Drive
collaborate and draw on acting and
directing skills
-Gives students acting/directing
experience
- Prompts students to consider how
symbolism can enhance dramatic
meaning and impact audience in
powerful ways
-Provides digital evidence for reflection
and Assessment 2
-Prompts students to de-brief and reflect
upon their learning processes
-Helps students consolidate the learning
of the lesson
-Gives students practice generating
ideas collaboratively and articulating
verbal responses
-Gives students plenty of ideas/material
to flesh out their written responses.
Diverse Learners:
Support – I have employed teaching tools such as infographics, video clips, and class discussion activities to make context
theory more accessible for visual and aural learners. The physical devising activities are also quite simple and easy to
participate in, but I will support any students who are struggling (by giving ideas, feedback) when I am monitoring the groups.
See Risk Assessment (above) for helping students who struggle with the emotional content of the lesson.
Challenge – If students finish their work early, they can reflect on the following 2 extension questions in their log:
• Why is learning about the historical context Stolen generation important?
• “Is a child without a home homeless forever?” (Company B Belvoir, 2012, p. 8).
Assessment/Evaluation:
I will assess students informally by soliciting verbal responses in discussion and monitoring participation in group work. In
particular I want to see students:
• Taking the work seriously –respecting Indigenous stories
• Attempting to create a meaningful sequence of freeze frames
• Contributing at least 1 thoughtful observation to the group reflection discussion
• Writing at least 3 paragraphs in their D-Logs reflective question scaffold
I will make every effort to encourage students and congratulate them verbally for their participation. I will also give them
formative feedback on their logbook entries on Google drive at the end of the week.
Reflection:
What was effective in this lesson? ________________________________________________________________________
What would I change for next time?_______________________________________________________________________

Lesson 4: Characters in crisis – different perspectives
Week: 2
Lesson focus:
The purpose of this lesson is to give students an understanding of the 5 characters in Stolen and their dramatic journeys in
the play. Character investigation will also serve as a stimulus for a creative performance and discussion of conventions and
how they impact the audience. There will be a particular focus on the effect of episodic structure and transformational acting.
Lesson outcomes:
• Have a detailed understanding of the journey of 1 character in Stolen
• Have an broad understanding of the 5 main characters and their journeys throughout the play
• Demonstrate directing/performing skills in creating a symbolic drama piece
• Begin to manipulate the actor-audience relationship by using key theatrical conventions
• Begin to appreciate the multiple voices/stories in Stolen - how they enrich and inform each other in the drama
• Make links between the cultural, historical and political context of the SG and the importance of multiple perspectives
Risk assessment:
Cultural sensitivity: Make sure that the class is respecting the
indigenous stories presented in this lesson.
Social support: I will monitor the group devising activity
closely and make sure students feeling comfortable. I will
remind students that all performances should be PG and ask
them to change any inappropriate content.
Jimmy and Ruby groups: acting out suicide and rape scenes
is prohibited. In this lesson, the aim is not to traumatize the
audience but express the core struggle of the characters.
• Bill Simon’s story (Appendix D) -atmospheric music?
• Spare scripts (in case students forget)
• Printouts of character journey scaffold (Appendix E)
• Printouts of Logbook reflection scaffold (Appendix F)
• 3 pillows
• 3 suitcases
(5 min) Bill Simon’s Story: Individual imagination
Make sure the class is clear. Dim the lights. (optional: play tense, atmospheric
music softly in the background.) When students enter the classroom, ask them to
silently find a space in the room - sit or lie down and close their eyes.
I want you to try and put yourself in someone else’s shoes – I’m going to read you
a story of a man who had his childhood, his home stolen from him. Close your
eyes and imagine the following scene. Read the extract (Appendix D).
After the reading, ask the students to respond to the story:
How does this story make you feel? What effect did the different snapshots from
parts of Bill’s life have on the story? Did it make a difference to know how this
traumatic experience affected him in his later life?
Today we’re going to be focusing on the 5 different characters in Stolen, and
their different journeys throughout the play. Stolen uses episodic, non-linear,
structure and transformational acting to compare and contrast moments of the
characters’ lives –different experiences, and individuals’ past and present and
future.
(15 min) Character journey arc mapping
a) Hand out character journey scaffold (Appendix E).
b) In groups of 2-3, students re-read and discuss the scenes of the play involving
their character and take notes in their logbook
c) Each group fills in the first 3 columns of the character journey handout
(15 min) Character’s in crisis: Group devising
Ask groups to draw on their character journey ideas and key lines to devise a
short symbolic piece (1-2 mins) that conveys the inner struggle of their character
in the play. Ask them to capture both the character’s central conflict and how it is
-Helps students see the significance of
the SG on a more personal level
-Orients the focus on personal
experience from the start
-Helps students analyse the dramatic
text from in terms of characterization
-Prompts students to realise that it’s still
a very relevant topic today
-prompts students to critically apply
cultural, historical, political learning
-Helps students interpret their

resolved. Students must incorporate 2 of the following dramatic conventions (you
may need to define these quickly for the students):
• Voice Over (narrator)
• Transformational acting (transitions between child and adult)
• Creative use of props –(Suitcase or pillows that become other things)
• Creative use of space –(A bed that becomes something else)
• Sound effects (Song, chorus, chanting, or offstage voices)
• Non-linear transitions (flashback and flash-forward)
• Creative lighting (Shadow screen, colours/tones to create tension)
The teacher will need to monitor groups in the devising process and explain
conventions in more detail if needed. All performances should be PG rating.
(15 min) Performance workshop:
Each group performs their piece for the group –VIDEOED
Questions sheet (Appendix F).
while the rest of the students writes down answers. Keep going around until every
student has had a chance to answer verbally. Any questions that are not
answered must be completed for homework.
Homework: Fill in the last column in the character journey scaffolds and
upload them to Google Drive so everyone can access all 5 characters
*Remind the groups to upload their performance videos and written
reflections to Google Drive by the end of the week!
character’s conflict and resolution in
creative and symbolic ways
collaborate and utilize directing and
performing skills in making drama
-gives students some exposure to
Brechtian conventions used in Stolen
-Gives students performance experience
and Assessment 2
-Helps consolidate the learning of the
lesson,
-Helps students to de-brief and reflect
on the actor-audience relationship
-helps students generate, articulate and
synthesize ideas collaboratively
-Gives students ideas/material to flesh
out their written responses.
-Gives students practice reflecting on
the construction, performance and
impact of Australian Drama and Theatre
Diverse Learners:
Support –To support student learning, I have designed the character mapping activity to provide students with a scaffold of
ideas for their performance. In addition, I will support any students who are struggling (by giving ideas, feedback) when I am
monitoring the groups. See Risk Assessment (above) for students who struggle with the emotional content of the lesson.
Challenge – If students finish their work early, they can reflect on the following 2 extension questions in their log:
• Do you think the 5 different character journeys in Stolen reflect different experiences of the Stolen Generation
accurately? Why?
• Imagine you met the character you have been studying in the middle of their life. What would you say to them? Why?
• Filling out the first 3 columns of their character journey scaffold
• Making and performing an interesting interpretation of their character’s journey using 2 conventions
• Writing at least 3 paragraphs in their D-Log reflective question scaffold
formative feedback on their character scaffold and logbook entries on Google drive at the end of the week.
Reflection:

Lesson 6: Themes in Stolen
Week: 1
Lesson focus:
The purpose of these lessons is to give students a practical, embodied understanding of the dominant themes in Stolen. The
lesson activities encourage students to engage with, interpret and express themes from the play in artistic, creative and
personal ways.
Lesson outcomes:
• Have a more personal and practical understanding of key themes such as abuse, racism, cultural confusion, home,
etc. in the play
• Explore why (and how) themes impact audiences
Risk assessment:
Social support: The Abuse and Racism scenes are quite
confronting, so I have provided alternative script extracts
(Stuck and Inequality) if the students or I feel uncomfortable.
Cultural sensitivity: Because there is some swearing in the
Racism extract, I’ll need to prep the class beforehand and
monitor to make sure that they are using these words with
sensitivity and integrity. If I feel students are not ready or it is
an inappropriate situation, I will use one of the other extracts.
• Script extract printouts (Appendix G)
• Whiteboard markers (to write the driving questions)
(7 min) Go, Freeze, Break: Focus game
Students walk in the space. On key commands from the teacher, students take up
freeze poses that embody themes or key phrases from the play:
Abandonment, Loss of identity, Racism, Confusion, Abuse, Searching
There’s no place like home, To Tan or Not to Tan, Who am I? They say time
heals—but that’s a load of bullshit, Am I black or white? After all these years, it
still hurts, They’ll come for me one day, I’ll tell you what heals-holding that itty
bitty baby.
If students make a mistake they are eliminated from the round. The winner of each
round gets a prize. Play 2-4 quick rounds.
Today we’ll be focusing on key themes from Stolen: important concepts and
ideas that come up again and again in the play.
(8 min) Peel-away freezes: Improvised group Tableaux
Split students into groups of 3-4. Simultaneously each group makes a tableaux
based on the same words and phrases as above:
a) without talking, one student from the group adopts a freeze pose in the space
b) the next student joins, and so on, until the whole group is in the tableaux
c) the first student peels away from the freeze and then re-enters a different way
d) the rest of the students do likewise, responding to the new ideas without talking
When groups have done 3 or 4, stop them and ask for their thoughts. How well do
they think the group captured the theme? Was there a difference between the first
and second freezes? Did they capture different elements of the theme the second
time?
(5 min) Abuse: Group devising
Ask students to find new groups of 3-4. Give all groups a copy of the Abuse theme
script extract (Appendix G) and ask them to devise a creative, symbolic
performance of it in 4 mins.
-Encourages quick thinking
-Prompts students to embody themes
quickly without too much analysis (this
will be helpful later in the lesson)
-Gives students practice working quickly
as a group to embody themes and key
ideas from the play
-Prompts students focus on
collaboration and listening to the group
rather than arguing over ideas
experiment and step in and out of a
range of roles quickly (which is fitting for
Stolen)
Group devising phases:

(10 min) Abuse: performance and reflection
Write the 2 driving questions on the board:
1. Describe a moment in another group’s performance where the theme impacted
you. How did it make you feel/think?
2. How did they use conventions to enhance the theme in an interesting/ powerful
way?
Groups perform their scenes back for the class. As they do so, spectating
students write answers to the 2 driving questions in their logbooks. Let students
know ahead of time that you may call on them to share their reflections. After all
performances, ask 1-3 students to share one of their reflections with the class.
(5 min) Racism: Group devising
Ask students to find new groups of 3-4. Give all groups a copy of the Racism
theme script extract (Appendix G) and ask them to devise a creative, symbolic
performance of it in 4 mins.
(10 min) Racism: performance and reflection
(5 min) Cultural confusion: Group devising
Ask students to find new groups of 3-4. Give all groups a copy of the Cultural
confusion theme script extract (Appendix G) and ask them to devise a creative,
symbolic performance of it in 4 mins.
(10 min) Cultural confusion: performance and reflection
* End of week D-log checkup (Minimum: 1 uploaded video/photo and 1
written reflection per student)
Performance and reflection phases:
-Helps consolidate and articulate the
learning of the lesson
different ways that themes can be
represented in drama, and particularly
how they can be represented in Stolen
actor-audience relationship in Stolen
-Helps students evaluate performances
critically
Diverse Learners:
Support – I have tried to make this lesson very practical and hands on, weaving the reflection and discussion in between
devising and performing. I will support any students who are struggling (by giving ideas, feedback) when I am monitoring the
groups. I also provided alternative scenes (See Risk Assessment above) for students who are struggling with the emotional
content of the lesson.
Challenge – If students are finish their work early, they can devise and perform one of the other scenes I have prepared.
Alternatively, they can reflect on the following question in their log:
• Are the 5 main characters linked to 5 main themes? Justify your answer with examples?
• Making creative choices in their group devising
• Writing at least 4 paragraphs in answer to the driving questions in their D-Logs
Reflection:

Lesson 14: Building empathy— What would it be like?
Week: 5
Lesson: 2 out of 12 lessons on Fearless
Lesson focus:
This lesson helps students understand the premise of Fearless, and in particular the context of homelessness. Students will
consider the issues that various characters in the play struggle with, and consider how these are relevant to contemporary
Australian audiences. The goal is for students to consider the context on a more personal level, because developing
understanding, respect, and empathy for ‘the downtrodden’ is one of the priorities of Fearless.
Lesson outcomes:
• Have a more personal understanding of why homelessness is relevant issue for audiences today
• Have a richer understanding of the Australia’s cultural, historical and political context underpinning Fearless
• Begin to engage with the issues of characters in the play through improvisation
Risk assessment:
Cultural sensitivity: I’ll need to make sure that the class is
respecting the reality of homelessness in Australia today.
Building empathy: remind students that acting out stories
does not make us experts on homelessness or loneliness!
They can help us begin to understand what it might have
been like, but it is different to experiencing it firsthand!
• New York Experiment article (Appendix H)
• Camera/phone to photograph tableaus
• Milk Crate context and Logbook reflection printouts
(Appendix I)
(10 min) Article: Group reading/discussion
Hook question: Would you recognize your family if they were homeless?
Read and discuss the New York experiment (Appendix H) on homelessness with
the students. Questions: Why is it so shocking to think of our family being
homeless? What does it mean to be ignored? What would it feel like to be alone in
the world? Is homelessness a relevant issue today?
Today we’re going to be learning some more about the context of Fearless,
focusing character’s experience of homelessness
There are a number of themes in Fearless revolving around Homelessness, the
most important one is LONELINESS.
(10 min) Character Photographs -(from Lovesy, 2014, p. 7)
Give each student a character and tell them to read the outline of their character
(it’s ok if multiple students have the same character). Split the class into two
groups, and give them the following instruction: Imagine a photo was taken of you
all on the street, that summed up:
• your character’s relationship with loneliness
Give groups some time to discuss and debate where their character would be
situated and what they would be doing in the photograph. Students can refer to
the script to support their ideas. When students are ready, take a photo of each
group. Repeat the activity but this time, imagine a photo was taken of you on the
street, that summed up:
• your character’s moment of connection with person, place or object
Once the second photo has been taken, compare and contrast the photographs (it
would be good to put them on the projector/smartboard) with the students.
What do they convey to the audience? How are they different from each other?
What elements are particularly interesting/effective?
(25 min) Public space: Group impro
Ask all students to pair up, and allocate themselves a number (1 or 2).
Group 1 starts. The setting is a street bus stop. 3-4 students start on the stage as
their characters from Fearless. They wait for the bus for a while, interact (or not)
-Helps students see the effects of the
homelessness on a personal level
-Orients the focus on around issues of
homelessness from the start
ongoing effects of homelessness
-familiarizes students with main
characters and issues from the play
-provides material for D-log and
Assignment 2
-Prompts students to consider how
these issues can be portrayed in
powerful ways for an audience
and Assessment 2

and after 1 minute another student enters the scene. At this point, one of the
original characters must find a plausible reason for leaving, then exit. The goal is
for students to start putting their chosen character into every part of their bodies
and convey specific behaviors while in the scene.
When all group 1 has finished, they can (simultaneously) discuss with their
partners in group 2 what worked and what didn’t work about their performance
>>>>>Groups swap over, only this time in a park instead of a bus stop.
(5 min) Milk Crate context: Group reading/discussion
Read and discuss the Australian context for the Fearless production (Appendix I),
drawing particular attention to the actor-audience relationship (ie the community
services context). Driving question: How do you feel about Fearless knowing that
someone who has actually lived that experience is a part of the story telling? Does
this make it more genuine/important?
Questions sheet (Appendix I).
while the rest of the students writes down answers. Keep going til all students
have answered verbally. Unanswered questions are completed for homework.
*Remind the groups to upload their Still image photos and written
reflections to Google Drive
-Gives students practice reflecting on
the construction, performance and
impact of Australian Drama and Theatre
-Gives students collaborative experience
in sustaining character
evaluate from an audience perspective
-Helps students consider the cultural,
historical, political context of Milk Crate
in contemporary Australian theatre.
-Foregrounds the actor-audience
relationship
-Helps consolidate learning
-Helps students generate, articulate and
synthesize ideas collaboratively
-Gives students ideas/material to flesh
out their written responses.
Diverse Learners:
Support – I have tried to make the lesson accessible by weaving theory and context readings between practical activities.
The devising activities are also quite simple and easy to participate in, but I will support any students who are struggling (by
giving ideas, feedback) when I am monitoring the groups.
Challenge – If students are finish their work early, they can answer the following questions in their logs:
• Do you think homelessness an important issue today? Why?
• What would you do if you discovered one of your friends was homeless? What would you say to them?
• Taking the work seriously –respecting experiences of homelessness, and other student responses
• Attempting to sustain their character throughout the improvisation
• Writing at least 2 paragraphs in their D-Logs reflective question scaffold
Reflection:

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