In this area of study students focus on the interpretation of a monologue from a scene contained within a script selected from the VCE Theatre Studies Monologue Examination published annually on the VCAA website.
Students select a monologue from the current examination and study the text of the monologue, the prescribed scene in which it is embedded and the complete script from which the scene is derived. Students apply selected production roles and develop an interpretation of the monologue that is informed by a study of the prescribed scene and the complete script and dramaturgy, including the contexts of the play. Students make decisions about how the contexts, theatrical possibilities, elements of theatre composition and theatre styles will inform their interpretation of the monologue. Students work in their selected production roles to realise and present their interpretation of the monologue. They consider the interrelationships between acting, direction and design. The interpretation should be prepared for a performance of the monologue by an actor in a single, clearly lit, relatively small space.
• the text of the monologue, the scene in which it is embedded and the complete script from which the scene
is derived
• the contexts of the monologue, the scene and the script, including the original contexts
• possibilities for interpretation of the script
• intended meanings of the monologue, the scene and the script
• the theatre styles implied in the monologue, the scene and the script
• the interconnections between the contexts and the intended interpretation of the monologue, the scene and
the script
• influences on theatre presentations to an audience
• ways of working in the selected production roles to interpret a monologue in performance, including utilising
elements of theatre composition
• ways in which interpretation of scripts is informed by dramaturgy
• ways to orally justify and explain interpretive decisions
• theatre terminology and expressions.
• conduct dramaturgy and apply discoveries to inform interpretation of the script
• interpret the contexts of the monologue
• convey intended meanings of the monologue
• apply theatre styles to the monologue
• interpret the monologue by working in selected production roles, including applying elements of theatre
composition creatively and imaginatively
• present an interpretation of the monologue
• orally justify and explain interpretive decisions made
• use theatre terminology and expressions appropriately in writing and discussion.
Director/Actors perform their chosen monologue and also orally justify their interpretation.
Designers explain their designs in a 'pitch' format with evidence, and also orally justify their interpretation.
Hoods, Hoods, 2019
Use of props & sound; use of space
Philippa, All Souls, 2008
Use of movement & gesture (& body-shape); facial expression; direct-address
The setting is the Islayev country estate. Natalya Petrovna, a headstrong woman, is married to Arkady Islayev, a rich landowner. Bored with life, she welcomes the attentions of Michel Rakitin as her devoted but resentful admirer, without ever letting their friendship develop into a love affair. The arrival of the handsome student Aleksey Belyayev, as tutor to her son Kolya, ends her boredom. Natalya falls in love with Aleksey, but so does her ward Vera. To rid herself of her rival, Natalya proposes that Vera should marry a rich old neighbour, but the rivalry remains unresolved…
A CurtainUp Review A Month In The Country By Elyse SommerProvides background to the play and short section on the doctor.
A Month in the Country Review: Love and Boredom with Taylor Schilling And Peter Dinklage at CSCThis review has a concise section about the doctor.
A Month in the Country review: Getting a grip on some love anglesReview from the Irish Times. See short section on the doctor.
Ivan TurgenevBritannica education biographical article.
In this Radio National interview, the Philpott and Mullins discuss the creation of the play and the character, Double. Also includes a reading from the play.
Emilia by Morgan Lloyd MalcolmThe following website provides background information about Emilia Bassano and also describes the structure and themes of the play.
Shakespeare’s Globe Design Elements in EmiliaScroll through the following article to read and view designer, Joanna Scotcher’s costume and set concepts and sketches that were used to visualise Morgan Lloyd Malcolm’s, ‘Emilia’
Shakespeare’s Globe “In Conversation with Cast and Creatives of ‘Emilia
"The cast of Emilia discuss the creation and character development of Emilia.
Google Books: The Threepenny Opera- Act One (Scene Two) page 19Read over the scene where Polly Peachum aka Pirate Jenny performs her song.
Pirate Jenny sung by Nina Simone- song factsThis haunting number originated as a song from the first act of Bertolt Brecht and Kurt Weill's 1928 musical The Threepenny Opera about a prostitute who has been bibed to turn her former lover Macheath (aka Mack the Knife) into the police. As she contemplates having his fate in her hands, a pirate ship ("the black freighter"), which she has been expecting, enters the harbor. After its cannons flatten every building except hers, Jenny sails away with the pirates. In the original German the song is titled "Seeräuberjenny."
Seeräuber-Jenny (Pirate Jenny) sung by Annemette Pødenphandt (soprano)
Sparknotes: The Threepenny Opera - PollyRead a short description about the character ‘Polly’. For further information about ‘The Threepenny Opera’ click on the headings/links under ‘Study Guide’ which includes summary, characters, main ideas, quotes and further study.
We sat down with James McAvoy, star of the new West End play Cyrano de Bergerac, to find out the main difference between acting on stage and in films, what attracted him to the role and much more! Cineworld Cinemas. 8 min.
Cyrano de Bergerac review – James McAvoy is fierce in radical reboot of romantic classicGuardian review of London Playhouse production. See also the link to another article Jamie Lloyd :"The reason Cyrano Has endured is that we all have insecurities".
Interview with the directorThis adaptation was commissioned - therefore we can assume the director /National Theatre was as integral as the playwright in forming the intentions and purpose.
Martin Crimp’s “Cyrano De Bergerac” At The Playhouse TheatreCharacter analysis of Cyrano as depicted in the play by Edmond Rostand. Also has links to scenes and other characters.
Rostand's Cyrano de BergeracPart of a series Sharing Masterworks of Art from Bob Jones University, South Carolina,USA. PDF file provides introduction, summary, character analysis and commentary on French Theatre and the Rostand's philosophy.
Chapter preview the Theatre of Martin CrimpThis provides a good summary of the playright's work and style. Bloomsbury Collections.
Reputations: Martin Crimp Part1Lindsay Posner, Dan Rebellato, Auriol Smith and Anne Tipton begin their comprehensive survey of Crimp’s formidable dramatic output. Aleks Sierz hosts. Recorded live.Theatre Voice. Audio stream and transcript. 2005
Reputations: Martin Crimp Part 2Lindsay Posner, Dan Rebellato, Auriol Smith and Anne Tipton conclude their reflections on Crimp’s varied body of work. Aleks Sierz hosts. Recorded live. Audio Stream and transcript. 2005.
Lettice and Lovage: Maggie Smith and Margaret Tyzack perform a scene from LETTICE AND LOVAGE, nominated for Best Play at the 1990 Tony Awards.
This clip reveals Peter Scahffer reminiscing his conversation with Dame Maggie Smith and how this led to the writing of a play called ‘Lettice & Lovage’. The play was written specifically for Maggie and later resulted in her win of a Tony Award for Best Actress in a Play.
LETTICE & LOVAGE By Peter Shaffer Study GuideRead over this study guide which presents some interesting insights into the characters, original actors of Peter Shafer’s play.
Script Tease - The Aside - Lettice and Lovage by Peter ShafferThis is a Script Tease playlist where we talk through some of the world’s greatest plays. Jump through the major plot points, give some background and of course, spoil the endings – all in less than 5 minutes. We do the hard work so you can do the easy listening. In this episode, we do Lettice and Lovage by Peter Shaffer
Australian Plays TransformExtract from, ‘A Ghost in My Suitcase’ script. Introduction ‘Making Space for Spirits’ provides insight into themes and the creative process behind creating the play.
Barking Gecko Theatre presents, ‘A Ghost in My Suitcase’Watch this production trailer for stage and costume ideas.
Penguin Teacher’s Resources
Teachers Notes for the novel‘A Ghost in My Suitcase’ Teachers Notes for the novel written by Gabrielle Wang, including notes on understanding Characters