Performers such as singers, actors, dancers and comedians, who wish to develop techniques associated with story creation and performance, apply the skills and knowledge outlined in this unit.
Performances may be in commercial, competition or community settings. Depending on the nature of the text, performers could be working in ensembles, partnerships or solo.
At this level work performed requires a range of well-developed skills where some discretion and judgment are required and individuals are expected to take responsibility for their own outputs.
Not applicable.
1. Develop an understanding of major story-telling traditions | 1.1. Identify structural characteristics and formats of major story-telling styles 1.2. Compare historical and cultural purposes of stories and the relationships between modes of story-telling, storyteller and audience 1.3. Research current methods of story-telling, including stories from different cultures |
2. Analyse the narrative form in theatre | 2.1. Analyse influences in the development of narrative form and process in story-telling as used in contemporary theatrical forms 2.2. Determine roles of meaning and symbols, characters and characterisation in the art of narrative in a theatrical context 2.3. Determine the stages of the story writing process in designing descriptive stories 2.4. Determine the way that writing elements of a style or piece of text are combined and manipulated |
3. Employ performance techniques to story-telling | 3.1. Interpret meaning and symbols within the context of a variety of dramatic texts, styles and performance circumstances 3.2. Apply appropriate vocal expression and performance techniques to piece of dramatic text or selected characters within stories 3.3. Observe correct protocols and cultural maintenance where text and stories containing cultural content are used in performances |
4. Create and communicate stories to audiences | 4.1. Create stories from different theme areas and develop a performance for others 4.2. Perform sequences or pieces using complementary impromptu and improvisational abilities in non-verbal and verbal articulation of texts, both alone and in a group 4.3. Use feedback from relevant personnel to review performance and develop strategies for improvement |
Required skills
communication skills to:
discuss aspects of creating and telling or performing stories with relevant personnel
seek and respond appropriately to feedback and advice regarding own skill development and performance
initiative and enterprise skills to:
apply correct cultural protocols in relation to use of stories
apply improvisational and impromptu responses to a performance text
learning skills to:
create original scripts according to style and methodology of narration
interpret and perform appropriate speech, voice and human movement for relevant text
demonstrate appropriate emotion, non-verbal communication and dramatic nuance in alignment with the spoken text
literacy skills to:
conduct research and interpret information in regard to history and methodology of narration and story-telling processes
analyse and perform texts or scripts
planning and organising skills to plan required story-telling creation and performance times
self-management skills to:
apply self-discipline
meet required work commitments
teamwork skills to work collaboratively with others involved in creating stories or performances.
Required knowledge
overview knowledge of:
basic theory of semiotics, including semantics, syntax and pragmatics
stage production, including aspects of staging and the creation of dramatic effect
theatre conventions
OHS requirements in the context of performances, such as:
identifying hazards and assessing risks
using flooring that is maintained, sufficiently spaced and appropriate for full body activity
lighting, heating and air-conditioning that meet regulations
well-developed knowledge of:
history of narration and story-telling within cultural, religious, educational and entertainment contexts
basic styles, processes and methodologies of creating texts and stories
principles and characteristics of non-verbal communication and body language
key components of voice, its effect on the audience and vocal process.
The evidence guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.
Overview of assessment | |
Critical aspects for assessment and evidence required to demonstrate competency in this unit | Evidence of the ability to: distinguish major story-telling traditions according to their purposes, cultural and dramatic features and relationship with audiences tell stories: in major stylistic and cultural categories created by candidate to an audience explain how contemporary theatrical use of the narrative form is connected to older traditions seek and apply feedback on effectiveness of story creation and performance. |
Context of and specific resources for assessment | Assessment must ensure: that culturally or socially sensitive matters or materials are appropriately protected and that cultural and intellectual property rights are respected access to: appropriate venue with adequate space and acoustic qualities performance opportunities relevant instruments or equipment scripts or other materials for discussion. |
Method of assessment | A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit: direct questioning combined with review of portfolios of evidence third-party workplace reports of on-the-job performance journal work, including recording, and evaluation of the story creation methodology and evaluation of performance verbal or written questioning to test knowledge as listed in the required skills and knowledge section of this unit case studies and scenarios as a basis for discussion of issues and challenges that arise in the context of creating and telling stories direct observation or recording of the candidate telling stories during a performance. Assessment methods should closely reflect workplace demands (e.g. literacy) and the needs of particular groups (e.g. people with disabilities and people who may have literacy or numeracy difficulties, such as speakers of languages other than English, remote communities and those with interrupted schooling). |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: CUAPRF302A Develop basic acting skills CUAMPF302A Develop vocal techniques for use in performance. |
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.
Stories may be: | cultural religious related to creation or morality themes ways to perpetuate knowledge examples to illustrate particular points (parables) designed to convey meaning memory building and enhancing entertainment poetry film fairytales in genres, such as: adventure crime science fiction romance realism fantasy mystery horror. |
Methods of story-telling may include: | writing speech poetry prose pictures song dance motion pictures theatre. |
Narrative form and process may include: | characters setting, including time and place events, including: orientation or beginning complication, middle or problem resolution or ending sequence in which they occur type of story structure, such as: first person narrative third person narrative use of flashback chronological narrative writing style to be used atmosphere to be generated sequencing and transitions intended audience for the story moral or constructive ending purpose of the story. |
Meaning and symbols, characters and characterisation may include: | significance of communication styles and strategies and how meaning is constructed and understood in the development of stories relationship between written and spoken words paragraph structure sounds expression and body language and the inferred meaning rules of sentences and grammar construction and structure audience’s meaningful understanding of the language or semantics of the written or spoken piece characters and characterisation of roles explicit or implicit caricature of the characters relationship between the character and the actions within the story representation of strengths and weaknesses of a role within the story. |
Vocal expression may relate to: | musculature breathing timing tone timbre resonation. |
Protocols and cultural maintenance may include: | rules of behaviour, including those governing communication, access to and use of cultural information and practices that form the heritage of a particular society appropriate communication, including: clearly and appropriately expressing expectations respectful interactions active listening providing appropriate feedback protection and continuation of: stories song lines spiritual practices sites of significance language responsibilities and obligations to individuals, country and the community. |
Non-verbal may include: | body language emotional vocal sounds, such as: grunts silence space time or timing symbols or graphics eye contact facial expression gestures and touch physical posture voice quality and speaking style. |
Feedback may refer to: | audience feedback on issues, such as: comprehension audibility dramatic expression delivery style appropriateness of content sensitivity to issues and interpretation evaluation from teachers 360 degree feedback mentor relationship listening to own and others’ performances observations of performances. |
Relevant personnel | agent client coach director mentor producer performers teacher tutor. |
Performing arts - performance
This unit contains employability skills.
No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.