# QCAA Unit 1 Share · precise starter boundary

Authority: [QCAA Drama 2025 v1.3 General senior syllabus](https://www.qcaa.qld.edu.au/downloads/senior-qce/syllabuses/snr_drama_25_syll.pdf), January 2026. **Unit 1: Share** begins on printed p 21 with six objectives and three inquiry questions. The exact subject-matter heading on printed p 22 is **Area of study: How does drama promote shared understandings of the human experience?** Subject matter continues on printed p 23. There is **no Topic 1**. Each unit is notionally **55 hours** (printed p 6); this pack is **250 minutes**.

| Syllabus idea, paraphrased | Opening evidence | Boundary and continuation |
| --- | --- | --- |
| Drama can celebrate, document, empower and inform audiences; purpose, context and text shape action | Days 1–3 identify a fictional procedural purpose and change audience knowledge using a pause, position or line | Neutral invented scenes cannot represent the required diversity of real Australian experiences. |
| Dramatic languages: forms/styles, conventions, elements and skills; roles of actor, devisor, director and critic | Days 2–8 work with focus, tension, space, time, relationship, pause, narration, blocking and critique | Terms are introduced in context, not exhausted. No named cultural or inherited style is taught through imitation. |
| Linear and non-linear storytelling, scripted and non-scripted/hybrid modes | Days 4, 7–8 compare event order, a short script, a spatial board and optional sound cue | A two-scene exercise is not a full hybrid work or professional production. |
| Analyse and evaluate with evidence; document deliberate choices | Days 3–10 require a precise line, position or beat and a bounded possible audience reading | Public formative G/H are **not school assessment instruments** and do not assess all six unit objectives. |
| Australian voices/experiences including Aboriginal and Torres Strait Islander and/or Asia–Pacific contexts; scripted drama, professional live/recorded live theatre | [Source pathway](SOURCE-PATHWAY.md) asks who has authority and permission before selecting a work | **Held:** teacher must select authorised professional work and published texts, support cultural authority and student access, then teach and assess them. A metadata page is not watching a performance. |

The syllabus’s course overview also calls for published scripts and live and/or recorded live performances across forms, styles and eras (printed p 15). The opening fictional scene practice is a technique laboratory, not evidence of that broader repertoire. The school designs its Unit 1 assessments and ensures each unit objective is assessed as required by QCAA (printed p 7). In particular, a written or directed route here does not by itself demonstrate assessed acting technique. The consent options are for access to this starter; later assessment design needs local professional judgment and accessible arrangements.