# Worked feedback · public teacher key

These are example responses, not mandatory acting choices or emotional readings. [Checks G/H](../STUDENT-CHECKS.md) are publicly answerable, **not QCAA school assessment instruments**. Accept another choice that preserves the fictional script facts, purposefully manipulates a dramatic language, cites evidence and bounds an audience claim. Record neutral reading, scribing or card-moving support separately from a learner’s decision. Written directing here does not demonstrate an assessed acting performance. Do not assess a student’s disclosure, accent, comfort with role-play or cultural identity.

## Day 5 · G worked exemplar

**Facts/unknown:** TALA says the arrow points both ways. NORI gives a one-minute display deadline. NORI also says the key on the back belongs to another model. The scene does **not** reveal the correct key or whether the display happens on time.

**Choice:** Put the folded-map marker left and model marker right, as the fresh sheet shows. After “The arrow points both ways,” hold a two-count pause while the TALA card faces the map. Keep all words. The stated purpose is to inform an audience that the visible map is ambiguous before the deadline line arrives. Exact evidence is line 1 plus a still focus on the map; the subsequent “one minute” line adds time pressure. Another valid choice is to turn NORI towards the model on the deadline line. A learner may act voluntarily, direct cards or explain it in words.

**Bounded evaluation:** “A viewer **might** notice uncertainty about the map because the pause sits after the ambiguous-arrow line; the script cannot tell us the right route or how all viewers will feel.” Do not award extra for an invented answer. If a response calls a maker-lab scene a First Nations or Asia–Pacific story, correct that unsupported cultural claim; this is neutral fiction.

**Next instruction:** If “fact” is actually a guess, return to the exact line. If a new staging contradicts the separate map/model placement, ask for the object positions. If the audience claim is absolute, invite “might” plus a cited cue. If a learner refuses a role, collect directed-card or script evidence without lowering the opening analysis target.

## Day 10 · H worked exemplar

**Facts/unknown:** The card is ready; the model remains on the workbench; the hook is empty at this point. The text does not prove a completed display or one universal audience response. “They will be disappointed” is an inference, not a fact.

**Two orders:** Linear: SA announces card, TEO says model is elsewhere, SA names audience expectation, TEO proposes the empty-hook reveal. Altered: begin with a lit/pointed empty HOOK card and a held count; then show **EARLIER** SA’s card line and TEO’s workbench line before the remaining exchange. The marker for MODEL stays on the workbench throughout that opening. This uses a visual cue and a labelled time shift rather than secretly changing the story’s facts.

**Purpose/evaluation:** “Showing the empty hook first may make a viewer ask why nothing is there; the EARLIER marker lets them connect that question to the ready card and missing model. The exact evidence is the hook-alone opening plus TEO’s workbench line. We cannot know that all viewers will read it the same way.” A quieter text-only direction to point at the hook also meets this starter target.

**Rights:** An online theatre production photo may have photographer, performer, producer and/or designer rights. Attribution or a link does not automatically grant redistribution under this pack’s CC licence. Make an original paper hook/card/model diagram, link to the authorised production page without copying, or obtain specific permission. If the work contains First Nations cultural material, follow cultural authority and protocols as well as copyright.

**Next instruction:** If the changed opening has no EARLIER or equivalent time signal, ask how an audience knows when the later dialogue occurs. If the learner moves the model onto the hook, ask where the original H says it is. If “online means free,” distinguish a discoverable page from reuse rights.

## Daily feedback at a glance

| Day | Evidence to accept | Next move if absent |
| --- | --- | --- |
| 1 | A stated line fact, a labelled inference and unresolved question | Point to the exact line before guessing destination. |
| 2 | Purpose, fictional context, intended audience and one line | Separate maker intent from guaranteed reaction. |
| 3 | One B turn and line/position evidence | Reset the map and move only one card. |
| 4 | Three D beats and new information at each | Restore the missing VERIFY beat. |
| 5 | G facts, purposeful pause/focus, bounded effect | Locate the ambiguous-arrow line and unknown key. |
| 6 | Cue/silence within the two-count window, cited purpose | Keep all A dialogue fixed while testing. |
| 7 | Two orders with EARLIER signalled, audience-knowledge claim | Label the time shift on the second row. |
| 8 | A spoken line plus spatial cue and a possible effect | Identify each mode’s distinct information. |
| 9 | Source publisher, permission limit and own original choice | Separate metadata from performance analysis. |
| 10 | H facts, two legible orders, evidence/rights limit | Keep model on workbench and mark EARLIER. |

The [official Drama 2025 v1.3 syllabus](https://www.qcaa.qld.edu.au/downloads/senior-qce/syllabuses/snr_drama_25_syll.pdf) governs the full local unit. These checks do not verify performance technique, published-text interpretation, professional theatre study, cultural consultation, moderation or classroom impact.