aqa drama and theatre studies example essays

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Aqa drama and theatre studies example essays

Teachers must ensure that students have the opportunity to take an equal and active role in the creative and collaborative process regardless of their chosen specialism. Students and teachers will be required to sign a Candidate record form CRF to fully authenticate each students work. Teachers must provide programme notes for the examiner stating the title of the piece and the name of the practitioner selected.

The programme notes must include photographs of each student in order that each student is clearly identifiable to the examiner. This statement is not assessed directly but is used to support assessment. Students must also state their chosen specialism and chosen plays and if they are performing, the character s they are playing. There is no requirement upon students to present their key extract within a full production context ie with full set and costume.

Each student is required to write a Reflective report in which they analyse and evaluate their theatrical interpretation of all three key extracts studied. Students do not need to discuss each extract in turn. They should take a holistic approach. The report must be completed before the final assessed performance of Extract 3 takes place. Students are not required to reflect on a final performance, only on their workshopped theatrical interpretations.

Students do not have to be directly supervised at all times whilst they are completing their Reflective report. Assessment objectives AOs are set by Ofqual and are the same across all A-level Drama and Theatre specifications and all exam boards. The exams and non-exam assessment will measure how students have achieved the following assessment objectives:. The marks awarded on the papers will be scaled to meet the weighting of the components.

Grade boundaries will be set using this total scaled mark. The scaling and total scaled marks are shown in the table below. The assessment criteria below details the mark bands with descriptors for the assessment of students' work. This is the mark scheme to be used for both sections of the Working notebook in Component 2. This is a level of response mark scheme.

Level of response mark schemes are broken down into levels, each of which has a descriptor. The descriptor for the level shows the average performance. There are marks in each level. Step 1 Determine a level — Start at the lowest level of the mark scheme and use it as a ladder to see whether the response meets the descriptor for that level. If the response meets the lowest level then go to the next one and decide if it meets this level, and so on, until you have a match between the level descriptors and the response.

When assigning a level look at the overall quality of the response. If the response covers different aspects of different levels of the mark scheme you should use a best fit approach and use the variability of the response to decide the mark within the level, ie if the response is predominantly level 3 with a small amount of level 4 material it would be placed in level 3 but awarded a mark near the top because of the level 4 content.

Step 2 Determine a mark — Once you have assigned a level you need to decide on the mark. The exemplar materials used during teacher standardisation will help. The assessment objective being assessed is AO1: Create and develop ideas to communicate meaning as part of the theatre making process, making connections between dramatic theory and practice.

There are 20 marks available. Award either one mark, two marks, three marks, four marks or five marks for each of the following four criteria. The assessment objective being assessed is AO2: Apply theatrical skills to realise artistic intentions in live performance. Component 3 is marked by a visiting AQA assessor, using the assessment grids below.

Assured and perceptive analysis and evaluation referring in precise detail to their theatrical interpretation of all three extracts. Focused and considered analysis and evaluation referring in detail to their theatrical interpretation of all three extracts. Straightforward and pertinent analysis and evaluation referring in detail in places to their theatrical interpretation of all three extracts. Generalised analysis and evaluation referring in limited detail to their theatrical interpretation of all three extracts.

Little relevant analysis and evaluation referring in negligible detail to their theatrical interpretation of all three extracts. A-level Drama and Theatre Specification Planning resources Teaching resources Assessment resources Key dates. Contents list. Changes for Introduction Specification at a glance Subject content 3.

Updated We've added details of the editions used to set questions. Updated Instructions for play approval updated. Previous 3 Subject content. Next Non-exam assessment administration. William Shakespeare. Carlo Goldoni. Henrik Ibsen. Bertolt Brecht. Dario Fo. Jez Butterworth. Tennessee Williams. Steven Berkoff. Caryl Churchill. Timberlake Wertenbaker. Polly Teale. Between two and six students. Lighting designer. Maximum of one student.

Sound designer. Set designer. Costume designer. Puppet designer. Must perform one character 1. Must create one lighting design. Must create one sound design. Must create one set design. Must create one costume design for one performer. Must create one puppet design. Must direct the devised piece. Entirely written. Must be between five and ten minutes. Group performance three or more performers. Must be between six and thirty minutes. Classical Greek tragedy.

Much Ado About Nothing. Elizabethan comedy. The Servant of Two Masters. Hedda Gabler. The Caucasian Chalk Circle. Post World War II epic. Accidental Death of an Anarchist. Early 20 th century Spanish tragedy. The Glass Menagerie. Cloud Nine. Our Country's Good. Between one and six students.

Must direct the extract. Must be between two and five minutes. Overall weighting of components. Component 1. Component 2. Component 3. Total scaled mark:. Excellent response: Explanations given in the Working notebook evidence excellent skills in creating and developing ideas to communicate meaning through devising.

Evidence of a very sensitive and highly creative response to the stimulus. Evidence of full development and refinement of skills and the piece. Precise details are provided throughout. Structure and reasoning is logical and systematic. Responses make perceptive connections between dramatic theory and practice. Good response: Explanations given in the Working notebook evidence good skills in creating and developing ideas to communicate meaning through devising.

Evidence of a fully engaged response to the stimulus, demonstrating strong creativity. Evidence of a good degree of development and refinement of skills and the piece. A number of precise details are provided. Structure and reasoning is clear and consistent. Responses make considered connections between dramatic theory and practice. Reasonable response: Explanations given in the Working notebook evidence reasonable skills in creating and developing ideas to communicate meaning through devising.

Evidence of creative engagement with the stimulus. Evidence of some useful development and refinement of skills and the piece. Structure and reasoning is present but not always clear. Responses make some useful connections between dramatic theory and practice.

Limited response: Explanations given in the Working notebook evidence limited skills in creating and developing ideas to communicate meaning through devising. Evidence of a predictable response to the stimulus.

Lack of evidence regarding development and refinement of skills. There is little or no structure or reasoning present. Responses make only generalised connections between dramatic theory and practice. Nothing worthy of credit. Exceptional command of skill-set, demonstrating faultless execution. Exceptional consonance between devised piece and dramatic intentions and methods of the chosen practitioner.

Exceptionally inventive and original work. Exceptional success in realising individual artistic intention in a completely sustained way, engaging the audience fully throughout the performance. Excellent command of skill-set, demonstrating near perfect execution. High degree of compatibility between the devised piece and dramatic intentions and methods of the chosen practitioner.

Highly inventive and original work. Highly successful in realising individual artistic intention in a well-sustained way, engaging the audience throughout the performance. Good command of skill-set, demonstrating competent execution.

Devised piece has many qualities reflective of the dramatic intentions and methods of the chosen practitioner. Work has many i nventive and original qualities or moments. Largely successful in realising individual artistic intention in a mostly focused way, engaging the audience for most of the performance. Reasonable command of skill-set, demonstrating mainly secure execution.

Some compatibility between the dramatic intentions and methods of the chosen practitioner and devised piece. Reasonably inventive and original ideas, demonstrating developing skills in this area. Reasonable success in realising individual artistic intention, engaging the audience at a number of points during the performance. Limited command of skill-set, demonstrating insecure execution. Limited compatibility between devised piece and dramatic intentions and methods of the chosen practitioner.

Limited invention and originality. Limited realisation of individual artistic intention, rarely engaging the audience. More information. Showing 51 results. Notes and guidance: NEA for only New. Question paper: Component 1 Drama and theatre - June New. Insert: Component 1 Drama and theatre - June New. Examiner report: Component 1 Drama and theatre - June New. Mark scheme: Component 1 Drama and theatre - June New.

Guidance on creating a range of evidence. Questions: Live theatre production. Questions: Drama through the ages: Sophocles - Antigone. Questions: Drama through the ages: Butterworth - Jerusalem.

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Questions: Drama through the ages: Sophocles - Antigone. Questions: Drama through the ages: Butterworth - Jerusalem. Questions: Drama through the ages: Ibsen - Hedda Gabler. Mapping grid. Question paper: Component 1 Interpreting drama - June Examiner report: Component 1 Interpreting drama - June Mark scheme: Component 1 Interpreting drama - June AS Drama and Theatre Specification Planning resources Teaching resources Assessment resources Key dates.

Refine Search resources:. Resource type "resourcetype" Assessment materials 9 Examiner reports 6 Mark schemes 3 Question papers 5. Exam series "examseries" June 5 June 4 June 5. Page 1 2 Next page. Cognitive behavioral stress management intervention buffers distress responses and elevates immunologic markers following notification of HIV-1 seropositivity. Choose the level that is better suited to your paper type and publication goals.

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Question paper (Modified A4 18pt): Component 1 Drama and theatre - June New. Published 1 Jul | PDF | KB. Teacher Resource Bank / GCE Drama & Theatre Studies / Candidate Exemplar Work: DRAM1/A and DRAM1/B / Version klm. Copyright © AQA and its licensors. Courses based on this specification should encourage students to: develop and apply an informed, analytical framework for making, performing, interpreting and.