Scholarship

=Exam Date: Friday 20th November= = = =Specific Information about the Exam=

Content/ Context Evidence is to be presented as a portfolio of three performances. The first and second are to be supported by an oral introductory analysis, and the third by an oral explanation and justification. All are to be recorded on the scheduled examination date under controlled conditions. Documentary evidence and verification of it will support the first two performances.

PART 1 TEXT-BASED PERFORMANCE

The performance of the extract/compilation is to be preceded by an oral introductory analysis explaining: • the interpretive choices • performative intentions.

The introductory analysis is to be recorded immediately before the performance. No written prompt may be used.

It is suggested that the candidate spend no more than ONE and a HALF minutes on the oral introductory analysis.

Total time for the Text-based performance and introductory analysis must not exceed FIVE minutes.

Candidates are to give an annotated script of the extract/compilation to the Supervisor at the start of the examination, accompanied by a Teacher Authentication Form.

PART 2 SELF-DEVISED PIECE PERFORMED PIECE

The self-devised performed piece must illustrate the influence of one of: • Stanislavsky • Brecht • Artaud.

The performance of the self devised piece is to be preceded by an oral introductory analysis explaining: • creative choices made in the devised work • performative choices • the influence of one of Stanislavsky, Brecht or Artaud on the devised work – not the performance of it • the most important element of the drama illustrated within the devised work.

The introductory analysis is to be recorded immediately before the performance of the self devised piece. No written prompt may be used.

It is suggested that the candidate spend no more than TWO minutes on the introductory analysis.

Total time for the self-devised piece and introductory oral analysis must not exceed SIX minutes.

Candidates are to give an annotated script of the self-devised piece to the Supervisor at the start of the examination, accompanied by a Teacher Authentication Form.

PART 3 IMPROMPTU PERFORMANCE

The nationally prescribed task for impromptu performance will be based on either the extract/compilation from a prescribed text performed in Part 1 or the self-devised work performed in Part 2.

The nationally prescribed task for impromptu performance will be read to each candidate once by the Performance Supervisor. The Performance Supervisor will then hand a laminated copy of the nationally prescribed task to the candidate.

The candidate will be given TWO minutes preparation time, during which they may keep the laminated copy of the prescribed task, and are permitted the use of paper and pen.

At the end of the preparation time the candidate is to hand the laminated copy of the nationally prescribed task, the paper and the pen back to the Performance Supervisor, who will destroy the paperwork.

The impromptu performance must not exceed TWO minutes.

Immediately after the impromptu performance, the candidate will be asked to approach the camera to record a brief justification and explanation of their response to the task.

The justification and explanation must not exceed TWO minutes.

__**Print this off to read examples of what students have done in previous years.**__



__**This is a list of what is expected from a Scholarship student.**__

Outcome description

A scholarship student in drama will use wide knowledge, experience and critical analysis of drama processes, texts and theories to perform and justify challenging and creative drama works.

Outstanding Performance - Performance Descriptor 1

The student will: • integrate a comprehensive range of imaginative drama techniques to communicate and create challenging drama. • apply critical analysis of drama processes and drama text to text-based, impromptu and self-devised drama performances. • substantiate and justify applied drama theory in self-devised work. • demonstrate exceptional performance. • demonstrate complexity and depth of understanding. • demonstrate convincing, confident and articulate expression.

__**Here are some questions from previous years**__

__2008__ Present TWO new contrasting characters in a scene that relates to the self-devised piece you will perform in Part Three. The scene may either: - follow on from your self-devised piece - respond to your self-devised piece. The new characters must NOT be part of the self-devised piece.

__2007__ Choose a theme or idea from the play you used for your Part 1 performance. Use this as the focus to improvise a new scene, involving circumstances not related to the characters or setting of the original play. You must - play TWO characters - make the new situation clear to the examiner.

__2006__ Improvise a scene involving TWO new, contrasting characters who could have been part of the ‘world’ established in the full play you used for your Part 1 performance. You must: - play both characters - develop both characters in some way - clearly show that they differ in their attitudes and ideas.


 * __Here are the comments from the assessors from last years exam.__**

COMMENTARY

In general candidates were technically well prepared and confident in performed work, achieving overall more highly than in previous years. The administration of the examination, including the clear marking out of a performing space, showed similar improvement.

Supporting documentation explaining the intentions of performed pieces was effectively used to focus on specific performance choices and justify their contribution.

Part 1 Text Based Performance

Candidates mostly selected appropriate material and were able to find fresh interpretive angles for it. In cases where a compilation had been assembled, it was important to take care with transitions between segments.

Part 2 Impromptu Performance

Candidates mostly used the preparation time well, either mapping out a response to the question on paper or working physically in the space to establish a likely plan of action.

The impromptu justification to camera for Part 2 remained the most challenging aspect of the examination for many candidates. An overview statement of the intended effect, an explanation of specific techniques used and a rationale for the structuring of the piece should all be addressed. It was important that candidates showed fluency, purposefulness and conviction in the explanation as well as good working command of drama terminology.

Part 3 Self Devised Performance

Since this section of the examination provides the main evidence of applied drama theory, candidates needed to ensure that they were clear and detailed in their explanation and performance. It follows that self-devised text and performance style, including the stagecraft, should be compatible.

“Element of drama” was very widely interpreted for this question and should fall within the national curriculum definition of the term.

The best performing candidates most commonly demonstrated the following skills and/or knowledge: • fine control in the use of telling detail • intelligent structuring, resulting in a broad range of performance opportunities • ability to project convincingly and significantly “in the moment” • ability to create a sustained, believable and engaging world within the performance space • superior vocal flexibility.

Candidates who did NOT achieve scholarship lacked some or all of the skills and knowledge above and in addition they: • were contrived in vocal or physical technique, frequently conveying a sense of predictability in action or delivery • performed well outside their stated intentions • lost coherence in impromptu performance and/or justification • were unsuccessful in bringing a sense of energy and purpose to their work were unhelpfully dressed for the range of physical characterisation attempted.