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Cambridge Pre-U Syllabus
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For examination in 2014, 2015 and 2016
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Cambridge International Level 3
Pre-U Certificate in
DRAMA AND THEATRE
Cambridge Pre-U Syllabus
Drama and Theatre (9801)
Cambridge International Level 3
Pre-U Certificate in Drama and Theatre (Principal)
For examination in 2014, 2015 and 2016
QN 600/3310/1
www.cie.org.uk/cambridgepreu
1
Cambridge Pre-U Syllabus
Support
CIE provides comprehensive support for all its qualifications, including the Cambridge Pre-U. There are
resources for teachers and candidates written by experts. CIE also endorses a range of materials from
other publishers to give a choice of approach. More information on what is available for this particular
syllabus can be found at www.cie.org.uk.
Syllabus updates
This syllabus is for teaching from 2012 and is valid for examination in 2014, 2015 and 2016.
If there are any changes to this syllabus, CIE will write to Centres to inform them. This syllabus will also be
published annually on the CIE website (www.cie.org.uk/cambridgepreu). The version of the syllabus on
the website should always be considered as the definitive version.
Further copies of this, or any other Cambridge Pre-U syllabus, can be obtained by either downloading from
our website www.cie.org.uk/cambridgepreu
or contacting:
Customer Services, University of Cambridge International Examinations,
1 Hills Road, Cambridge CB1 2EU
Telephone: +44 (0)1223 553554
Fax: +44 (0)1223 553558
E-mail: international@cie.org.uk
Cambridge International Examinations retains the copyright on all its publications. Registered Centres are
permitted to copy material from this booklet for their own internal use. However, we cannot give permission
to Centres to photocopy any material that is acknowledged to a third party even for internal use within a
Centre.
© University of Cambridge International Examinations 2011
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www.cie.org.uk/cambridgepreu
Cambridge Pre-U Syllabus
Cambridge International Level 3 Pre-U Certificate
Drama and Theatre
9801
Contents
Page
Introduction
4
Aims
5
Scheme of assessment
5
Assessment objectives
6
Relationship between scheme of assessment and assessment objectives
6
Description of components
7
Marking criteria for Component 2
15
Marking criteria for Component 4
21
Procedures for external moderation for Component 2 and Component 4
24
Marking, recording and moderation of Component 2
24
Appendix 1: Grade descriptors
26
Appendix 2: Additional information
27
www.cie.org.uk/cambridgepreu
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Cambridge Pre-U Syllabus
Introduction
The Cambridge Pre-U Diploma aims to equip students with the skills required to make a success of
their subsequent studies at university, involving not only a solid grounding in each specialist subject
at an appropriate level, but also the ability to undertake independent and self-directed learning and to
think laterally, critically and creatively. The Cambridge Pre-U curriculum is underpinned by a core set of
educational principles:
•
A programme of study which supports the development of well-informed, open and independentminded individuals capable of applying their skills to meet the demands of the world as they will
find it and over which they may have influence.
•
A curriculum which retains the integrity of subject specialisms and which can be efficiently,
effectively and reliably assessed, graded and reported to meet the needs of universities.
•
A curriculum which is designed to recognise a wide range of individual talents, interests and
abilities and which provides the depth and rigour required for a university degree course.
•
A curriculum which encourages the acquisition of specific skills and abilities, in particular the skills
of problem solving, creativity, critical thinking, team working and effective communication.
•
The encouragement of ‘deep understanding’ in learning – where that deep understanding is likely
to involve higher-order cognitive activities.
•
The development of a perspective which equips young people to understand a range of different
cultures and ideas and to respond successfully to the opportunity for international mobility.
All Cambridge Pre-U Principal Subject syllabuses are linear. A candidate must take all the components
together at the end of the course in one examination session.
The Cambridge Pre-U Drama and Theatre course is made up of four components covering both theoretical
and practical aspects of the subject. Students study for two complementary written components, a
timed examination paper and a Performance Investigation, and two practical components which cover
performance and production skills. In the externally-set written paper, candidates are required to apply their
understanding of drama and theatre practice to an unseen extract from a play, and to demonstrate their
knowledge, understanding and evaluation of four plays studied within two chosen areas. The Performance
Investigation allows the pursuit of personal enthusiasms in the investigation of an individually chosen topic
in the field. The practical work covers both acting and production skills, in repertoire and in the creation of
original drama.
The course allows for a great deal of flexibility in the selection of content as appropriate to the Centres
and the candidates themselves within a context of academic rigour. Centres are able to pace themselves
throughout the two years and allow extra-curricular opportunities to be integrated.
The syllabus builds on the knowledge, understanding and skills typically gained by candidates taking Level 2
qualifications. It is recommended that candidates have attained communication and literacy skills at a level
equivalent to IGCSE/GCSE Grade C in English.
The course will equip candidates with a base of transferable skills and knowledge suitable for further study
at higher-education level while stimulating independent thought and encouraging a love of the theatre and
performance arts.
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www.cie.org.uk/cambridgepreu
Cambridge Pre-U Syllabus
Aims
The course aims to:
•
Provide opportunities for learners to develop a range of skills, knowledge and understanding in
drama and theatre, embracing creative, interpretative, historical and analytical aspects of the
subject.
•
Provide a context for personal development through serious study of drama and theatre, and
thereby promote academic independence and self discipline, broaden intellectual and emotional
responses, stimulate critical discrimination and heighten social and cultural awareness.
•
Provide the basis for an informed and lasting appreciation and enjoyment of drama and theatre,
either as participants or informed members of an audience.
•
Form a suitable preparation for higher education, while being particularly relevant to those who
intend to continue their drama studies, whether at university, drama school or other institutions.
Scheme of assessment
For the Principal Pre-U qualification in Drama and Theatre, candidates take all four components together at
the end of the course in the same session.
Component
Component
name
Duration
Number
of marks
Weighting
(%)
Type of assessment
1
World Drama
and Theatre
3 hours
80
40
Written paper, externally
set and marked
2
Repertoire
n/a
40
20
Internally assessed and
externally moderated
3
Devised
Drama
n/a
40
20
Externally assessed at
the Centre by visit
4
Performance
Investigation
n/a
40
20
Internally assessed and
externally moderated
www.cie.org.uk/cambridgepreu
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Cambridge Pre-U Syllabus
Assessment objectives
AO1
Communicate knowledge and understanding of the nature and interpretation of
drama and theatre using appropriate vocabulary.
AO2
Demonstrate practical skills in the realisation of repertoire and the creation of original
drama.
AO3
Analyse and critically evaluate aspects of drama and theatre, making independent
decisions and judgements, within appropriate cultural, historical, stylistic and
theoretical contexts.
Relationship between scheme of assessment and assessment objectives
6
Component
1
World Drama
and Theatre
2
Repertoire
3
Devised
Drama
4
Performance
Investigation
Total
weightings
of AOs
AO1
22.5%
n/a
n/a
10%
32.5%
AO2
n/a
20%
20%
n/a
AO3
17.5%
n/a
n/a
10%
40%
27.5%
www.cie.org.uk/cambridgepreu
Cambridge Pre-U Syllabus
Description of components
Component 1: World Drama and Theatre (3 hours)
Written paper, externally set and marked.
Section A Unseen (from British Drama since 1956)
[30 marks]
Candidates will be given an extract, of no more than 250 lines, taken from an unseen play. Introductory/
contextual notes will also be provided on the question paper. Candidates will be asked questions on
specific aspects of the extract and will be expected to show awareness of historical and theoretical contexts
of theatre and drama including the work of salient practitioners.
Examples of areas which may be covered include:
•
the use of dramatic forms and concepts to create setting and atmosphere
•
creation of character and realisation of ideas
•
the use of theatrical techniques
•
the actors’ or director’s viewpoints
•
the use of modern theatre-technology.
This list is not exhaustive and candidates should be familiar with other dramatic features as appropriate.
In approaching the passage, candidates will be expected to demonstrate understanding of the elements
of drama as appropriate to the questions asked, e.g. roles, relationships, dramatic tension, time and
place, focus, space, mood, language, symbol, body language, gesture and movement, contrast, dramatic
conventions and communication to audience.
Section B Aspects of World Drama and Theatre
[50 marks]
Candidates will study two of the four areas of world drama and theatre listed below which are for
examination in 2014, 2015 and 2016. Thereafter there will be rotation of areas of study, which will be
communicated to Centres.
For each of their chosen areas of study, candidates will be expected to study two plays and answer one
essay question from a choice of three.
Set plays may not be taken into the examination room.
Examples of areas which may be covered include:
•
theatrical traditions and conventions
•
salient dramatic features and functions
•
the social, cultural and political context of plays
•
directing and production
•
communication to audience
•
the use of modern theatre-technology.
This list is not exhaustive and candidates should be familiar with other dramatic features as appropriate.
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Cambridge Pre-U Syllabus
Areas of study and set plays for examination in 2014, 2015 and 2016
Foundations of Modern Drama
Anton Chekhov – The Seagull
Henrik Ibsen – Hedda Gabler
George Bernard Shaw – Saint Joan
Oscar Wilde – The Importance of Being Earnest
Political Theatre
Bertolt Brecht – The Resistible Rise of Arturo Ui
Caryl Churchill – Cloud Nine
Kee Thuan Chye – 1984 Here and Now
Tony Kushner – Angels in America
African Drama
Ama Ata Aidoo – The Dilemma of a Ghost
Athol Fugard – My Children! My Africa!
Percy Mtwa, Mbongeni Ngema and Barney Simon – Woza Albert!
Wole Soyinka – The Lion and the Jewel
Jacobean Tragedy
Thomas Heywood – A Woman Killed with Kindness
Cyril Tourneur (Thomas Middleton) – The Revenger’s Tragedy
John Webster – The Duchess of Malfi
Thomas Middleton and William Rowley – The Changeling
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www.cie.org.uk/cambridgepreu
Cambridge Pre-U Syllabus
Component 2: Repertoire
Internally assessed and externally moderated.
Candidates may prepare their work for this component at any time during the course. The work of all
candidates must be recorded onto DVD ready for external moderation by CIE if requested. Candidates
should be assessed by their teacher during the live performance/presentation, and not from the recording.
All candidates will offer Part 1 Duologue. In Part 2 they will choose one activity from the list specified
below. Material chosen for both Parts 1 and 2 must be suitable for the audience for which it is intended.
Teachers may not direct the work although they may give guidance on finding suitable pieces of repertoire
according to the ability and interests of individual candidates.
Part 1 Duologue
[20 marks]
Candidates will perform a duologue for a live audience, lasting between 8 and 10 minutes, and will be
assessed on their acting and production skills. The duologue must be taken from a published play, i.e. a play
published in printed format. Plays published on the internet are not permitted. Additionally, the chosen play
may not be taken from the list of set plays provided in the syllabus for Component 1. CIE reserves the right
to request a copy of the play for moderation purposes.
Partners are required to be either candidates for Pre-U Drama and Theatre or students from within the
Centre. Partners may not be teachers or contacts from outside the Centre.
Candidates must demonstrate:
•
a range of emotional states
•
character through use of voice, movement, body and space
•
appropriate costume and setting.
Part 2 Monologue/Design skills
[20 marks]
Candidates are required to offer one of the four options listed below. For all options, the chosen play(s)
must not be taken from the list of set plays provided in the syllabus for Component 1 and must be from a
different play to that chosen for the Duologue in Part 1.
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Cambridge Pre-U Syllabus
Option 1: Monologue
Candidates will perform two contrasting monologues for a live audience, each lasting between 3 and 5
minutes, and will be assessed on their acting skills. Each monologue must be from the work of a different
playwright, and should be contrasting in subject matter, mood and style.
Candidates must demonstrate understanding of how to interpret their chosen texts in performance. In
particular they should show character through use of voice, movement, body and space, and develop
appropriate rapport with the live audience.
Each monologue must be taken from a published play, i.e. a play published in printed format. Plays
published on the internet are not permitted. CIE reserves the right to request a copy of the play for
moderation purposes.
Option 2: Set Design
Candidates will make a scale model of a set design for an extract from a published play, which includes one
scene change. The play must be from a different period/genre to that chosen for the duologue performed in
Part 1.
Candidates must give a presentation based on their scale model. This will explain their vision for the
design and its relationship to the chosen extract, and demonstrate an appreciation of the dimensions and
possibilities of the performance space.
The presentation can take the form of a talk, a website, a podcast, etc., and must last no more than
10 minutes. Teachers must complete a form to authenticate the work as that of the candidate.
The play must be published in printed format. Plays published on the internet are not permitted.
CIE reserves the right to request a copy of the play for moderation purposes.
Option 3: Costume Design
Candidates will make a model of one character’s costume, and produce detailed designs for two other
costumes, all from the same published play. The play must be from a different period/genre to that chosen
for the duologue performed in Part 1.
Candidates must give a presentation based on their model and the other two designs. This will explain their
vision for the designs and how they reflect the historical and cultural context of the play, and demonstrate
an understanding of the technical aspects of the designs.
The presentation can take the form of a talk, a website, a podcast, etc., and must last no more than
10 minutes. Teachers must complete a form to authenticate the work as that of the candidate.
The play must be published in printed format. Plays published on the internet are not permitted.
CIE reserves the right to request a copy of the play for moderation purposes.
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Cambridge Pre-U Syllabus
Option 4: Mask Design
Candidates will make a completed mask for one character, and produce detailed designs for two other
masks, all from the same published play or chosen tradition. The play/tradition must be from a different
period/genre to that chosen for the duologue performed in Part 1.
Candidates must give a presentation based on their completed mask and the other two designs. This
will explain their vision for the designs and how they reflect the historical and cultural context of the play/
theatrical event, e.g. pantomime or carnival, and demonstrate an understanding of the technical aspects of
the designs.
The presentation can take the form of a talk, a website, a podcast, etc., and must last no more than
10 minutes. Teachers must complete a form to authenticate the work as that of the candidate.
The play must be published in printed format. Plays published on the internet are not permitted.
CIE reserves the right to request a copy of the play for moderation purposes.
www.cie.org.uk/cambridgepreu
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Cambridge Pre-U Syllabus
Component 3: Devised Drama
Candidates will be assessed, by a visiting examiner, in a live performance towards the end of the course.
Groups of between three and six candidates will be required to devise and perform in a piece of drama for
a live audience based on one of the pre-release stimuli issued by CIE at the start of the course. The nature
and number of the stimuli may change from year to year. Examples of stimuli include a poem, a picture, a
political event, a well-known performer or practitioner.
The piece must last between 15 and 30 minutes depending on the size of the group, e.g. a group of three
candidates will produce a piece of 15 minutes’ duration; a group of six candidates, 30 minutes’ duration. It
is expected that candidates will take collective responsibility for the directorial concept, script, and costume
and set design, although it is recognised that individual candidates are likely to take the lead in different
areas depending on their strengths. Teachers may not direct the work although they may give guidance on
finding a focus for the piece (based on the chosen stimulus). All devised material must be suitable for the
audience for which it is intended.
Centres where there are fewer than three candidates may include a non-assessed actor for the final
performance. However, only those candidates who are being assessed may contribute to the devising/
design process. The non-assessed actor must be a student from within the Centre and may not be a
teacher or contact from outside the Centre.
On the day of the visit, each candidate will be awarded two sets of marks: one which will be the same for
all members of the company to recognise the concept/vision and realisation of the piece [20 marks], and a
further individual mark for each candidate’s performing skills [20 marks].
Before the visit, the Centre will submit a pro forma for each group. This will be completed by the candidates
and will give them the opportunity to put forward the points they wish to convey to the Examiner which will
assist him/her in the understanding of the performance.
Immediately before the performance, candidates will meet the Examiner informally for a short,
non-assessed discussion. The intention is to allow the Examiner to identify the candidates and to further
explore and clarify the concept/vision of the piece he/she is about to watch.
During the visit, Centres will be required to record each performance onto DVD. The recordings should be
sent to CIE within two weeks of the visit so that a record can be kept of each performance.
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www.cie.org.uk/cambridgepreu
Cambridge Pre-U Syllabus
Component 4: Performance Investigation
Internally assessed and externally moderated.
Candidates will produce an essay of 3000 to 3500 words on a subject of their own choice, although the
essay must not be based on any of the set plays listed for Component 1 or any of the plays offered by the
candidate in Component 2.
Candidates are required to submit a proposal of no more than 500 words describing the proposed essay,
including the list of source materials that will be used to research the chosen subject. The proposal must
be submitted to CIE for approval by either 31 May or 31 October in the year preceding the examination.
The Principal Moderator will consider the scope of the dissertation and either approve the proposal, suggest
adjustments or request a re-submission.
As the investigation involves research and is a preparation for academic study, it will require candidates
to follow the conventions of academic writing, including the use of referencing and bibliographies to
acknowledge sources where appropriate. These, and quotations, will not count towards the word limit.
The focus of the dissertation/essay should always be a direct engagement with drama and/or theatre
and, throughout, should demonstrate the candidate’s ability in critical thinking. Candidates are therefore
expected to evaluate their sources of information, organise, argue and make connections, and base all
judgements on dramatic and/or theatrical evidence.
The following are examples of the type of work that may be submitted:
•
a playwright’s style and influence (e.g. Brecht’s Epic theatre)
•
dramatic techniques in a non-western tradition (e.g. Asian shadow-puppetry)
•
detailed dramatic analysis of a play or a significant extract
•
cultural influences on a dramatic style or period (e.g. Revenge drama in England in Shakespeare’s time)
•
a particular work and its impact (e.g. Show Boat and its influence on Musical Theatre in the 20th century)
•
a portfolio of theatre reviews focusing on the stylistic intentions of the productions and the audience
reactions (minimum six reviews from three contrasting styles of drama)
•
a particular period/movement and its impact (e.g. European Theatre of the Absurd)
•
influence/importance of a particular performer/director/designer/theatre company (e.g. Laurence Olivier/
Vsevolod Meyerhold/Ming Cho Lee/Complicite)
•
theatre history and historical performance conditions (e.g. Restoration theatre).
The Performance Investigation must be entirely the candidate’s own work. The teacher will need to assist
with finding a focus, wording the title, giving advice on researching the area, and teaching the proper
academic conventions for presentation of the essay, but once writing has begun the candidate must
complete the process without further assistance. The teacher must not view and comment on drafts.
Candidates will need to sign a declaration statement for the Performance Investigation to indicate that the
work has been carried out solely by the candidate. A teacher will be required to countersign the statement
when it is submitted for external examination. The statement must appear on the title page of the
document.
www.cie.org.uk/cambridgepreu
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Cambridge Pre-U Syllabus
What teachers can do
•
Teach appropriate courses from which students can choose areas of study;
•
Offer detailed guidance on selection of appropriate material and further reading from a wide range of
suitable texts;
•
Give individual guidance to each candidate on the choice and wording of the Performance Investigation
essay title – this will in turn be vetted by CIE;
•
Give individual guidance on the early resolution of conceptual and practical problems, reminding each
student of matters such as structure, balance and the importance of good introductions and conclusions;
essay plans in bullet points or lists can be looked at as they do not constitute ‘writing’ (defined as
connected prose paragraphs); particular attention can be paid to the sections of the main body of
the essay; it is suggested that at least two individual sessions for each student are given, with the
participation of more than one member of staff;
•
Have realistic target dates to keep students on course for completion;
•
Draw candidates’ attention to the importance of the declaration they will be required to make about the
work being their own;
•
Feel confident, in the light of these measures, about countersigning students’ work.
What teachers cannot do
•
Check and correct early versions of the essay;
•
Give detailed advice on how to improve the work once writing has begun, either to individuals or groups;
•
Contribute any writing at all to the student’s essay.
Presentation of Performance Investigation
Essays should normally be word-processed.
•
Headings, footnotes and bibliography will not count towards the 3000 to 3500 word limit.
•
The essay must be typewritten on A4-size paper.
•
The essay should be attached securely to the coversheet provided.
•
Every page should bear the candidate’s name and Centre details.
•
The essay should not be enclosed in any kind of file, folder or plastic wallet.
•
A complete bibliography of all resources used/referred to must be attached to the work.
•
Direct quotations from the work of critics or others must be referenced, giving full details of the source.
Avoidance of plagiarism
Candidates should be made aware of the academic conventions governing quotation and reference to the
work of others, and taught to use them. Candidates will be required to sign a declaration that the work is all
their own when submitting their Performance Investigation.
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www.cie.org.uk/cambridgepreu
Cambridge Pre-U Syllabus
Marking criteria for Component 2
Component 2 is marked out of 40, divided as follows:
Part 1 Duologue
20 marks
Candidates will perform a duologue for an audience, lasting between 8 and 10 minutes, taken from a
published play.
Part 2 Monologue/Design skills
20 marks
Candidates choose one of the options from the list below:
Option 1 Monologue
Candidates will perform two contrasting monologues for a live audience, each lasting between 3 and 5
minutes. Each monologue must be from the work of a different playwright, and should be contrasting in
subject matter, mood and style.
Option 2 Set Design
Candidates will make a scale model of a set design for an extract from a published play, which includes
one scene change. Candidates must give a presentation based on their scale model to explain their vision
for the design, its relationship to the chosen extract and demonstrate an appreciation of the dimensions
and performance possibilities of the performance space. The presentation can take the form of a talk, a
website, a podcast, etc., and must last no more than 10 minutes.
Option 3 Costume Design
Candidates will make a model of one character’s costume, and produce detailed designs for two other
costumes, all from the same published play. Candidates must give a presentation based on their model
and the other two designs. This will explain their vision for the designs, how they reflect the historical and
cultural context of the play and demonstrate an understanding of the technical aspects of the designs. The
presentation can take the form of a talk, a website, a podcast, etc., and must last no more than 10 minutes.
Option 4 Mask Design
Candidates will make a completed mask for one character, and produce detailed designs for two other
masks, all from the same published play or chosen tradition. Candidates must give a presentation based
on their completed mask and the other two designs. This will explain their vision for the designs, how
they reflect the historical and cultural context of the play/theatrical event, e.g. pantomime or carnival, and
demonstrate an understanding of the technical aspects of the designs. The presentation can take the form
of a talk, a website, a podcast, etc., and must last no more than 10 minutes.
www.cie.org.uk/cambridgepreu
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Cambridge Pre-U Syllabus
Part 1: Duologue
Number
of marks
18–20
15–17
12–14
9–11
6–8
3–5
1–2
0
16
•
A sophisticated interpretation of the playwright’s intentions: a convincing and entirely justifiable setting and
sensitive choice of costume.
•
A very well-paced and absorbing performance that is completely convincing and communicates clearly and
effectively to its audience; excellent and appropriate differentiation in emotional intensity.
•
Exceptional level of technique such that the performance appears effortless.
•
Complete awareness of the status of the part at all times in relation to the partner.
•
A very good interpretation of the playwright’s intentions, with nuance and detail in selecting setting and costume.
•
A well-paced and confident performance that is highly polished and communicates clearly to its audience; clear
differentiation in emotional intensity.
•
A very good level of technique, strong enough to cover occasional minor slips.
•
Mostly aware of the status of the part in relation to the partner.
•
A good interpretation of the playwright’s intentions, covering all essential aspects and selecting appropriate setting
and costume.
•
A performance with effective pacing that is well-rehearsed and sustains the audience’s interest, although at times
more impact is needed; generally assured levels of emotional intensity.
•
A proficient level of technique; slips are not obtrusive.
•
Often aware of the status of the part in relation to the partner.
•
Many of the playwright’s intentions are realised, usually in a literalistic manner, and the costume and setting
neither help nor hinder the performance.
•
The performance is mostly well prepared, and allows the audience to follow the action; can handle obvious
changes of emotion.
•
A variable level of technique; slips are evident but not destabilising.
•
Occasionally aware of the status of the part, but seldom able to move the action along.
•
Some of the playwright’s intentions are apparent in the approach, and the costume and setting are broadly
appropriate but possibly uninspired.
•
The performance demonstrates some preparation and is generally fluent; it engages the audience at key moments
but there is room for greater differentiation.
•
Technique appropriate to much of the piece; there are several moments of uncertainty.
•
Often looks to the partner to take the lead.
•
The playwright’s intentions are hindered rather than helped by the approach, and the setting and costume are
questionable.
•
The performance demonstrates a measure of preparation and there are occasional moments where the audience
is engaged, but the pacing is mundane.
•
Technical strengths are occasionally apparent but their impact is undermined by the number of slips.
•
There is a hint of leadership in the partnership, but there is an overriding sense of dependence on the partner.
•
The playwright’s intentions emerge occasionally through the performance; the choice of costume and setting is
simplistic (2) or ill-conceived (1).
•
The performance is largely unprepared, or its delivery lacklustre, either of which is frustrating for the audience.
•
Technical strengths are greatly outweighed by technical weaknesses.
•
The candidate is dependent on the other performer throughout; little indication of leadership.
•
Work that is unworthy of credit at this level.
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Cambridge Pre-U Syllabus
Part 2, Option 1: Monologue
Each monologue should be marked separately out of 20. Add the two marks together and divide by two to
give an average mark. Half-marks should be rounded up to the nearest whole number.
Number
of marks
18–20
15–17
12–14
9–11
6–8
3–5
1–2
0
•
A sophisticated interpretation of the playwright’s intentions with points of real originality.
•
A very well-paced and absorbing performance that is completely convincing and
communicates clearly and effectively to its audience; excellent and appropriate
differentiation in emotional intensity.
•
Exceptional level of technique such that the performance appears effortless.
•
A very good interpretation of the playwright’s intentions with nuance and attention to
detail.
•
A well-paced and confident performance that is highly polished and communicates clearly
to its audience; clear differentiation in emotional intensity.
•
A very good level of technique, strong enough to cover occasional minor slips.
•
A good interpretation of the playwright’s intentions, covering all essential aspects.
•
A performance with effective pacing that is well-rehearsed and sustains the audience’s
interest, although at times more impact is needed; generally assured levels of emotional
intensity.
•
A proficient level of technique; slips are not obtrusive.
•
Many of the playwright’s intentions are realised, usually in a literalistic manner.
•
The performance is mostly well prepared, and allows the audience to follow the action;
can handle obvious changes of emotion.
•
A variable level of technique; slips are evident but not destabilising.
•
Some of the playwright’s intentions are apparent in the approach.
•
The performance demonstrates some preparation and is generally fluent; it engages the
audience at key moments but there is room for greater differentiation.
•
Technique appropriate to much of the piece; there are several moments of uncertainty.
•
The playwright’s intentions are hindered rather than helped by the approach.
•
The performance demonstrates a measure of preparation and there are occasional
moments where the audience is engaged, but the pacing is mundane.
•
Technical strengths are occasionally apparent but their impact is undermined by the
number of slips.
•
The playwright’s intentions emerge occasionally through the performance.
•
The performance is largely unprepared, or its delivery lacklustre, either of which is
frustrating for the audience.
•
Technical strengths are greatly outweighed by technical weaknesses.
•
Work that is unworthy of credit at this level.
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Cambridge Pre-U Syllabus
Part 2, Option 2: Set Design
Number
of marks
18–20
•
•
•
15–17
•
•
•
12–14
•
•
•
9–11
•
•
•
6–8
•
•
•
3–5
•
•
•
1–2
•
•
•
0
18
•
A sophisticated interpretation of the playwright’s intentions: a convincing and entirely
justifiable concept with points of real originality.
An outstanding realisation of the concept that is entirely suited to its intended
performance space.
Exceptional technical skills entirely appropriate to the realisation of all aspects of the
design.
A very good interpretation of the playwright’s intentions, with nuance and detail in the
overall concept.
Adept realisation of the concept, very well suited to its intended performance space.
Very good technical skills, equal to the demands of the piece but with scope for some
further refinement.
A good interpretation of the playwright’s intentions; the overall concept is appropriate and
covers all essential aspects.
A capable realisation of the concept that is mostly suited to its intended performance
space but with some questionable details.
Technical skills are well suited to the central demands of the work with scope for the
development of more advanced skills.
Many of the playwright’s intentions are apparent and the concept is broadly appropriate
but possibly literalistic/uninspired.
A balance of strengths and weaknesses in the realisation of the design; generally suited
to its intended performance space.
Sufficient technical skills to realise the design in general terms although some aspects
need to be further refined.
The playwright’s intentions are generally apparent within the concept, but with no
attempt at interpretation.
Uneven realisation that demonstrates a lack of coherence and/or refinement; basic
aspects are suited to its intended performance space.
Some technical skills are evident, but the final effect appears laboured and possibly
messy.
The playwright’s intentions are hindered rather than helped by the approach, the concept
is awkward, fragmentary or lopsided, and the ideas are confusing.
Unvarying, perhaps monotonous, realisation of the work which is mostly unsuited to its
intended performance space.
Sufficient technical skills to realise some aspects of the design but much is incomplete or
ineffectively made.
The playwright’s intentions emerge occasionally although the concept is simplistic (2) or
ill-conceived (1).
The realisation is marred by a number of features, all of which reveal insufficient
preparation; the design is unsuited to its performance space.
There are one or two technical strengths, but these are outweighed by the many
weaknesses.
Work that is unworthy of credit at this level.
www.cie.org.uk/cambridgepreu
Cambridge Pre-U Syllabus
Part 2, Option 3: Costume Design
Number
of marks
18–20
•
•
•
15–17
•
•
•
12–14
•
•
•
9–11
•
•
•
6–8
•
•
•
3–5
•
•
•
1–2
•
•
•
0
•
A sophisticated interpretation of the playwright’s intentions: a convincing and entirely
justifiable concept with points of real originality.
An outstanding realisation of the concept that is entirely suited to its intended
performance space.
Exceptional technical skills entirely appropriate to the realisation of all aspects of the
design.
A very good interpretation of the playwright’s intentions, with nuance and detail in the
overall concept.
Adept realisation of the concept, very well suited to its intended performance space.
Very good technical skills, equal to the demands of the piece but with scope for some
further refinement.
A good interpretation of the playwright’s intentions; the overall concept is appropriate and
covers all essential aspects.
A capable realisation of the concept that is mostly suited to its intended performance
space but with some questionable details.
Technical skills are well suited to the central demands of the work with scope for the
development of more advanced skills.
Many of the playwright’s intentions are apparent and the concept is broadly appropriate
but possibly literalistic/uninspired.
A balance of strengths and weaknesses in the realisation of the design; generally suited
to its intended performance space.
Sufficient technical skills to realise the design in general terms although some aspects
need to be further refined.
The playwright’s intentions are generally apparent within the concept, but with no
attempt at interpretation.
Uneven realisation that demonstrates a lack of coherence and/or refinement; basic
aspects are suited to its intended performance space.
Some technical skills are evident, but the final effect appears laboured and possibly
messy.
The playwright’s intentions are hindered rather than helped by the approach, and the
concept is awkward, fragmentary or lopsided and the ideas are confusing.
Unvarying, perhaps monotonous, realisation of the work which is mostly unsuited to its
intended performance space.
Sufficient technical skills to realise some aspects of the design but much is incomplete or
ineffectively made.
The playwright’s intentions emerge occasionally although the concept is simplistic (2) or
ill-conceived (1).
The realisation is marred by a number of features, all of which reveal insufficient
preparation; the design is unsuited to its performance space.
There are one or two technical strengths, but these are outweighed by the many
weaknesses.
Work that is unworthy of credit at this level.
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Cambridge Pre-U Syllabus
Part 1, Option 4: Mask Design
Number
of marks
18–20
•
•
•
15–17
•
•
•
12–14
•
•
•
9–11
•
•
•
6–8
•
•
•
3–5
•
•
•
1–2
•
•
•
0
20
•
A sophisticated interpretation of the playwright’s intentions: a convincing and entirely
justifiable concept with points of real originality.
An outstanding realisation of the concept that is entirely suited to its intended
performance space.
Exceptional technical skills entirely appropriate to the realisation of all aspects of the
design.
A very good interpretation of the playwright’s intentions, with nuance and detail in the
overall concept.
Adept realisation of the concept, very well suited to its intended performance space.
Very good technical skills, equal to the demands of the piece but with scope for some
further refinement.
A good interpretation of the playwright’s intentions; the overall concept is appropriate and
covers all essential aspects.
A capable realisation of the concept that is mostly suited to its intended performance
space but with some questionable details.
Technical skills are well suited to the central demands of the work with scope for the
development of more advanced skills.
Many of the playwright’s intentions are apparent and the concept is broadly appropriate
but possibly literalistic/uninspired.
A balance of strengths and weaknesses in the realisation of the design; generally suited
to its intended performance space.
Sufficient technical skills to realise the design in general terms although some aspects
need to be further refined.
The playwright’s intentions are generally apparent within the concept, but with no
attempt at interpretation.
Uneven realisation that demonstrates a lack of coherence and/or refinement; basic
aspects are suited to its intended performance space.
Some technical skills are evident, but the final effect appears laboured and possibly
messy.
The playwright’s intentions are hindered rather than helped by the approach, and the
concept is awkward, fragmentary or lopsided and the ideas are confusing.
Unvarying, perhaps monotonous, realisation of the work which is mostly unsuited to its
intended performance space.
Sufficient technical skills to realise some aspects of the design but much is incomplete or
ineffectively made.
The playwright’s intentions emerge occasionally although the concept is simplistic (2) or
ill-conceived (1).
The realisation is marred by a number of features, all of which reveal insufficient
preparation; the design is unsuited to its performance space.
There are one or two technical strengths, but these are outweighed by the many
weaknesses.
Work that is unworthy of credit at this level.
www.cie.org.uk/cambridgepreu
Cambridge Pre-U Syllabus
Marking criteria for Component 4
Component 4 is marked out of 40, divided as follows:
AO1 Communicate knowledge and understanding of the nature and interpretation of drama and theatre
using appropriate vocabulary.
20 marks
AO3 Analyse and critically evaluate aspects of drama and theatre, making independent decisions and
judgements, within appropriate cultural, historical, stylistic and theoretical contexts.
20 marks
Candidates will produce an essay of 3000 to 3500 words on a subject of their own choice, although the
essay must not be based on any of the set plays listed for Component 1 or any of the plays offered by the
candidate in Component 2.
Examiners will check that approval has been granted for the 500-word proposal for the project, already
submitted to CIE.
The focus of the essay should always be a direct engagement with drama and/or theatre and,
throughout, should demonstrate the candidate’s ability in critical thinking. Candidates are therefore expected
to evaluate their sources of information, organise, argue and make connections, and base all judgements on
dramatic and/or theatrical evidence.
Presentation of Performance Investigation
Examiners will take into account the presentation of the candidates, and the extent to which the work
follows the following stylistic framework.
•
Essays should normally be word-processed.
•
Headings, footnotes and bibliography will not count towards the 3000 to 3500 word limit.
•
The essay must be typewritten on A4-size paper.
•
The essay should be attached securely to the coversheet provided.
•
Every page should bear the candidate’s name and Centre details.
•
The essay should not be enclosed in any kind of file, folder, or plastic wallet.
•
A complete bibliography of all resources used/referred to must be attached to the work.
•
Direct quotations from the work of critics or others must be referenced giving full details of the source.
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21
Cambridge Pre-U Syllabus
Number
of marks
17–20
13–16
9–12
5–8
2–4
1
0
22
AO1 Communicate knowledge and understanding of the nature and interpretation of
drama and theatre using appropriate vocabulary.
A sophisticated response to the question and the investigation topic that typically
demonstrates:
•
exceptionally insightful work, showing thorough and discriminating knowledge and
understanding of the chosen topic
•
eloquent expression with assured and entirely appropriate use of dramatic/theatrical
vocabulary
•
complex arguments and ideas that are very well developed, succinctly organised and fully
coherent.
A very good, focused response to the question and the investigation topic that typically
demonstrates:
•
very good, thoughtful work, showing well-informed knowledge and understanding of the
chosen topic
•
fluent, concise expression and appropriate use of dramatic/theatrical vocabulary
•
some complex arguments and ideas that are well developed, well organised and coherent.
A good response to the question and the investigation topic that typically demonstrates:
•
proficient work, showing apt knowledge and understanding of the chosen topic
•
clear expression and mostly appropriate use of dramatic/theatrical vocabulary
•
effective arguments and ideas that are mostly relevant and coherent; reasonably organised.
An adequate response to the question and the investigation topic that typically
demonstrates:
•
adequate work, showing some knowledge and understanding of the chosen topic
•
generally clear expression and generally appropriate use of dramatic/theatrical vocabulary
•
arguments and ideas are generally relevant but may show inconsistencies; presented
within a structured argument.
A basic response to the question and the investigation topic that typically demonstrates:
•
appropriate, if occasionally limited work, showing basic knowledge and understanding of
the chosen topic
•
some clear written expression but with visible limitation; use of dramatic/theatrical
vocabulary is evident but may be insecure
•
some relevant but basic arguments and ideas within some structure.
Some response to the question and the investigation topic that typically demonstrates:
•
some attempt at a response, but work is seriously uneven or simplistic; knowledge and
understanding of the chosen topic is evidently superficial or limited
•
limited/incoherent expression and generally inadequate use of dramatic/theatrical
vocabulary
•
simplistic and undeveloped arguments and ideas with hardly any structure.
A mark of 0 should be awarded for non-credit-worthy work.
www.cie.org.uk/cambridgepreu
Cambridge Pre-U Syllabus
Number
of marks
17–20
13–16
9–12
5–8
2–4
1
0
AO3 Analyse and critically evaluate aspects of drama and theatre, making independent
decisions and judgements, within appropriate cultural, historical, stylistic and
theoretical contexts.
A sophisticated response to the question and the investigation topic that typically
demonstrates:
•
critical evaluation and analysis that is consistently thoughtful and sophisticated; wellinformed discussion of relevant cultural, historical, stylistic and theoretical contexts
•
excellent, reasoned independent decisions and judgements that are very well supported
by detailed, pertinent exemplification; comparisons are incisive.
A very good, focused response to the question and the investigation topic that typically
demonstrates:
•
critical evaluation and analysis that is thoughtful and well-developed; informed
consideration of relevant cultural, historical, stylistic and theoretical contexts
•
very good, considered decisions and judgements that are well supported by thoughtful
exemplification; comparisons are clear and well-judged.
A good response to the question and the investigation topic that typically demonstrates:
•
critical evaluation and analysis that is well-developed and shows some apt consideration
of relevant cultural, historical, stylistic and theoretical contexts
•
good, appropriate decisions and judgements that are supported by exemplification;
comparisons are proficient.
An adequate response to the question and the investigation topic that typically
demonstrates:
•
critical evaluation and analysis that is moderate and shows some consideration of
relevant cultural, historical, stylistic and theoretical contexts
•
some appropriate decisions and judgements; key points are supported by exemplification;
comparisons are competent.
A basic response to the question and the investigation topic that typically demonstrates:
•
critical evaluation and analysis that is basic and may be inconsistent or insecure;
consideration of relevant cultural, historical, stylistic and theoretical contexts may be
insecure or limited
•
limited decisions and judgements with limited or patchy exemplification; comparisons are
evident but undeveloped.
Some response to the question and the investigation topic that typically demonstrates:
•
critical evaluation and analysis and consideration of relevant cultural, historical, stylistic
and theoretical contexts that is very limited
•
decisions and judgements that are undeveloped and simplistic with very little
exemplification; comparisons are rudimentary at best.
A mark of 0 should be awarded for non-credit-worthy work.
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Cambridge Pre-U Syllabus
Procedures for external moderation for Component 2 and Component 4
Marks for all candidates for Component 2 and Component 4 should be submitted electronically to CIE no
later than 30 April in the year of examination.
After the marks have been submitted, CIE will provide a list of candidates whose work is required for
external moderation. The number of candidates in the sample will be as shown in the table below.
Number of candidates entered
Number of candidates whose work is required
1–10
all candidates
11–50
10
51–100
15
An additional sample of candidates’ work may subsequently be requested by CIE if necessary.
For Component 2, Repertoire, teachers are also required to submit Form 9801/OPTION detailing the option
offered by each candidate in Part 2.
Marking, recording and moderation of Component 2
Marking
Teachers must mark the work during the live performance/presentation, and not from the recording.
Where there is more than one teacher involved in the internal assessments, the marking must be internally
standardised by the Centre (see below).
For each candidate, an Individual Candidate Mark Sheet (9801/ICMS) must be completed giving details of
the work submitted and the marks awarded for Part 1 and Part 2.
The teacher’s comments on the Individual Candidate Mark Sheet need to be specific rather than general.
The information should be detailed enough to justify the mark awarded to a neutral observer not
present at the assessment.
Add together the marks awarded for Part 1 and Part 2 and give a total mark for each candidate out of 40.
Please double check all addition before submitting total marks to CIE.
24
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Cambridge Pre-U Syllabus
The DVD recording
(a) Identifying the candidates
•
DVDs must be labelled with the Centre name and number and full candidate names and numbers. If a
DVD is submitted without a clear label attached it may not be accepted for moderation.
•
At the beginning of each task, the candidate must identify himself/herself clearly – if necessary
removing any mask/costume. It is essential that the Moderator can easily identify the candidates.
(b) Quality of recordings
It is essential to produce clear recorded evidence. In particular:
•
Camerawork should ensure that each candidate can be easily identified and that their performance/
presentation can be clearly seen by the Moderator.
•
Extraneous noise and echo must be avoided and the sound track must be clearly audible.
•
Centres are responsible for checking that all recorded work is clear before submitting it to CIE for
moderation. The Centre should re-run any recorded work that does not meet these standards.
Moderation
(a) Internal moderation
If more than one teacher in a Centre is involved in the internal assessments, arrangements must be made
within the Centre for all candidates to be assessed to a common standard. The sample the Centre submits
to CIE should, where possible, include the work of each teacher.
The Centre assessments are then subject to external moderation.
(b) External moderation – what to send to CIE
Once Centres have received the list of candidates whose work is required for external moderation, they
need to send to CIE:
•
A completed Individual Candidate Mark Sheet (9801/ICMS) for each candidate.
•
A DVD cover sheet (9801/DVD).
•
A signed print-out of the electronic marks file submitted to CIE.
•
The sample of work as specified by CIE. For each candidate in the sample, the DVD recordings of
the work for both Part 1 and Part 2 must be sent to CIE.
(c) To retain at the Centre
•
One complete set of copies of all the forms.
•
All other recorded work until results are issued.
All records and supporting work should be kept until after the publication of results, and the
recordings of all other candidates’ work should be kept at the Centre. CIE may ask for further
samples of work.
www.cie.org.uk/cambridgepreu
25
Cambridge Pre-U Syllabus
Appendix 1: Grade descriptors
The following grade descriptors indicate the level of attainment characteristic of the middle of the given
grade. They give a general indication of the required standard at each specified grade. The descriptors
should be interpreted in relation to the content of the syllabus; they are not designed to define that content.
The grade awarded will depend in practice upon the extent to which the candidate has met the assessment
objectives overall. Shortcomings in some aspects of the examination may be balanced by better
performance in others.
Distinction (D2)
•
Insightful work that may often be original and employs eloquent expression with assured use of
dramatic/theatrical terminology
•
Exceptional practical skills in the realisation of repertoire and the creation of original drama
•
Sophisticated and well-informed analysis and evaluation of drama and theatre in a variety of contexts
demonstrating excellent ability to make independent decisions and judgements.
Merit (M2)
•
Proficient work that shows knowledge and understanding of drama and theatre and employs clear
expression with mostly appropriate use of dramatic/theatrical terminology
•
Proficient practical skills in the realisation of repertoire and the creation of original drama
•
Well-developed analysis and evaluation of drama and theatre in a variety of contexts showing ability to
make appropriate decisions and judgements.
Pass (P2)
26
•
Generally relevant work that shows knowledge and understanding of drama and theatre, although there
may be gaps; backed up by some evidence of understanding of dramatic/theatrical terminology
•
Sufficient practical skills to realise repertoire and to participate in the creation of original drama
•
Basic analysis and evaluation of drama and theatre in context; some ability to make decisions and
judgements.
www.cie.org.uk/cambridgepreu
Cambridge Pre-U Syllabus
Appendix 2: Additional information
Guided learning hours
It is intended that each Principal Subject should be delivered through 380 hours of guided learning. This
is a notional measure of the substance of the qualification. It includes an estimate of the time that might
be allocated to direct teaching or instruction, together with other structured learning time such as directed
assignments or supported individual study and practice. It excludes learner-initiated private study.
Certification title
This qualification is shown on a certificate as:
•
Cambridge International Level 3 Pre-U Certificate in Drama and Theatre (Principal)
The qualification is accredited at Level 3 of the UK National Qualifications Framework and provides a solid
grounding for candidates to pursue a variety of progression pathways.
Entries
For entry information please refer to the UK E3 Booklet.
Grading and reporting
The Cambridge International Level 3 Pre-U Certificates in the Principal Subjects are qualifications in their
own right. They are acceptable as an alternative to A Level (or other Level 3 qualifications) for entry into
higher education or employment. Each individual Principal Subject is graded separately on a scale of nine
grades: Distinction 1, Distinction 2, Distinction 3, Merit 1, Merit 2, Merit 3, Pass 1, Pass 2, Pass 3.
Subjects can also be combined with two core components to meet the requirements for eligibility for the
Cambridge International Level 3 Pre-U Diploma. More details about the Diploma requirements and the core
components can be found in a separate Diploma syllabus. The results of the individual Principal Subjects are
reported on a separate certificate to the Diploma result.
Classification code for UK Centres
In the UK, every syllabus is assigned to a national classification code that indicates the subject area to which
it belongs. UK Centres should be aware that candidates who enter for more than one qualification with the
same classification code will have only one grade (the highest) counted for the purpose of the School and
College Performance Tables.
The classification code for this syllabus is 5210.
Language
This syllabus and the associated assessment materials are available in English only.
www.cie.org.uk/cambridgepreu
27
Cambridge Pre-U Syllabus
Procedures and regulations
This syllabus complies with the CIE Code of Practice and The Statutory Regulation of External Qualifications
2004.
Further information about the administration of Cambridge Pre-U qualifications can be found in the
Cambridge Handbook (UK) available from CIE Publications or by contacting international@cie.org.uk.
Spiritual, moral, ethical, social and cultural issues
Candidates have to consider spiritual, moral, ethical, social and cultural issues through the study of the set
texts and in the process of realising repertoire and creating drama.
Health and safety Issues
Performance work provides opportunities to raise awareness of health and safety issues through risk
assessment.
Environmental education and sustainable development
Aspects of environmental education and sustainable development are not covered in this syllabus.
European and international dimension
CIE has developed this syllabus in line with UK, European and international legislation and agreements. This
syllabus provides opportunities to consider the European and international dimension.
The set texts for Component 1 include authors from diverse cultures.
Avoidance of bias
CIE has taken great care in the preparation of this syllabus and assessment materials to avoid bias of any
kind.
28
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Cambridge Pre-U Syllabus
Key Skills
This syllabus provides opportunities for the development of the Key Skills of Communication, Information
Technology, Working with Others, Improving Own Learning and Performance and Problem Solving at
Level 3. However, the extent to which this evidence fulfils the Key Skills criteria at this level will be totally
dependent on the style of teaching and learning adopted for each section.
The following table indicates where opportunities may exist for at least some coverage of the various
Key Skills criteria at Level 3 for each section.
Component
Communication
1
9
2
9
9
3
9
9
4
9
9
www.cie.org.uk/cambridgepreu
Application
of Number
IT
Working
with
Others
Improving
Own
Learning and
Performance
Problem
Solving
9
9
9
9
9
9
9
9
9
9
29
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© University of Cambridge International Examinations 2011