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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
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Cambridge Pre-U Syllabus – DRAFT
Created on 13/06/2011 10:17:000Y
Cambridge Pre-U
Drama and Theatre
Syllabus
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Cambridge Pre-U ____________________________________
Drama and Theatre
Contents
Page
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Introduction
3
Aims
4
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
17
Marking criteria for Component 4
23
Procedures for external moderation for Component 2 and Component 4
26
Appendix 1: Grade descriptors
28
Appendix 2: Additional information
29
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 independent-minded 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.
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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.
Aims ______________________________________________
The course aims to:
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•
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.
Cambridge Pre-U Syllabus
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
1
Component name
Duration
Number of
marks
Weighting (%)
Type of
assessment
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
20
Internally
assessed and
externally
moderated
n/a
40
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Assessment objectives
Communicate knowledge and understanding of the nature and interpretation of drama and
theatre using appropriate vocabulary.
AO1
Demonstrate practical skills in the realisation of repertoire and the creation of original drama.
AO2
Analyse and critically evaluate aspects of drama and theatre, making independent decisions
and judgements within appropriate cultural, historical, stylistic and theoretical contexts.
AO3
Relationship between scheme of assessment and
assessment objectives
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
40%
AO3
17.5
n/a
n/a
10%
27.5%
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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
• 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 and 2015. 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
• use of modern theatre-technology.
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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 2013 and 2014
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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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, 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, 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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Option 4: Mask Design
Candidates will make a completed mask for one character, and produce detailed designs
for two other two 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, 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.
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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-released 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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Component 4: Performance Investigation
Internally assessed and externally moderated.
Candidates will produce an essay of 3 000 to 3 500 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 either by 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:
•
•
•
•
•
•
•
•
•
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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).
Cambridge Pre-U Syllabus
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.
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 is 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 3 000 to 3 500 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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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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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.
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Part 1: Duologue
18–20
15–17
12–14
9–11
6–8
3–5
1–2
0
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• 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 are 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.
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.
18–20
• 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.
15–17
• 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.
12–14
• 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.
9–11
• 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.
6–8
• 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.
3–5
• 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 are engaged, but the pacing is mundane.
• Technical strengths are occasionally apparent but their impact is undermined by the
number of slips.
1–2
• 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.
0
Work that is unworthy of credit at this level.
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Part 2, Option 2: Set Design
18–20
15–17
12–14
9–11
6–8
3–5
1–2
0
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• 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.
Cambridge Pre-U Syllabus
Part 2, Option 3: Costume Design
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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Part 1, Option 4: Mask Design
18–20
15–17
12–14
9–11
6–8
3–5
1–2
0
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Draft v3
• 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.
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 from different periods, cultures and genres, 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 3 000 to 3 500 words on a subject of their own
choice, although the essay must not be based on any of the set texts listed for Component
1 or either of the texts 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 3 000 to 3 500-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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Number
of
marks
17–20
13–16
9–12
5–8
2–4
1
0
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Draft v3
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.
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;
well-informed 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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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 xxx detailing the
skill 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 (xxxx/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.
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Cambridge Pre-U Syllabus
The DVD recording
(a) Identifying the candidates
•
DVDs must be labelled with 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.
(c) 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 (xxxx/ICMS) for each candidate.
A DVD cover sheet (xxxx/DVD).
The Moderator’s copy of the computer printed Internal Assessment Mark Sheet
(MS1) provided by CIE. Alternatively, if marks have been submitted to CIE
electronically, a signed print-out of the marks file should be submitted in place of the
second copy of the MS1 mark sheet.
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.
(d) 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.
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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)
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•
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.
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 XXXX.
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Language
This syllabus and the associated assessment materials are available in English only.
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 CIE Handbook for UK Centres 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.
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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.
Application
of Number
IT
Working
with
Others
Improving
own
Learning
and
Performance
Problem
Solving
Component
Communication
1
2
3
4
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© University of Cambridge International Examinations 2011