NCEA Level 1 Drama (90011) 2006 — page 1 of 5
Assessment Schedule – 2006
Drama: Understand and reflect on drama processes and performance, applied to new
context(s) (90011)
Question
Evidence
Code
Achievement
Achievement
with Merit
Achievement
with Excellence
2I
2  Ie
2  Iee
One
(a)
Accurately identifies process
I
(b)
Supporting evidence included
Ie
or
Supporting evidence is
comprehensive and clear
Iee
1 x Ie
1 x Iee
For example
I: Process is identified and referenced to appropriate photograph(s)
Processes could include:
 learning lines
 blocking
 creating a set
 using costumes and props
 using makeup
 directing
 using body
 dress rehearsal
 performance
Ie: Evidence is included.
Process = Creating a set
Photographs Three, Four and Six
You can see this process happening in Photo Three because there is a girl putting flats together. In Photo Four you
can see that the set is partly put together but it is not yet painted, and the set is finished and painted in Photo Six.
Iee: Evidence is comprehensive and clear
Process = Creating a set
Photographs Three, Four and Six
You can see the process of building a set beginning in Photo Three. Here the girl is joining two flats together. There
will be a set design plan that the set builders and painters are working with. Otherwise she would not know what
size to make the flats. You can tell this as the flat has been marked so that the painters know what the colour will
be. The flat will be painted red at a later stage. The next step you can see is the set built but not painted in Photo
Four. This is important so that the actors can practice with the space that they will have during performances. You
can see that the set has two levels, with a balcony. In Photo Six the set is finished. It has been painted white on top
with fancy windows and with red bricks underneath so that you can tell that it is inside a church or castle.
NCEA Level 1 Drama (90011) 2006 — page 2 of 5
Question
Evidence
Code
Two
(a)
Describes how focus is created.
Includes specific detail.
D
or
Dd
Describes how use of prop
reveals character / situation.
D
or
Includes specific detail.
Dd
Describes how voice / body /
movement / space could be used
to deliver line.
D
(b)
(c)
Includes specific detail.
Describes in detail how voice
and one other technique could be
used in combination to deliver
line.
Achievement
Achievement
with Merit
Achievement
with Excellence
2D
2  Dd
1  Ddc
1  Dd
or
Dd
or
Ddc
For example
(a)
D: The focus is on character 3. Focus has been created by having characters 2, 4 and 5 facing character 3
and looking at him.
Dd: The focus is on character 3. Focus has been created by having characters 2, 4 and 5 facing character 3
and looking at him. Character 3 is standing centre stage and is at a higher level than characters 1 and 5.
Character 4 is pointing at him using his upstage arm, which directs the audience’s attention to character 3.
(b)
D: The crutch tells us that character 4 has been hurt and cannot walk properly.
Dd: The crutch tells us that character 4 has been hurt and cannot walk properly. It is a wooden crutch,
showing that the play is set in the past, as crutches used today are usually made of metal. The crutch could
also be used symbolically to show the character’s dependence on something (such as his accident) because
he does not want to deal with the situation.
Props could include crutch, satchel, umbrella, bag, boxes, or hoop.
Items of set or costume, such as tree, bandages, green paper on floor are acceptable. These are drama
components, and if candidates demonstrate how they have been used for effect in terms of character or
situation, they have met criterion 2 of the standard.
(c)
Ddc: (Techniques = voice and movement)
(i) To deliver this line I would have character 4 say the first part of the line while standing 2 or 3 metres
away from character 3. His tone of voice would be aggressive and emphasis would be placed on the
words ‘two weeks’. His voice would be quite loud. After ‘two weeks’ 4 would move towards 3 using his
crutch – giving a motivation for his anger. For the second part of the line character 4 would move close
to 3 and poke him in the chest while saying each word in a staccato manner.
(ii) Using voice and movement this way would show that 4 has just found 3 after searching for him for two
weeks. He would hobble to show that his movement is still restricted by his injuries. Moving closer to 3
would emphasise that 4 is determined to have an apology and will not go away or be dismissed easily.
NCEA Level 1 Drama (90011) 2006 — page 3 of 5
Question
Three
(a)
(b)
Evidence
Code
Reflects on drama processes by
explaining how a drama
convention was used, and the
purpose of its use in devising or
performing.
Rpr
Reflects critically on drama
processes by evaluating how
effective / ineffective the use of the
convention was in devising or
performing.
RCpr
Reflects on drama processes by
explaining a challenge that was
faced and how it was managed.
Rpr
Reflects critically on drama
processes by evaluating how
successful / unsuccessful
managing the challenge was.
(c)
Reflects on drama performance
by giving an example of how an
actor used drama techniques to
portray an aspect of the role.
Reflects critically on drama
performance by evaluating
effective / ineffective the actor’s
use of techniques was.
(d)
Reflects on drama performance
by giving an example of how
sound or lighting or set was
used to create a mood in the
performance.
Reflects critically on drama
performance by evaluating the
use of sound or lighting or set,
making a judgement about how
effective / ineffective the use of
sound or lighting or set it was in
creating the mood stated.
Achievement
Achievement
with Merit
1  Rpr
1  Rpr
1  RCpf
1  Rpf
1  Rpf
and
1 other Rpr or
Rpf
1  RCpr
and
1 other
RCpr or
RCpf or
Rpr or
Rpf
or
or
RCpr
Rpf
or
RCpf
Rpf
or
RCpf
See APPENDIX A for examples of responses to Question Three.
Achievement
with Excellence
NCEA Level 1 Drama (90011) 2006 — page 4 of 5
Judgement Statement
Question and Criterion
Achievement
Achievement with Merit
Achievement with Excellence
2I
2  Ie
2  Iee
One
First Criterion
or
1  Ie
1  Iee
2D
Two
2  Dd
1  Ddc
1  Dd
Second Criterion
Three
1  Rpr
1  Rpr
1  RCpr
Third Criterion
1  Rpf
1  Rpf
1  RCpf
1 other Rpr or Rpf
1 other Rpr / RCpr or Rpf / RCpr
Codes
I
= Identifies drama process
Ie
= Identifies a drama process with supporting evidence
Iee
= Identifies a drama process with clear and comprehensive supporting evidence
D
= Describes a way in which a component of drama produces an effect
Dd
= Describes, in detail, a way in which a component of drama produces an effect
Ddc
= Describes, in detail, a way in which components of drama combine to produce an effect
Rpr
= Reflects on a drama process
Rpf
= Reflects on a drama performance
RCpr
= Reflects critically on a drama process
RCpf
= Reflects critically on drama performance
NCEA Level 1 Drama (90011) 2006 — page 5 of 5
APPENDIX A – Examples of Responses to Question Three
(a) Convention = Human animals
Rpr: I used this convention by pretending that my character was like a frightened rabbit, and I moved around
the room this way. The purpose of using this convention was to help me get a sense of how to physically
portray my character.
RCpr: It was effective because I imagined my street child to be like a frightened rabbit, so my focus became
broken and fast as I flicked my attention to monitor the street around me. My breathing raised into my upper
chest, which made me more anxious and so all of my movements became small and quick. I could then use
these actions and feelings when I played my character.
(b) Challenge = Missing group member
Rpr: A challenge that I faced on performance day was that one of my group did not turn up for the
performance of our scene from Macbeth.
I managed this challenge by working with our group plan, which was to have Tia read the lines from the script.
She stood in one place and we performed the scene around her.
RCpr: Managing the challenge this way was successful. Tia was able to give the lines correctly so we all knew
where we were up to. That way we could get our cues right. It would have been impossible to leave the role
out as the missing student was playing Macbeth, so we couldn’t double up or anything. However, Tia did not
know any of the blocking so we had to react to her as if she were Macbeth, even though she was not standing
where we had rehearsed, or doing what we had planned. This was difficult, but I felt that I kept my cool and
played my part with focus and commitment.
(c) Performance = Metamorphosis
Rpf: Drama techniques used: body and movement
An example of how the actor used drama techniques was when he gradually became an insect. He used
movement when he was becoming the insect because he crouched and swayed like an insect waiting for its
prey. He also used body because he pulled his head into his neck and his knees and elbows were pointed up
and out to accentuate the joints in his arms and legs like an insects.
By using these techniques the actor showed us that the character was not really human any more, but that he
was becoming like an insect and was trapped by his life.
Note: Candidate may answer the question by referring to a single technique.
RCpf: The actor’s use of techniques was very effective. It would have been easy to have lost belief in the
performance if he had not seemed to change and take on the characteristics of an insect. However, the actor
changed his movements, use of body and space gradually during the performance. He started off with insectlike human movements, such as moving his head suddenly, and ended up all bug, such as when he hung
upside down from the set. Because this change was gradual it was believable and it also showed the impact of
the events of the play on the character, and how he became less and less human because of the way he was
treated.
(d) ‘Maui – One Man against the Gods’
Rpf: Mood created: danger in Mahuika’s lair
One example was: the use of lights on the cyclorama. There was a red and orange wash to make the
background look like fire. Gobos were used to create a yellow flickering flame pattern. This represented
danger and destruction. Lights flashed on and off during the scenes, creating tension.
RCpf: The use of this lighting was effective because it made me think danger (red and orange) and the
flashing lights made me feel excited. The lighting changes were big and dramatic and they made me feel that
the events in the story were larger than life and very dramatic.
The lights flashing on and off in time with the music were also effective because they made it feel like we were
also in the lair, as if we were inside a living thing.