Qualifications Update:
Higher Drama
Key Messages
• Provides progression from National 5
Drama
• Develops an increased depth and
complexity of knowledge, understanding
and skills
• Offers personalisation and choice
• Provides flexibility
Course Structure
Two units:
• Drama Skills (Higher)
• Drama: Production Skills (Higher)
Internally assessed
Externally verified by SQA
Pass/Fail
Course Assessment
• Performance, marked by SQA
Visiting Assessor (60 marks)
• Question paper, marked by SQA
(40 marks)
Both performance and question
paper contribute to final grade
Key messages from Verification (Round 1)
•
Use valid and reliable assessments
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SQA-produced Unit Assessment Support Packs
Centre devised assessments that have been prior verified
Your own assessments – strongly advise you have these prior verified
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Marking of assessments
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SQA packs are designed on a pass/fail basis
Use Judging Evidence Tables to make assessment judgments against Assessment
Standards
Judging Evidence Tables have commentary on how to meet each Assessment Standard
A task/activity can meet most or all of the Unit Outcome and Assessment Standards
Indicate on candidate’s work that Unit Assessment Standards have been met
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Unit Assessment complementing learning and teaching
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Unit Assessment is open and flexible
Assessment should allow you space to prepare for Added Value/Course Assessment
Assessment Support Schedule 2013/14
Sept 13
CfE Update Letter
Oct 13
Unit Assessment Support (Package 1)
Feb 14
Unit Assessment Support (Package 2)
Feb 14
Higher Specimen Question Paper
Mar 14
Coursework General Assessment Information
Apr 14
Unit Assessment Support (Package 3)
May 14
Update Mandatory Documents
Jun 14
Update Unit Assessment Support
Drama
Unit Assessment
at Higher
Unit assessment - recap
• Flexible and open Assessment Standards and Evidence
Requirements in Units
• Greater range of techniques and methodologies for
assessment – encouraged
• Assessments can be designed to provide evidence across
more than one outcome or Unit – combined assessments
• More opportunities to gather naturally occurring evidence –
assessment as part of learning and teaching
Unit Assessment Support purpose
As at National 5, Assessment Support will be provided which
you can use to:
• Assess your candidates
• Adapt for your own assessment programmes
• Help you develop your own assessments
Unit Assessment Support at Higher
– key features
• Valid from August 2014
• Complements and supports learning and teaching
• Assess competence against Unit Outcomes and Assessment Standards
• Designed to encourage professional judgement
• Provide broad-based tasks – allow assessors to choose appropriate
context and forms of evidence
• Show range of approaches to generating assessment evidence
• Give information on the type of evidence which could be gathered
Unit assessment support
packages at Higher - approaches
Package 1
• Unit by Unit (generic) approach – discrete
assessment tasks for each Unit
Package 2
• Unit by Unit (stimulus-specific) approach –
discrete assessment tasks for each Unit
Package 3
• Combined approach – groups Outcomes and
Assessment Standards from different Units
Assessment Support Package Example
Unit by Unit Approach
– Drama Skills: Devise a drama
– Drama Production Skills: Develop production
skills within 2 selected production roles
Drama Skills
– Responding to stimuli, including text, to develop
ideas for drama
– Exploring form, genre, structure and style
– Developing and communicating ideas
– Planning devising and directing a drama
– Using complex acting skills to portray character to
an audience
– Evaluating their own work and that of others
Assessment Tasks
- Flexible and easily adapted for specific content
- Ideas based on a stimulus
- Candidates will take responsibility for one
section of a drama and act in one other section
Evidence
Ideas communicated to the group
Development of ideas within own section
Directorial responsibility
Acting in one other section
Evaluation
Drama: Production Skills
– Responding to stimuli, including text, to develop
ideas for drama
– Selecting ideas for chosen production roles
– Developing appropriate ideas and production skills
within their chosen production roles
– Demonstrating complex production skills within
selected production roles
– Evaluating their own work and that of others
Assessment Tasks
- Flexible and easily adapted for specific content
- Ideas based on a textual extract
- Candidates will explore and develop
production skills within 2 production roles
Evidence
Ideas communicated to the group
Development of skills within 2 production roles
Application of skills
Evaluation
Discussion
To provide pupils/students with opportunities to
generate evidence:
• What existing practices could you
continue/adapt?
• What new practices could you develop/adopt?
Drama
Higher Course Assessment
Course Assessment at Higher
• Course Assessment at National 5, Higher and
Advanced Higher assesses Added Value
• Courses at Higher are normally assessed by one or
two Components
• Courses at Higher are graded A – D, as at present
• Controlled Assessment of setting, conducting and
marking
• 2 Components for Higher Drama – question paper
and performance
Higher – Question Paper
• 40 marks
• 2 hours
• 2 extended response questions:
– textual analysis(20 marks)
– performance analysis (20 marks)
Textual Analysis
• An extended response from the point of view
of a director or actor or designer
• Demonstrate knowledge of a text
• Show an understanding of how the text could
be communicated to an audience
• 2 parts to question, each worth 10 marks
Textual Analysis
• In the first part of the answer one mark should be awarded for each
relevant point of understanding which is used to respond to the
question. Up to a maximum of five marks.
• One further mark should be awarded for each of the above points if
the candidate goes on to give further detailed development of
understanding which is insightful. Up to a maximum of five marks
• In the second part of the answer, one mark should be awarded for
each relevant production concept. Up to a maximum of five marks.
• One further mark should be awarded for each production concept if
the candidate has given further detailed development of each
production concept. Up to a maximum of five marks.
Performance Analysis
• An analysis of a performance that the learner has seen.
This may be a live or, if necessary, a recorded theatrical
performance.
• The play must be different from the selected text
in Section 1.
• Candidates will be asked to select two aspects from a
list of performance analysis areas.
• One mark will be awarded for the explanation of each
feature of the performance that achieves dramatic
impact and an audience response.
• One further mark will be awarded for an explanation
that is detailed.
Performance Analysis
• Considers such areas as: the genre, theme and
social, historical and/or theatrical context of
the performance piece; the company
performing the play; the performance space;
the director’s intentions and effectiveness; the
acting and development of characters; the
design concepts and their effectiveness — set,
props, costume, make-up, lighting,
sound/effects.
Higher – Drama Performance
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60 marks
Externally marked
Role of director or actor or designer
2 sections: preparation for performance (10
marks), performance (50 marks)
Section 1: Preparation for Performance
• An account of their research findings, a
description of their chosen role and the
processes used to reach either their acting or
directing or design concept for the
performance.
• The preparation for performance will be
generated in open-book conditions towards
the end of the rehearsal period.
Section 2: Performance
• Performance in the chosen role of acting,
directing or design
• Actors will prepare two contrasting roles from
two different texts . 25 marks will be available for
each role.
• Directors will conduct a rehearsal with actors
from a textual extract of approximately 2 pages.
The rehearsal should last approximately 30
minutes.
• Designers will design a set for their chosen text
and choose one other relevant production area.
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Recommended Texts List
Antigone
Sophocles
The Birthday Party
Harold Pinter
Bondagers
Sue Glover
The Caucasian Chalk Circle
Bertolt Brecht
The Crucible
Arthur Miller
Dunsinane
David Greig
Enemy of the People
Henrik Ibsen
Further than the Furthest Thing
Zinnie Harris
The House of Bernarda Alba
Federico Garcia Lorca
The Importance of Being Earnest
Oscar Wilde
Lovers
Brian Friel
Mary Queen of Scots Got Her Head Chopped Off
Liz Lochhead
Men Should Weep
Ena Lamont Stewart
The Prime of Miss Jean Brodie
Jay Presson Allen
The Servant of Two Masters
Carlo Goldoni
The Slab Boys Trilogy
John Byrne
Sunset Song
Lewis Grassic Gibbon
The Taming of The Shrew
William Shakespeare
A Taste of Honey
Shelagh Delaney
Tartuffe
Moliere
Discussion
• What approaches and content would be
useful when preparing candidates for the
question paper?
• Within the contexts of your own centre, what
will be useful in preparing candidates for the
performance roles?