Download NCEA Level 3 Drama (90610) 2012 Assessment Schedule

NCEA Level 3 Drama (90610) 2012 — page 1 of 5
Assessment Schedule – 2012
Drama: Demonstrate knowledge of theatre form or period by analysing and interpreting
two scripted texts (90610)
Evidence Statement
Question
Evidence
ONE
Analyse the FIRST SELECTED TEXT by identifying and explaining a key feature.
(a) (b)
For EACH of the two key features:
Code
Identifies an important key feature of the text
AND
(i)
Explains how the key feature is used in the text, and how it relates to the form or period
(general ideas are acceptable), giving examples
An
AND
Uses appropriate quotations from the text.
Reference could be made to aspects of:
 points of view and / or theories
 themes
 language
 performance style
 staging.
(ii)
Explains at least ONE way the playwright uses this feature to make the text relevant to an
audience at the time it was written AND explains how the feature is still relevant for a
modern audience, showing depth through connections to wider and / or deeper
knowledge.
Dp
Reference could be made to:
 theory / ideology / history
 social / economic / historical issues
 audience relationship.
 detail and specificity of points.
TWO
Interpret the SECOND SELECTED TEXT through the portrayal of an important character.
(a) (b)
For EACH of two different scenes:
Describes an interaction with a (different) character using drama techniques, using
appropriate quotations from the text.
In
Justifies choices with reference to features of the theatre form or period.
Dp
Reference could be made to:
 theory / ideology / history
 social / economic / historical issues
 audience relationship
detail and specificity of points.
(c)
Illustrates one of the scenes described with detailed, annotated sketches.
Dp
NCEA Level 3 Drama (90610) 2012 — page 2 of 5
Judgement Statement
Achievement
Achievement with Merit
Achievement with Excellence
1 An + 1 In + 1 other An / In / Dp
2 An + 2 In + 3 Dp
2 An + 2 In + 5 Dp
Codes
An
=
Analyses
In
=
Interprets
Dp
=
Shows depth
NCEA Level 3 Drama (90610) 2012 — page 3 of 5
Appendix A
Sample responses to Question One, “Analyse important key features”
The Pōhutukawa Tree by Bruce Mason
Important key feature: Differing attitudes to land between Maori and Pakeha – the difference between guardianship
and ownership
(i) Explains how the important key feature is used in the text, and how it relates to the form or period (general
ideas are acceptable), giving examples AND using appropriate quotations from the text (An).
In The Pōhutukawa Tree, Aroha Mataira sees herself as the guardian of the last piece of land left to Māori in
Te Parenga – the piece where the great chief Whetumarama fell while fighting the Pākehā. “This is a holy
place, now and forever.” The rest of the land has been purchased by the Atkinsons who run it as an orchard –
and now Atkinson has his eye on the final piece to extend the orchard and make the whole block much more
valuable. The situation epitomises the whole issue of conflicting attitudes to land held by Māori and Pākehā.
Māori see themselves as guardians of the land which is sacred, while Pākehā see it as a commodity to be
bought and sold. Aroha sees the land as lost by time – “Pākehā time” – “slice by slice from the whale”.
(ii) Explains how the playwright has used this key feature to make the text relevant to an audience at the time it
was written showing depth through connections to wider and / or deeper knowledge AND explains how the
feature is still relevant for a modern audience. (Dp).
The issue of rural land occupied by Māori was very relevant in the 1950s at a time when Māori were
increasingly becoming more urbanised and leaving their more traditional lives. The issue is still, of course, very
alive to audiences today in the climate of Treaty settlements and the return of large blocks of land to traditional
tribes and iwi.
Important key feature: The meeting of tikanga Māori with the world of the Pākehā is an important theme in New
Zealand theatre
(i) Explains how the important key feature is used in the text, and how it relates to the form or period (general
ideas are acceptable), giving examples AND using appropriate quotations from the text (An).
Aroha in the Pohutukawa Tree is struggling to preserve traditional ways and dignity in her two children,
Queenie and Johnny. This is the central theme of the play. Her struggle is largely in vain as Queenie becomes
pregnant to a young Pākehā, Roy, and Johnny falls victim to alcohol and becomes an early angry
disenfranchised young Māori man. The Mataira story is a metaphor for the very possible fate of Māori tikanga
in the face of increasing European cultural influence in New Zealand. “You want to see my race a lot of
laughing clowns …”.
(ii) Explains how the playwright has used this key feature to make the text relevant to an audience at the time it
was written AND relates how this key feature is still relevant for a modern audience, showing depth through
connections to wider and / or deeper knowledge (Dp).
At the time the play was written, the audience would have been very aware of the problems of the assimilation
of Māori into European life but maybe not so knowledgeable about the idea that assimilation was not perhaps
the only way for New Zealand society to take. Maybe integration and valuing of tikanga Māori might be
preferable. The issue remains very much current today and I think there is much more understanding of the
issue if not so much solutions to the problems.
NCEA Level 3 Drama (90610) 2012 — page 4 of 5
Appendix B
Sample responses to Question Two, “Interpret text as a performer”
Twelfth Night by William Shakespeare
Important character: Viola (Cesario)
(a) Describes an interaction with a character using drama techniques (In). Justifies choices with reference to
features of the theatre form or period. (Dp).
(i) In Orsino’s palace, the Duke, strangely attracted to the young ‘man’, Cesario, discusses love with him then
instructs him to once more visit Olivia to woo the lady on his behalf.
(ii) Disguise: Viola disguised as a man struggles to maintain her cover in the face of her growing attraction for the
Duke. There would be a boy playing the role of a woman struggling to present as a man. There is much
opportunity for humour in this – especially the exploration of gender boundaries.
Music: Elizabethan performance commonly included song. The song here relates well to the Duke’s courtly
love and traditional despair.
Dramatic Irony: The audience gets pleasure and amusement from knowing that Cesario is really a woman and
that the love between the two is viable.
(iii) There will be moments in the scene when Viola’s involvement and her growing attachment to the Duke cause
her to forget her disguise as a male and stand, gesture and move in a female way thus jeopardising her plan.
An example might be when she exclaims “But if she cannot love you, Sir”, and is only saved by the Duke’s
outburst “I cannot be so answered”, giving her time to recover. I also imagine the two unconsciously moving
closer together, engrossed in one another on lines like “As it might be perhaps, were I a woman / I should your
Lordship”, before realising what is happening and moving away again. The song in the scene has a theme of
unhappiness in love, “I am slain by a fair, cruel maid”, which will suit the ridiculous courtly love theme in which
Orsino is trapped. Viola, who is much more down-to-earth and worldly in these matters, is however too polite to
take him to task. But the main feature the whole scene turns on is the dramatic irony in the situation. This
provides the delight for the audience who understand much more in the lines
Viola: Ay but I know …
Duke: What dost thou know?
Viola: Too well what love women to men may owe
than does the hapless Orsino. And the audience also understands the gender politics in the discussion of love by
the genders than Orsino has any idea of.
(b) Describes an interaction with another character using drama techniques (In). Justifies choices with reference
to features of the theatre form or period. (Dp).
(i) In Act 1, Scene v, Viola (Cesario) woos Olivia on behalf of Orsino but Olivia becomes very attracted to the
young ‘man’.
(ii) Metaphorical language: The formal metaphorical language of courtly love as in the way Cesario presents
Orsino’s love to Olivia.
Declamatory style of delivery: The declamatory style of line delivery in the outdoor theatres to the huge and
often noisy audiences.
(iii) When Viola (Cesario) first enters the presence of Countess Olivia, she holds the lowly status of messenger and
needs to be deferential perhaps kneeling on one knee. Olivia on the other hand, expects to want to be rid of
this messenger as quickly as possible. Cesario attempts to launch into a prepared speech in courtly terms on
Orsino’s behalf and for a while Olivia plays along:
Viola: Most sweet lady …
Olivia: A comfortable doctrine and much may be said of it. Where lies your text?
Viola: In Orsino’s bosom.
Olivia: In his bosom! In what chapter of his bosom?
Viola: To answer by the method, in the first of his heart.
The sentiment and imagery of this would have been antiquated and humorous even in Elizabethan times. It is
another joke against Orsino. As the scene progresses, Viola becomes more desperate to get her master’s
message across (she loves him) and more forward and consistent with Olivia while the latter becomes more and
more intrigued with the young handsome messenger finally asking how Viola (Cesario) might woo her if ‘he’ loved
NCEA Level 3 Drama (90610) 2012 — page 5 of 5
her. The answer is a set piece that would give Viola a chance to use a declamatory style of delivery to all three
sides of the thrust stage and to include the groundlings as well as the highest galleries:
“Make me a willow cabin at your gate,
And call upon my soul within the house….”
(c) Illustrates one of the scenes described with detailed, annotated sketches (Dp).
Scene: (b)