Download 91514 Sample Assessment Schedule

NCEA Level 3 Drama 91515 (3.3) — page 1 of 7
SAMPLE ASSESSMENT SCHEDULE
Drama 91515 (3.3): Interpret a prescribed text to demonstrate knowledge of a /theatre form or period
Assessment Criteria
Achievement
Achievement with Merit
Interpret a prescribed text to demonstrate knowledge of
a theatre form or period involves explaining the theatre
form or period, by making connections between the text
and the theatre form or period.
Achievement with Excellence
Interpret a prescribed text to demonstrate informed
knowledge of a drama/theatre form or period involves
making detailed connections between the text and the
theatre form or period that support a thorough
understanding.
Interpret a prescribed text to demonstrate perceptive
knowledge of a drama/theatre form or period
involves making insightful connections between the
features of the form, the text’s purpose(s) and the
wider context.
Evidence Statement – Expected coverage: Examples – Waiting for Godot, Samuel Beckett
One
Expected Coverage
Achievement
(a)
Candidate describes a key
feature of the text and
discusses its relationship to
the form /period.
Candidate identifies and
describes a key feature
used in their selected text,
considering its relationship
to the form or period.
Candidate explains the specific
use of the key feature, giving
relevant examples and using
appropriate quotations from the
text.
Eg:
Eg:
Repeated circular dialogue
and action is typical of
Absurdist theatre, which
uses the existentialist view
that life has no purpose.
The circular action shows
that no purpose comes
from the circular dialogue.
The play finishes where it
began with no clear
development in the middle.
Absurdist writers used the idea
that words have no meaning and
it is the action that has more
importance. This is reflected
through the circular dialogue,
which creates the feeling of
‘nothing to be done’ Eg, circular
action is shown in the minor
dialogue “I am Pozzo.” “Who
Bozzo?” “No Pozzo.” “Ahh his
name is Pozzo.” “Yes Pozzo” and
through their action in the whole
(b)
Candidate explains use of
the key feature in the text.
Candidate explains the
purpose the key feature
serves in supporting the
ideas of the play /playwright.
(c)
Merit
Excellence
Candidate makes insightful references to the text making
connections between the features of the form or period and the
ideas of the text /playwright.
Eg:
This circular action of doing the same thing each day ties into
the Absurdist writer’s view that there is little point to life, as the
next day you are going to do the same thing as the day before.
Eg, the play is set in two halves, the evening of two days follow
each other. The circular action can represent any time period; a
day, a week, a month, to a year, or a whole lifetime. The circular
action is a metaphor for life, eg, you are born and then you die –
“we are born aside a grave”.
Also, the repetition of words in the song “A dog came into the
kitchen” reflects how humans also meaninglessly repeat words.
Samuel Beckett’s writing and Absurdist theatre was a response
to the inhumane events of World War II and the post-war
pessimism about the human condition and the cruelty of
NCEA Level 3 Drama 91515 (3.3) — page 2 of 7
play.
Not Achieved
existence.
NØ
No response; no relevant evidence.
N1
Candidate names and describes a key feature.
N2
Candidate names and describes a key feature and gives few details to explain how it is related to the form /period in which it was
written.
A3
Candidate identifies and describes a key feature and simply explains how it is related to the form /period in which it was written; a
simple example is given.
A4
Candidate identifies and describes a key feature and explains how it is related to the form /period in which it was written; an
example is given with a relevant quote which exemplifies the key feature.
M5
Candidate identifies and describes a key feature and explains in detail how it is related to the form /period in which it was written;
several well-chosen examples are given with relevant quote(s) to exemplify the key feature.
Achievement
Merit
M6
Candidate identifies and describes a key feature and explains in detail how it is related to the form /period in which it was written.
Several well-chosen examples are given with relevant quotes to exemplify the key feature.
Some reference is made to the key feature and how it is used in supporting the ideas of the text /playwright.
E7
Candidate identifies and describes a key feature and explains in detail how it is related to the form /period in which it was written.
Several well-chosen examples are given with relevant quotes to exemplify the key feature.
Candidate also explains, showing some insight, the purpose the key feature serves in supporting the ideas of the text /playwright.
Excellence
Candidate identifies and describes a key feature and explains in detail how it is related to the form /period in which it was written.
Several well-chosen examples are given with relevant quotes to exemplify the key feature.
E8
Candidate also explains, showing deepened insight, the purpose the key feature serves in supporting the ideas of the text /
playwright.
NCEA Level 3 Drama 91515 (3.3) — page 3 of 7
Two
Expected Coverage
Achievement
Merit
Excellence
(a)
Candidate uses the
director’s voice and explains
their interpretation of a main
character to an actor by
highlighting key feature(s) of
the text.
The candidate explains interpretation of a
main character by referring to features of
the text, ideas to emphasise, and the use
of drama techniques to convey character.
The candidate explains interpretation of a
main character by referring to features of
the text, ideas to emphasise, and the use
of drama techniques to convey character.
Candidate gives relevant examples and
uses appropriate quotations from the text.
I want you to interpret the character of:
Pozzo
(b)
As the director, the
candidate explains ideas the
actor is to emphasise in
portraying the character’s
line of action and what they
say to others.
The candidate explains interpretation of a
main character by referring to features of
the text, ideas to emphasise, and the use
of drama techniques to convey character.
Candidate gives insightful examples and
quotations from the text making
connection between the theatre /form and
the text’s purpose.
As the director, the
candidate explains use of
voice, body, movement, and
space to create character in
a chosen scene.
(c)
Eg:
by highlighting the key feature(s): of
inhumanity towards other people. In your
relationship with others you need to
display a lack of concern for the wellbeing of others.
You are the master and Lucky is your
slave. You are to drag him along tied by a
rope, make him carry everything, and call
him names in a sardonic tone of voice.
There is no chance of any development of
character through relationships and by
your thoughtless actions we understand
you are a hard-hearted person who cares
only for himself.
Eg:
You are to use the idea of protracted
delay. Nothing happens without lots of
questions and arguments. In Act One,
you are on a journey to sell Lucky at the
fair and you say you are in a hurry. When
Vladimir and Estragon ask you why Lucky
doesn’t put down the bags you are to take
great delight in explaining why in as
lengthy manner as possible. You are
pompous, foppish, and overly courteous
in the extreme. You are to digress, repeat
yourself, not understand the question,
and spend ages spraying your throat
before you answer, using the comedy of
action to convey the cruel aspect of your
nature. You are the master and Lucky is
the slave. Finally you say “He imagines
that when I see how well he carries, I’ll be
tempted to keep him on in that capacity”.
You are to use an ironical tone of voice
and lift your eyebrows.
Eg:
Pozzo has a handkerchief, which you are
to flourish, offering it to Estragon to wipe
the tears from Lucky’s eyes. Lucky kicks
him violently in the shins and drops the
handkerchief. Lucky, on your command
“Hanky!”, picks it up and gives it back to
you picking up his bag and basket again.
You are to stand in a superior manner
with your chin jutting out and an
expression of delight in being the superior
being who manipulates others and enjoys
their discomfort. Remember you claim to
live in a manor, where you own many
slaves and a piano. You cruelly use those
around you. In Act Two, there is
transference of roles. You as Pozzo are
now blind and Lucky is dumb. You are
returning from the fair having been unable
to sell Lucky. Beckett had contempt for
the ambition to better one’s position in the
world of business and society. He
believed the artist should always look
NCEA Level 3 Drama 91515 (3.3) — page 4 of 7
inwards to the layers of meaning in life.
Lucky is to be interpreted as your soul.
“But for him all my thoughts, all my
feelings would have been of common
things”. Having exploited, abused, denied,
and silenced the spiritual side of your own
nature, you want to be rid of him
altogether – “One journeys all alone
…and never a soul in sight.”
Not Achieved
NØ
No response; no relevant evidence.
N1
Candidate explains a main character.
N2
Candidate explains a main character and gives some relation to a key feature of the text.
A3
Candidate explains their interpretation of a main character by highlighting a key feature of the text; a simple example is given of the
character’s line of action and what they say or how they speak to others.
A4
Candidate explains their interpretation of a main character by highlighting a key feature of the text; an example is given of the
character’s line of action and what they say or how they speak to others, which clearly exemplifies an appropriate interpretation.
M5
Candidate explains in detail their interpretation of a main character by highlighting a key feature of the text; several well-chosen
examples are given of the character’s line of action and what they say to others with quotes, which clearly exemplifies an
appropriate interpretation.
M6
Candidate explains in detail their interpretation of a main character by highlighting a key feature of the text; several well-chosen
examples are given of the character’s line of action and what they say to others with detailed quotes, which exemplify a thorough
interpretation.
E7
Candidate explains in depth their interpretation of a main character by highlighting a key feature of the text; several well-chosen
examples are given of the character’s line of action and what they say to others with detailed quotes, which exemplify a perceptive
interpretation of the use of voice, body, movement, and space to convey the text’s purpose.
E8
Candidate explains in depth their interpretation of a main character by highlighting a key feature of the script; several well-chosen
examples are given of the character’s line of action and what they say to others with insightful quotes, which exemplify a perceptive
interpretation of the use of voice, body, movement, and space to convey the text’s purpose.
Achievement
Merit
Excellence
NCEA Level 3 Drama 91515 (3.3) — page 5 of 7
Three
Expected Coverage
(a)
As costume designer, the
candidate states the feature
of the theatre form to
emphasise in designing a
costume for chosen
character (discussed in
Question 2).
As costume designer,
candidate sketches costume
ideas for their chosen
character (as discussed in
Question 2).
As costume designer, the
candidate writes detailed
notes on the style, choice of
materials, texture, colour,
and specific features that
relate to the form /period /
chosen scene.
(b)
Achievement
Merit
Excellence
The candidate states the main aspect or
feature of the theatre form they will
emphasise in their costume design for
Pozzo and draws a sketch.
The candidate states in detail the main
aspect or feature of the theatre form they
will emphasise in their costume design for
Pozzo and draws a detailed sketch.
Eg:
Eg (also):
My selected character is Pozzo. The main
aspect of Absurd theatre I will emphasise
with this costume is the connection to the
vaudeville. There is a lot of action with
hats and boots and prat-falls and Pozzo
needs to wear a good suit.
The bowler-hat belongs to the tradition of
Chaplin and Laurel and Hardy.
The candidate states in detail the main
aspect or feature of the theatre form they
will emphasise in their costume design for
Pozzo and draws a detailed sketch. The
candidate writes detailed notes on the
design of the costume making connection
between the costume, the theatre /form
and the text’s purpose.
(The sketch drawn is simple and has
Pozzo wearing a bowler-hat and suit
similar to Vladimir and Estragon but he
also has a great coat and black shoes
with a whip in his hand.)
However, the great coat Pozzo wears is
foppish and overstated with a black –
checked pattern on a red woollen cloth
with black lapels reminiscent of a
ringmaster in a circus. He wears a red
shirt and a large black bow tie. The red
colour emphasises his dominance over
Lucky, Estragon, and Vladimir.
Eg (also):
The great coat is worn with a nicely
pressed black suit trousers, a black
waistcoat with a silver pocket watch and
shiny black leather shoes. Pozzo’s suit is
in much better condition than Vladimir
and Estragon’s suit. This reflects the
more affluent character of Pozzo, the man
in charge. The “great coat” is often carried
by Lucky as one of his burdens to bear.
Pozzo also carries a black shiny whip,
which is a symbol of the “master.” He has
a pipe in his great-coat pocket and a
breath freshener used as a part of his
comedy routines and stage business. He
wears long black leather boots with silver
studs on them to accentuate his
dominance over others. The great coat is
worn with a nicely pressed black suit
trousers, a black waistcoat with a silver
pocket watch and shiny black leather
shoes. Pozzo’s suit is in much better
condition than Vladimir and Estragon’s
NCEA Level 3 Drama 91515 (3.3) — page 6 of 7
suit. This reflects the more affluent
character of Pozzo, the man in charge.
The “great coat” is often carried by Lucky
as one of his burdens to bear. Pozzo also
carries a black shiny whip, which is a
symbol of the “master.” He has a pipe in
his great-coat pocket and a breath
freshener used as a part of his comedy
routines and stage business. He wears
long black leather boots with silver studs
on them to accentuate his dominance
over others.The great coat is worn with
nicely pressed black suit trousers, a black
waistcoat with a silver pocket watch, and
shiny black leather shoes. Pozzo’s suit is
in much better condition than Vladimir
and Estragon’s suit. This reflects the
more affluent character of Pozzo, the man
in charge.
Not Achieved
NØ
No response; no relevant evidence.
N1
Candidate names an aspect or feature of the theatre form they will emphasise in their costume design for Pozzo.
N2
Candidate names an aspect or feature of the theatre form they will emphasise in their costume design for Pozzo and draws a
simple sketch.
A3
Candidate states the main aspect or feature of the theatre form they will emphasise in their costume design for Pozzo and draws a
simple but appropriate sketch.
Achievement
A4
Candidate states the main aspect or feature of the theatre form they will emphasise in their costume design for Pozzo and draws a
clear sketch.
Candidate also writes some notes on choices made.
Merit
M5
Candidate states in detail the main aspect or feature of the theatre form they will emphasise in their costume design for Pozzo and
draws a detailed sketch.
Candidate also writes detailed notes on choices made.
NCEA Level 3 Drama 91515 (3.3) — page 7 of 7
M6
Candidate states in detail the main aspect or feature of the theatre form they will emphasise in their costume design for Pozzo and
draws a detailed sketch.
Candidate also writes detailed notes on choices made in the costume design that connect to the theatre /form.
Candidate states in detail the main aspect or feature of the theatre form they will emphasise in their costume design for Pozzo and
draws a detailed sketch.
E7
Excellence
Candidate also writes detailed notes on the design of the costume, making connection between the costume, the theatre /form, and
the text’s purpose.
Candidate states in detail the main aspect or feature of the theatre form they will emphasise in their costume design for Pozzo and
draws a detailed sketch.
E8
Candidate also writes detailed notes on the design of the costume making insightful connections between the costume, the
theatre/form and the text’s purpose.