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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.