Download 90302 - Exemplars

Drama Exemplar
AS 90302 (2.4) Apply knowledge of a drama/ theatre form or period
through performing a role within a presentation – Level 2, Version 2
Excellence
This exemplar provides extracts from recorded documentation to support the first
and second criterion of the standard for the grade of Excellence.
The extracts are typical of the whole portfolio.
Criteria one and two:
Achieved
Identify features of a
drama/ theatre form or
period
Reference some features
of appropriate selected
text(s) to performance
within a presentation.
Merit
Identify an extended
range of features of a
drama/ theatre form or
period
Reference key features of
appropriate selected text(s)
to performance within a
presentation.
Excellence
Identify a comprehensive
range of features of a
drama/ theatre form or
period
Reference key features of
appropriate selected text(s)
to performance within a
presentation.
Commentary:
There is no distinction within the standard between Merit and Excellence for criterion
two. However, criterion one distinguishes between the two higher grades. In order to
achieve Merit, students must identify an extended range of features of the drama /
theatre form or period. This indicates a breadth of knowledge and understanding. In
order to demonstrate Excellence, students must identify a comprehensive range of
features of a drama / theatre form or period. This distinction implies that the student
demonstrates not only breadth, but depth of knowledge and understanding.
It is important to note the relationship between criterion two and criterion three. Depth
and detail in criterion two directly informs performance choices and consequently
influences the potential result for criterion three.
The form referred to in this exemplar is Elizabethan Theatre. The character
portrayed is Lady Macbeth. In the scene referred to, Lady Macbeth waits for her
husband to return from murdering King Duncan. On his return, she tries to reassure
him and, noticing he has brought the daggers with him, takes them to lie beside the
grooms who guard the King. On her return, Macbeth and his wife retire to their
chamber.
The evidence has been provided in a two column format. The first column has the
student evidence. The second column provides comment explaining why the evidence
supports achievement with excellence.
The student has:
 Linked a comprehensive range of key features to the performance extract.
 Explored the effect of these choices on the audience with some perceptiveness.
 Extended these features to support the intention of the performance
 Discussed the various interpretations of feature use.
 Considered the distinction between this form and contemporary practice.
Student exemplar
One feature of Elizabethan theatre is that
the language is very descriptive and rich,
so that the players could easily
physicalise the play with gestures and
movements…. Macbeth has a strong
focus on hands. This is a particularly
strong gesture that we will use. At the
beginning of our extract, I (Lady
Macbeth) am pacing up and down,
keeping watch while Macbeth kills
Duncan, it is very high tension and I get
frightened by the smallest noises. I am
wringing my hands as I pace up and
down – showing panic and fear- then
when I hear a noise I jump back 3 paces
and put up my hands. In naturalistic
theatre of today a movement like that
would appear over the top but this is the
Elizabethan acting style.
Another example of physicalisation of the
language in our extract is where Macbeth
( josh) also uses his hands to protect
himself from being found out, and looks
at his hands as they are blood stained, as
he says that ‘…What hands are here, ha!.
They pluck out mine eyes’. This is a
strong gesture and shows the audience
that he is going mental because of what
he has done.
Contrasting words very common in blank
verse, the style of poetry used in
Elizabethan plays. In performance these
words would be accentuated and
emphasised.
In Macbeth especially, Shakespeare used
contrasting words…Such as in one of my
opening lines “ Death or nature do
contend about them, whether they live or
die….” By using emphasis on these
contrasting words I show the passion of
Comment
The student shows that they are aware of
the practice of the physicalisation of
language in Elizabethan Theatre. They
also indicate an awareness of the writing
style. They link this knowledge
specifically to detailed performance
choices. They also consider the effect of
the use of these features and contrast
them with naturalistic theatrical practice.
This begins to imply perceptive
understanding. Comments of this nature
establish the pre-conditions for and
support the potential for the
demonstration for perceptiveness in
performance.
The student has identified a range of
textual features and referenced these
features to their own performance with
detail and understanding. They do
comment in depth on the actual effect of
their choices.
Shakespeares writing.
I am using Iambic Pentameter throughout
the extract but in one specific example,
we both have lines that flow from one
another, and we must keep the pace up ,
and almost overlap each others speech.
There are also times where I interrupt his
speaking, meaning that I must continue
the rhythmic pattern.
( commented on in detail in associated
referencing seminar )
Lady Macbeth is the tragic heroine – this
is unusual because usually the tragic hero
is accompanied by an innocent woman
victim. Another word for Lady Macbeth’s
stock character could be a ‘vice’ this
refers to the evil trouble maker character;
since Lady Macbeth is responsible for
Duncan’s murder ( and this is evil) this
stock character could also reflect her.
In Macbeth, Lady Macbeth mentions that
she ‘heard the owl shriek’. The owl
shrieking was an omen of death, a
superstitious one. The whole play
Macbeth is based around the prophesies
that Macbeth heard that made him ‘tempt
fate’. These are superstitions that are
brought through in the play.
Notes from annotation:
The owl, like the raven was a symbol of
death according to Elizabethan
superstition.
Face right galleries, left galleries- Then
last line delivered to the groundlings as it
is the most exciting part of the line- to
keep their attention so there will be no
fruit throwing.
…extremely strong gesture of looking at
hands. (blood stained) Strong imagery
and then directed to the groundlings.
The student examines the role of the
character in terms of stock characters.
He/she clarifies the intent and function of
the role in terms of the form. They show
awareness of typical construction within
the form by discussing characteristic role
pairings. They also show an ability to
discuss perspectives on the role within
the context of conventional practice.
Here the student demonstrates only a
superficial awareness of the impact of
this sociological feature. The student
identifies examples and links their scene
to the broader context of the play.
However s/he does not expand on issues
they allude to, such as Fate and the
Wheel of Fortune. However, there is
sufficient evidence elsewhere in the
portfolio to support the grade of
Excellence.
These all indicate the student has
identified and referenced a
comprehensive range of features. There is
purpose in their referencing. They know
why they are including the features. This
again supports judgement for criterion
three at Excellence level.
React with hands and step back three
paces – using Elizabethan acting
techniques – reacting with whole body,
moving with purpose and making
gestures and movements clear for all
audience.
Macbeth is speaking in poetry as he is
showing his high emotive state as
opposed to Lady Macbeth who is in
charge of the whole thing and is not
thinking of feelings. This is a language
feature.
‘Knock within’ means a knock backstage.
This would have taken place in the ‘inner
acting area’-we will simply have
someone knock off stage.
Enter stage left instead of stage right as
this will show that my evil deeds have
caught up with me and I have become a
villain.
On’t = on it. This was shortened to fit
Iambic Pentameter.
Low Merit
This exemplar provides extracts from recorded documentation to support the first
and second criterion of the standard for the grade of Merit at the border with
Achieved.
The extracts are typical of the whole portfolio.
Criteria one and two:
Achieved
Identify features of a
drama/ theatre form or
period
Reference some features
of appropriate selected
text(s) to performance
within a presentation.
Merit
Identify an extended
range of features of a
drama/ theatre form or
period
Reference key features of
appropriate selected text(s)
to performance within a
presentation.
Excellence
Identify a comprehensive
range of features of a
drama/ theatre form or
period
Reference key features of
appropriate selected text(s)
to performance within a
presentation.
Commentary:
Criterion one distinguishes between the two grades by requiring students to identify
features of the drama / theatre form or period at Achieved level and by requiring them
to identify an extended range of features of a drama / theatre form or period at Merit.
Criterion two requires that students reference some features in order to achieve but
requires the referencing of key features in order to achieve with merit.
It is important to note the relationship between criterion two and criterion three. Depth
and detail in criterion two directly informs performance choices and consequently
influences the potential result for criterion three.
The form referred to in this exemplar is Elizabethan Theatre. The character
portrayed is Lady Macbeth. In the scene referred to, Lady Macbeth sleepwalks,
observed by her gentle woman and a doctor.
The evidence has been provided in a two column format. The first column has the
student evidence. The second column provides comment explaining why the evidence
is at the lower end of the Merit range.
The student has:
 Identified an extended range of features of the form
 Linked features identified to her performance choices in a general manner.
 Shown an awareness of the socio/ historical context of the form and attempted
to link this awareness to the text.
However, the student has contradicted her intention on several key instances, taking
away from the clarity of the referencing, and this weakens the Merit grade.
Student examples
I use imagery in my extract through my
use of the taper Lady Macbeth holds as
she enters and exits…
Imagery is used here again ( One, two,
why then it is time..) – it is though she is
reliving the murder
Imagery is used through the taper. I am
holding it to show that it is dark and it’s
night
Comments
The student makes an inaccurate
assertion of use of a literary feature
(imagery) without defining the meaning.
She appears to be discussing the
representation of situation with symbolic
props or language. She eventually
explains the effect of their choice but
does not justify why it is used.
These are examples of a recurring error.
They work against the clear
demonstration of understanding.
My character is now evil, so she will
The student identifies and references
wear black to symbolise darkness, gloom, colour symbolism and costuming features
woe, depression, remorse, death, guilt etc. of the form. She also identifies the effects
of the exclusion of women from the
I used some Elizabethan features to show stage. The student then references her
what I think her physical aspects are. In
own performance choices based on this.
Elizabethan times the actors wore wigs
(because guys played the girls part) a
crazy person would have a messy wig. So
I will have my hair down / in a messy
plate with some hair in my face to show a
sleepless night full of stress and
nightmares. I will be wearing a black
night gown because black represents eviland there is evil all around me in the
scene, completely taking over.
Iambic pentameter is used here: what
need we fear who knows it.
Poetry and Prose is used .E.g. – ‘The
thane of Fife, had a wife’. Other lines are
in plain prose.
The fact that she would risk her life, her
life in the after life (as in those times they
would be very religious and superstitious)
and in the end her sanity shows the total
loyalty of love she has for her husband.
The student identifies features of the
language and links to the text but does
not make reference to the planned
performance for the use or impact of the
feature. This lowers the evidence for the
referencing of key features at the Merit
grade.
There is some detail in the discussion
here. The student looks beyond the
surface into the belief systems of the
time. However it is still rather general.
There is no exploration or linkage with
lines like ‘Hell is Murky’ and the specific
belief in hell or the natural order. There is
no exploration of how this will impact
upon her performance.
The renaissance was a great revolution in
thinking, a new awareness of the
individuals potential as a reasoning,
creative, and possible heroic being. A
Greek philosopher said ‘Man is the
measure of all things” Man, not God. The
most known symbol of this time is the
drawing by Leonardo da Vinci that shows
mans body as the basis for geometry.
‘Man was the ultimate picture for reason
order and form: man in short was the
modern Apollo. This relates to my
extract, Lady Macbeth pressures Macbeth
to kill the King. She denies him his
manhood: his courage and all things that
she know would effect him. This makes
Macbeth commit the murder , despite still
holding doubt and fear inside of him, just
to prove himself to her.
Yet who would have thought the old man
to have so much blood in him. This
reference to blood implies Duncan’s
cheerful personality of being kind and
joyful.
The student attempts to link the plot of
the play to the sociology of the period but
fails. There is no clear linkage between
the discussion of the Renaissance
(clearly downloaded or copied) and the
example provided. The student mistakes
the definition of ‘Man’, as a generic
descriptor, for ‘the man’ (Macbeth).
Consequently the quote does nothing to
support the student’s understanding of the
performance text. The information is
linked to the play in general but does not
refer to performance choices.
This does nothing to enhance evidence of
depth in referencing.
A superficial link is made to the idea of
the Four Humours. However, there is no
exploration of what the reference may
mean at a deeper level. Has the joy gone
from life with the shedding of Duncan’s
blood? Has the effect of the blood spilled
this far?
In my case, being Lady Macbeth after the
murder, I will enter upstage left. This
shows my stock character has gone from
a heroine to a villain.
Evil humans entered from the left side of
the stage... while the good/ neutral
humans entered through the right side…I
will not be using the trap door on stage
because my character is an evil human
and not a creature.
An awareness of entrances and clear
referencing of choice is demonstrated.
The student indicates other entrance
options not used and links them to
performance choices. This supports
criterion one.
I don’t really use the groundlings or any
level of the audience because my
character is sleep walking – but it seems
like she is kinda using audience
interaction because she is hallucinating
and hearing things. If I used obvious
While the student indicates an awareness
of working sections of the audience, they
do not demonstrate clear understanding
of what it means in terms of delivering
lines and why they might choose them.
The student’s knowledge here is again
contact with the audience it would
immediately break the fourth wall (and
the sleep walking) being used at the time
unbelievable.
general and referenced inaccurately. She
confuses the practice of addressing
different audience areas with audience
interaction.
The audience I will be performing to are
on the same level as me- so when I’,
doing the part where it looks as though
Lady Macbeth is looking in a mirror, it
will seem like I am talking to the
audience. Eg- ‘Wash your hands, put on
your nightgown, look not so pale…’
Identifies and refers to own performance.
The gentle woman and the doctor are
hiding behind invisible pillars because
they are eavesdropping. This is what they
would have done in Shakespeares time.
Back then the actor’s gestures would’ve
been quite melodramatic because of the
large audience. My extract will not need
such melodramatic actions because the
audience will only be a few meters away
from me. So my performance will be a
tad more realistic. But when I do move, it
is with purpose.
Again, these statements are very general.
References are made to performance but
there is a lack of clear understanding.
The use of generalised terms like ‘tad’ do
not add to the evidence for assessment.
Low Achieved
This exemplar provides extracts from recorded documentation to support the first
and second criterion of the standard at low Achieved.
The extracts are typical of the whole portfolio.
Criteria one and two:
Achieved
Identify features of a
drama/ theatre form or
period
Reference some features
of appropriate selected
text(s) to performance
within a presentation.
Merit
Identify an extended
range of features of a
drama/ theatre form or
period
Reference key features of
appropriate selected text(s)
to performance within a
presentation.
Excellence
Identify a comprehensive
range of features of a
drama/ theatre form or
period
Reference key features of
appropriate selected text(s)
to performance within a
presentation.
Notes:
This document deals primarily with examples of work at the level of low Achieved
for criteria one and two. It is important to note the relationship between criterion two
and criterion three. Depth and detail in criterion two directly informs performance
choices and consequently influences the potential result for criterion three.
The form referred to in this exemplar is Elizabethan Theatre. The character
portrayed is Juliet. In the scene referred to Juliet is waiting for her Nurse to return
from a meeting with Romeo. On her return, Juliet interrogates her about the meeting
and the Nurse teases Juliet by withholding the much anticipated news.
The evidence has been provided in a two column format. The first column has the
student evidence. The second column provides comment explaining why the evidence
is at the borderline within the Achieved range.
The student has:
 Identified a range of features of the form.
 Referenced some features of the form to the performance text at a general
level.
 Linked a limited range of performance choices to the form or text with the use
of specific quotes or evidence.
However, this student has indicated a limited understanding of the form through the
inclusion of a range of inaccuracies and generalised assertions. They have not
discussed the intention for their performance choices in terms of the form in any great
detail.
Overall, therefore, this student demonstrates low Achieved.
Student evidence
In this extract Juliet speaks mainly in
poetry, which adds the effect of her being
in love.
The use of poetry and prose also showed
the audience the status of the character.
Poetry was used by high status characters
e.g. Juliet and prose was used by lower
status characters such as the nurse.
Comment
The student refers to the text and
language use at a superficial level. It
would have been consolidated through
the use of specific quotes.
I am going to show my awareness to the
three sides of the stage as well as the
class status of the theatre through where
my focus is during the delivery of my
lines. Especially in the opening of our
scene I have a lot of opportunity to
include both the galleries and the
groundlings
This is very general comment and does
little to support performance decisions. It
suggests use but does not link with any
clarity. The student does not say how or
when they will refer to the different areas.
Talking to both groundlings and galleries
to try and get sympathy from them.
I am going to acknowledge the
groundlings through my physicalisation
of language, looking down at them when
I’m talking about ‘ lowering hills’ and
when I’m looking for the nurse as I await
her return.
I am going to use imagery to create what
say’ lowering hills’ ‘sun upon high most
hill. I am going to achieve this through
the use of movements and gestures.
The setting, scenery and characters were
part of the words that were being
delivered ‘ …and from nine till twelve is
three long hours’ This is telling the
audience that it is already past twelve in
the afternoon.
Elements such as pitch, pace, emphasis,
clarity of voice and volume were
important in the use of voice because
there were limited scenery. The use of
these elements was also important to keep
The student demonstrates understanding
of the general effect of the features
identified. They identify, use and link
features to their intention for the text. At
a very superficial level, this is
referencing.
The student inaccurately identifies
physicalisation of language. However,
they do discuss the idea of delivering
specific lines to specific areas of the
audience. They do not explain why they
have made that choice or justify the
choice in terms of perceived impact.
In this extract, the student also indicates
that they will adapt their performance in
light of the language used. However the
student does not expand upon their
choices. The ‘use of movement and
gestures’ is not specific to the form and
the student misses an opportunity to make
clear linkages between the form and their
performance intent.
This does little to support referencing as
the techniques cited are generic and are
not tied to the requirements of the period
or form. The student could have
discussed a heightened form of vocal
the audience interested in performance.
delivery which was characteristic of the
form and justified its use in terms of the
theatres of the period. Specific
exemplification from the text would have
confirmed understanding.
Players would have normally performed
in front of audiences of up to 3000, which
means that gestures and movements had
to be big. Saying that its important to
remember that its not melodramatic as the
Elizabethan acting style was realistic.
It has the typical plot of lovers meeting
and falling in love but ends with a
surprising tragic ending as both the lovers
die.
The student provides evidence for
criterion 1. Evidence for criterion 2
would be clear if the student were to link
this comment to specific moments in the
text for the planned performance.
In our scene we are only using a chair:
this supports my research that minimal
props were on stage.
Student comments indicate only general
understanding of the nature of the staging
conventions of the period. For example,
there needs to be greater justification of
why the form used only minimal staging.
This might discuss the evolution of the
form from inn yard venues or the student
might link the choice to look to the
heavens to the beliefs of the period and
the shared knowledge of symbolic
movement between actor and audience.
In our script, both Juliet and the nurse
refers to God several times in the play. I
look up at the heavens, the roof that was
decorated with angelic creature and the
entrance of Godly creatures such as
angels, whenever I refer to God.
The majority of references describe what
will be done but fail to develop the
purpose or effect of choices.
Sound effects in Elizabethan theatre
include Thunder, fireworks, guns and
flying entrances. We aren’t using any
music or sound in our scene but I’m
aware that both music or sound effects
were expected in the Elizabethan theatre.
( This kind of reference repeated for
Prologue, male actors)
This is evidence for identification
(criterion one) but does support the
referencing of features to the student’s
planned performance (criterion two).
This first comment indicates that the
student does not really understand that
one of the features of Shakespeare’s
tragedies was the death of key
protagonists. The student seems to be
referring to the expected plot from a love
story.
Juliet refers to the wheel of fortune in our
extract when she says ‘ Hie to high good
fortune !Honest nurse, farewell.’ This
shows that she has received good fortune.
The Wheel was believed to control fate
and so as the marriage was about to
happen, it was seen as good fortune. It
was also believed that misfortune would
strike those with good fortune when the
wheel was low. The series of
misfortunate events that occurred to
Romeo and Juliet after this could have
been believed to be a turn of fate
The student indicates a basic
understanding of the references to socio /
historical context in this script and links it
to her performance text. This is not
developed in any particular detail. It
would have been useful for the student to
consider how these beliefs might have
been borne out in performance.
Women were placed below to men and
were to obey the man. Juliet was in the
upper class but needed permission from
her father, Capulet, to go to town. This is
referred to in our play when the nurse
asks Juliet,’ Have you leave to go to
shrift today’.
I use white to symbolise my characters
purity.
Notes from annotation include:
Focus on galleries
Look at groundlings
Looking up to heavens
Annotation is largely in the form of
blocking notes. This student misses an
opportunity to discuss why they have
made these performance choices in terms
of the features of the form.
Not Achieved
This exemplar provides extracts from recorded documentation to support the first
and second criterion of the standard for the grade of Not Achieved.
The extracts are typical of the whole portfolio.
Criteria one and two:
Achieved
Identify features of a
drama/ theatre form or
period
Merit
Identify an extended range
of features of a drama/
theatre form or period
Reference some features
of appropriate selected
text(s) to performance
within a presentation.
Reference key features of
appropriate selected text(s)
to performance within a
presentation.
Excellence
Identify a comprehensive
range of features of a
drama/ theatre form or
period
Reference key features of
appropriate selected text(s)
to performance within a
presentation.
Commentary:
This document deals primarily with examples of work at the level of Not Achieved
for criteria one and two of the standard. It is important to note the relationship
between criterion two and criterion three. Depth and detail in criterion two directly
informs performance choices and consequently influences the potential result for
criterion three.
The form referred to in this exemplar is Elizabethan Theatre. The character
portrayed is Lady MacBeth. In the scene referred to, Lady Macbeth sleepwalks,
observed by her gentle woman and a doctor.
The evidence has been provided in a two column format. The first column has the
student evidence. The second column provides comment explaining why the evidence
is at the borderline with Achieved range.
The student has:
 Superficially referenced a limited range of features of the form with some
accuracy.
 Drawn general conclusions about character relationships based on a limited
understanding of the socio/ historical context.
 Generally discussed the conventional use of entrances and exits as well as
stage areas.
 Identified the use of poetry and prose.
However, referencing is frequently generalised and only loosely linked to
performance choices. The student has made a range of inaccurate assertions within
their referencing that demonstrates a superficial understanding of the form and its
performance implications. Their annotation largely refers to blocking. This does not
support the student’s achievement because it does not provide evidence of the
student’s intended application of the features of the form in performance.
Overall, there is not enough evidence for Achieved.
Student extract
In any other scene with these three
characters ( Lady Macbeth, Doctor,
Nurse), if Lady Macbeth was to interact
with them she would be higher status
than the gentlewoman and above her in
the Chain of Being, which the
Elizabethans believed in strongly back in
those days. The Gentlewoman would
have no right to be repeating what Lady
Macbeth said in her sleep to the Doctor
because she is a lower class woman and
had no authority to do so unless there was
another witness to confirm her
speech….E.g. when the gentlewoman is
speaking to the doctor he asks her to tell
him what Lady Macbeth has been saying
in her sleep the gentlewoman replies with
‘That, sir, which I will not report after
her’ which is implying she does not want
to unfairly accuse Lady Macbeth of
anything because she is in no place to
report that.
Comment
The student presents some information
about the way society was ordered in the
Elizabethan period and links it to the text.
The latter two comments are very general
and vague. They suggest a superficial
awareness but indicate that the student
does not really understand the purpose of
the quotes or the impact of those ideas on
the text.
Lady Macbeth refers to the Four
Humours when she says ‘ yet who would
have thought the old man to have so
much blood in him.” By which she means
he was a cheerful and happy King.
The Elizabethans strongly believed in
religion and Shakespeare often referred to
it in his plays. In my scene Lady Macbeth
says ‘Hell is murky’ because she is
having a flash back of the murders and
feels guilty.
Lady Macbeths’ relationship with the
doctor would be one of respect and
formality. He would be slightly higher
than her on the Chain of Being because
he is a male and works as a well paid
doctor.
The student draws some inaccurate or
superficial conclusions. Lady Macbeth is
a Queen. She would have higher status
than a doctor. There seems to be no
purpose to the inclusion of this
information in terms of the student’s
performance decisions and so it cannot be
said to support referencing.
As Lady Macbeth, I do not look at the
The student has alluded to an awareness
galleries or groundlings very much
of different audience areas but has not
because I am sleep walking and
noted that the actors referred to different
interaction with the audience would break areas of the audience at different points of
the believability.
the performance to elicit a particular
response or target a line at a particular
social group. The student confuses the
targeting of audience areas with audience
interaction.
They ( Gentlewoman and Doctor) are
The student has identified features of the
both hiding slightly behind a pillar which use of stage space and linked them to
was used in Elizabethan times for actors
their performance choices. However,
to eavesdrop on the other actors in a
these choices are superficial and do not
humorous way mostly.
expand in any depth on the reason those
features were employed within the form.
I enter stage left because that’s where evil For example, the student could refer to
stock characters entered in the
the lack of set in Elizabethan theatre as a
Elizabethan time period.
reason for the conventional use of the
pillar. They might also discuss the social
belief in the ‘sinistre’ side and mistrust of
left handers.
The reference to Lady Macbeth as a
‘stock character’ is problematic. The role
is a complex one and, while it may have
some linkages with ‘types’ common in
writing of the period, the reduction of the
character to a two dimensional stereotype
is inaccurate and demonstrates a lack of
genuine understanding.
The actors helped the audience to
The student accurately refers to the use of
understand the play by using the language props as indicators of time. They do not
to tell where the play was set, what time
expand on how the language of the text
of day it was and they also used props to
supported the establishment of time and
show that. In my scene Lady Macbeths
place. Had they discussed the evidence
only prop is a candle which she uses to
about time that is included in the lines of
show the audience that it is night time
the gentle woman, they would have more
and dark…
fully developed their point and more
thoroughly demonstrated detailed
referencing.
I will show that my character is the
villainous character through my words
and the way I act and also the costume I
have, the colours red and black
representing evil and blood.
General statements like ‘through my
words and the way I act’ provide no
evidence of the student’s intended use of
features of the form. The student’s
reference to colour symbolism needs to
be expanded beyond a generalised
understanding of what a colour represents
and the features of the form. This would
In my extract of Macbeth we do not have
any witches or demons so we don’t use
the trapdoor but it would have been
placed in centrestage.
Sound effects were created by
thundersheets being shaken , cannon balls
being rolled around backstage or
fireworks, etc. The only sound effects
that would have been in my scene would
be the clock chiming and the knocking at
the gate. But since she is imagining these
things, we do not actually create the
sound effect.
Vocal techniques in Elizabethan period
was very important because the theatres
were very big and they relied so heavily
on the words they spoke instead of the
scenery/ props. The vocal techniques
used in Elizabethan theatres by the
players were mainly pitch and pace to
vary the vocals and maintain the
audiences attention. They also used vocal
techniques such as tone and articulation
(because it was important that the
audiences all the way up in the galleries
could understand what the actors were
saying), volume and projection and
pausing/ silence for building tension in
scenes.
Most of the scene is spoken in the
language of prose that Shakespeare
created. There is a line of poetry. Prose is
causal speaking and poetry is formal and
often romantic.
have evolved from an understanding of
the hierarchy associated with colour in
the Elizabethan world.
The student identifies features of the form
that are not reflected in her performance
text. This serves to support identification
in criterion one. The student does refer to
those features that they cannot use
because of the extract and situation.
The student provides superficial
explanation of some generic techniques,
in terms of form. The remainder are
merely listed. The student needs to have
linked and described the use of
techniques that characterised the form
( Iambic Pentameter, Poetic Language,
heightened delivery style…) rather than
‘fitting’ generic techniques in, in order to
have referenced ‘some features’.