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Qualifications Update: Higher Drama

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 )

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Qualifications Update: Higher Drama

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  1. Qualifications Update: Higher Drama

  2. 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

  3. Course Structure Two units: • Drama Skills (Higher) • Drama: Production Skills (Higher) Internally assessed Externally verified by SQA Pass/Fail

  4. 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

  5. Key messages from Verification (Round 1) • Use valid and reliable assessments • SQA-produced Unit Assessment Support Packs • Centre devised assessments that have been prior verified • Your own assessments – strongly advise you have these prior verified • Marking of assessments • 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 • Unit Assessment complementing learning and teaching • Unit Assessment is open and flexible • Assessment should allow you space to prepare for Added Value/Course Assessment

  6. Assessment Support Schedule 2013/14

  7. DramaUnit Assessmentat Higher

  8. 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

  9. 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

  10. 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

  11. 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

  12. Assessment Support Package Example Unit by Unit Approach • Drama Skills: Devise a drama • Drama Production Skills: Develop production skills within 2 selected production roles

  13. 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

  14. 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

  15. Evidence Ideas communicated to the group Development of ideas within own section Directorial responsibility Acting in one other section Evaluation

  16. 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

  17. 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

  18. Evidence Ideas communicated to the group Development of skills within 2 production roles Application of skills Evaluation

  19. Discussion To provide pupils/students with opportunities to generate evidence: • What existing practices could you continue/adapt? • What new practices could you develop/adopt?

  20. DramaHigher Course Assessment

  21. 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

  22. Higher – Question Paper • 40 marks • 2 hours • 2 extended response questions: • textual analysis(20 marks) • performance analysis (20 marks)

  23. 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

  24. 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.

  25. 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.

  26. 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.

  27. Higher – Drama Performance • 60 marks • Externally marked • Role of director or actor or designer • 2 sections: preparation for performance (10 marks), performance (50 marks)

  28. 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.

  29. 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.

  30. Recommended Texts List • Antigone Sophocles • The Birthday Party Harold Pinter • Bondagers Sue Glover • The Caucasian Chalk Circle BertoltBrecht • The Crucible Arthur Miller • Dunsinane David Greig • Enemy of the People Henrik Ibsen • Further than the Furthest Thing ZinnieHarris • 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

  31. 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?

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