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Level 3 Drama 2017
Mode of Assessment
|Updated March 2017|
Format of the assessment common to both standards
Candidates will be required to name and provide details of the drama/theatre form or the live performance.
Candidates may be required to respond in any combination of written response and illustration (sketches and/or diagrams).
Diagrams or sketches will be assessed on the quality of information conveyed and not their artistic merit (i.e. simple stick figures are satisfactory). Candidates should annotate their diagrams or sketches to provide specific detail and to explain their answers.
Specific information for individual external achievement standards
Interpret a text from a prescribed playwright to demonstrate knowledge of a theatre form or period
Number of credits
Format of the assessment
Candidates will be expected to make connections between the text studied and its theatre form or period.
Candidates should be familiar with the place/setting of the text, and the use of conventions and technologies typical of the theatre form or period.
Questions may cover a combination of features of the theatre form or period.
Appropriate texts include, but are not limited to, those listed below. Texts studied must enable in-depth exploration of the features of the theatre form or period.
|Jean Anouilh||The Lark||Antigone|
|Samuel Beckett||Waiting for Godot||Endgame|
|Albert Belz||Yours Truly||The Titanics|
|Jean Betts||The Revenge of the Amazons||Ophelia Thinks Harder|
|Bertolt Brecht||Mother Courage||The Caucasian Chalk Circle|
|Lynda Chanwai-Earle||Foh Sarn||Ka Shue|
|Anton Chekhov||The Cherry Orchard||The Three Sisters|
|Caryl Churchill||Top Girls||Soft Cops|
|Euripedes||The Trojan Women||Medea|
|Michelanne Forster||Daughters of Heaven|
|Toa Fraser||Bare||Pure & Deep|
|Federico Garcia Lorca||The House of Bernarda Alba||Blood Wedding|
|Briar Grace-Smith||Purapurawhetu||When Sun and Moon Collide|
|Gary Henderson||Peninsula||An Unseasonable Fall of Snow|
|Oscar Kightley and Dave Armstrong||Niu Sila||Fresh off the Boat|
|Hone Kouka||The Prophet||Waiora|
|Greg McGee||Foreskin's Lament|
|Bruce Mason||The End of the Golden Weather||The Pohutukawa Tree|
|Arthur Miller||The Crucible||Playing for Time|
|Harold Pinter||The Birthday Party||The Hothouse|
|Jacob Rajan and Justin Lewis||Krishnan's Dairy||The Pickle King|
|Renee||Wednesday to Come||Pass it On|
|Maurice Shadbolt||Once on Chunuk Bair|
|William Shakespeare||Twelfth Night||Macbeth|
|George Bernard Shaw||Saint Joan||Arms and the Man|
|Stephen Sinclair||The Bellbird||The Bach|
|Tom Stoppard||Travesties||Rosencrantz and Guildenstern Are Dead|
|Mervyn Thompson||Children of the Poor||Coal Town Blues|
|Timberlake Wertenbaker||Our Country's Good||The Love of the Nightingale|
|Oscar Wilde||The Importance of Being Earnest||Lady Windermere's Fan|
|Tennessee Williams||The Glass Menagerie||Cat on a Hot Tin Roof|
Demonstrate understanding of live drama performance
Number of credits
Format of the assessment
Candidates will be required to respond to questions on a performance they have viewed as a member of the audience in the 2017 calendar year. This does not include watching a recording of a live performance.
Candidates will be expected to make connections between the director/ designer's concept(s) and the performance seen.
Candidates should be familiar with decisions about the performance of role, the creation of place and time, and the theatre form/style(s) influencing the production.
For the purposes of this examination, 'wider context' as required by the criterion for Achievement with Excellence could refer to:
- the performance as a whole
- the playwright's purpose
- the nature and/or purpose of theatre as an art form
- the candidate's own social, geographical, or historical context.
Questions may cover a combination of elements, techniques, conventions, and technologies.
|Drama subject page||2017 Examination timetable|