9169 Digital Grades - Acting - ONLINE

Pair and group
information
now included
DIGITAL GRADES:
ACTING
Syllabus specifications for
solo, pair and group exams
from November 2020
KEEP UP TO DATE
Please check trinitycollege.com/digital-drama-grades to make sure you are using the current version
of the syllabus specifications and for the latest information about our digital graded exams.
Trinity accepts entries for its exams on the condition that candidates conform to the requirements of the
appropriate syllabus. Any amendments to the requirements will be published and advertised via our website.
DIGITAL GRADES:
ACTING
Syllabus specifications for
solo, pair and group exams
from November 2020
Charity number England & Wales: 1014792

Charity number Scotland: SC049143
Patron: HRH The Duke of Kent KG
trinitycollege.com
Copyright © 2020 Trinity College London
Published by Trinity College London
Online edition, February 2023
Contents
3 / Welcome
4 / Introduction to Trinity’s digital graded Acting exams
5 / Employability and learning skills
6 / Recognition and progression routes
8 / Learning outcomes: Acting
10 / Exam requirements, assessment criteria and attainment descriptors: Acting (Solo)
28 / Exam requirements, assessment criteria and attainment descriptors: Acting (Pair)
46 / Exam requirements, assessment criteria and attainment descriptors: Acting (Group)
64 / Exam requirements, assessment criteria and attainment descriptors: Plays in Production
84 / Exam guidance
96 / Health and safety
97 / General guidance and policies
98 / Summary of process and details of how to submit your exam for assessment
100 / Acting resources
ABOUT TRINITY COLLEGE LONDON

Trinity College London is a leading international exam board and independent education charity that has been
providing assessments around the world since 1877. We specialise in the assessment of communicative and
performance skills covering music, drama, combined arts and English language. With over 850,000 candidates a
year in more than 60 countries worldwide, Trinity qualifications are specifically designed to help students progress.
Our aim is to inspire teachers and learners through the creation of assessments that are enjoyable to prepare for,
rewarding to teach and that develop the skills needed in real life.
At the heart of Trinity’s work is the belief that effective communicative and performance skills are life enhancing,
know no boundaries and should be within reach of us all. We exist to promote and foster the best possible
communicative and performance skills through assessment, content and training that is innovative, personal
and authentic.
Welcome
Welcome
Welcome to Trinity College London’s syllabus specifications for Acting digital graded exams containing details of
Initial to Grade 8 exams.
The digital graded exams enable candidates to record their performance at a place and time of their choice and
then submit the video recording via our online platform to be assessed by our expert examiners. The exams have
the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements,
with the same certificate and UCAS points awarded as for the face-to-face exams.
Designed for digital
Responsive to a changing world, these exams have been designed to support teaching, learning and assessment
through a digital medium.
Your performance, your choice
Sitting alongside our face-to-face graded exams, digital exams provide even more choice and flexibility in how a
regulated graded qualification can be achieved.
Digital support content
Comprehensive online resources provide support to candidates and teachers throughout their digital exam journey.
IMPORTANT INFORMATION
1. To take this assessment you must have access to:
w A high-quality audio-visual recording device with enough storage for your performance (eg a good-quality
mobile phone, tablet, laptop or video camera)
w The internet — to access any stimulus material required, eg improvisation, and to upload your complete exam
including the supporting documentation
2. S
timulus material: For certain key skills tasks it is necessary to access stimulus material, eg improvisation from
the website. See the guidance on pages 87–88 for further details. Stimulus materials change every two weeks.
During the two-week validity period of the stimulus the candidate must do the following: access the stimulus, use
that stimulus for the task, film their performance, upload the video of their whole exam for assessment.
3. R
eflective response: For all solo and pair grades, candidates give an impromptu response to set questions in the
reflection task. The set questions and guidance for the reflection task are on pages 89–95. Before you begin filming
your exam you should make a note of these questions to refer to as you undertake the task.
4. A
ll performances must be submitted as one continual performance (this includes all pieces and any key skills
tasks such as improvisation, and the reflective response). Start the recording before your first piece, and do not
stop or pause the video until you have completed all parts of the assessment. Any evidence of editing will result
in a syllabus infringement and your exam will not be assessed.
5. Y
ou can be given assistance to film your performance and another person can be present to operate your
backing tracks (if applicable)
6. A
udio and video must be recorded simultaneously and no pre- or post-production techniques should be applied
to the video
7. F
ilming options are available for pair exams and also for solo exams where an additional performer is involved.
Further information about this is on page 86.
8. Y
ou may not enter the same performance video for the same exam more than once, unless Trinity requires you
to resubmit your video (eg for technical reasons). You may not share your performance video on social media, or
use it for any other exam entries, either with Trinity College London or any other exam board.
Please refer to page 98–99 for details on the process of preparing for and submitting your digital graded exam
for assessment including details of what information to upload with your video.
3
Introduction to Trinity’s digital graded Acting exams
Introduction to Trinity’s digital graded

Acting exams
OBJECTIVE OF THE QUALIFICATIONS WHO THE QUALIFICATIONS ARE FOR
Trinity’s graded Acting exams are designed to support Although there is a natural progression through Trinity’s
candidates to develop a range of transferable 21st Acting grades from Initial to Grade 8 and then on to
century skills that can have a positive impact in both the diplomas, candidates may enter at any level. There
education and the workplace. The exams assess the is no requirement to have passed lower grades before
following skills through a range of contexts: entering for an exam. There is no upper age limit, but
w Performance the following age ranges are provided as guidance and
show the minimum age advised for each stage.
w Planning and preparation
Grade(s)/exam level Age of candidate
w Verbal and non-verbal communication
Initial 5 years and over
w Interpersonal
w Critical thinking and problem-solving Grade 1 7 years and over
w Research and reflection Grades 2–3 8 years and over
Furthermore, by working towards these exams, a range Grades 4–5 12 years and over
of other skills not assessed directly are developed
Grades 6–8 16 years and over
that are highly valued by schools and employers:
self-motivation, ability to learn and adjust, working Trinity is committed to making its exams accessible
to deadlines, organisational skills and flexibility. to all, and each candidate is treated individually when
considering how assessments can be adapted for those
LEVELS OF THE QUALIFICATIONS with special needs. Find out more at trinitycollege.com/
Each exam is assigned a level in accordance with the drama-csn
Regulated Qualifications Framework (RQF) in England
and Northern Ireland. These levels are: ENGLISH LANGUAGE EXPECTATIONS FOR
DRAMA EXAMS
RQF level Grade(s) Level Trinity’s graded Acting exams are conducted in English.
Entry level Initial Initial They assess how candidates use language as a tool for
communicating and performing in particular contexts,
Level 1 Grades 1–3 Foundation rather than assessing the fluency of the language itself.
Level 2 Grades 4–5 Intermediate We recommend, particularly for those exams that
involve a discussion with the examiner, that candidates
Level 3 Grades 6–8 Advanced have a level of English language proficiency of at
least B1 on the CEFR (Common European Framework
ATTAINMENT BANDS of Reference for languages). As the exams are more
The exams are marked out of 100. Candidates’ results demanding of language as the levels advance, CEFR
correspond to different attainment levels as follows: level B2 is suggested from Grade 3, and C1 for Grades 6
and above. More information on the CEFR can be found
Marks received Attainment level at trinitycollege.com/CEFR-level-descriptors
85 or more Distinction Candidates’ use of English must be intelligible to the
examiner, although they are not required to conform
75–84 Merit
linguistically to any particular model of pronunciation
65–74 Pass or usage.
64 and below Below Pass HOW TO ENTER FOR AN EXAM

Guidance and details on how to enter all the
qualifications covered in this document can
be found at trinitycollege.com/drama-entry
4
Employability and learning skills
Employability and learning skills

Employability skills — a key component of 21st century skills — can be defined as the transferable skills that can have
a positive impact in education and the workplace and these key skills are integrated into these specifications to help
candidates develop on many levels.
SKILLS MEANING HOW TRINITY ACTING EXAMS SUPPORT THIS
Communication w The ability to explain what you Candidates build their communication skills through
and interpersonal mean in a clear and concise way the performance of material, working on vocal and
skills w To listen and relate to people, physical skills to convey meaning, character and story
and to act upon key information/ to an audience.
instructions Through the reflection task, candidates develop their
skills in responding articulately, as well as self-analysis.
Creativity w The ability to apply knowledge Performance-based tasks support candidates in building
from many different areas to their creativity as they realise material for performance,
solve a task making interpretive choices.
w The ability to develop creative
responses to challenges and
in doing so create original and
imaginative situations
Working under w The ability to manage the The challenge of the exam environment, the
pressure and workload that comes with requirement to prepare thoroughly, together with
to deadlines deadlines tasks that require candidates to respond quickly to new
information are an excellent measure of this skill area.
Organisation w The ability to be organised and Being prepared and organised in the exam room is a
skills methodical key part of the assessment. Candidates are expected
w The ability to plan work to meet to research and prepare their performance pieces and
deadlines and targets take responsibility for the hard-copy information and
w The ability to monitor progress equipment required for the exam.
of work to ensure deadlines
are met
Critical thinking w The ability to analyse material Through rehearsing and preparing for the performance-
skills and deconstruct it to understand based tasks, candidates hone their critical thinking and
how its specific impact is analytical skills.
achieved through language and
meaning
Confidence w Belief in one’s own ability to The experience of preparing for both performance and
successfully complete a task the exam can build candidates’ belief in themselves
and their own abilities.
Teamwork w The ability to work well This collaborative skill is demonstrated throughout the
with people from different pair and group exams.
disciplines, backgrounds and
expertise to accomplish a task
or goal
5
Recognition and progression routes

RECOGNITION AND UCAS POINTS REGULATED TITLES AND QUALIFICATION NUMBERS
Trinity College London is an international exam board Qualification
regulated by Ofqual (Office of Qualifications and Title — Solo exams
number
Examinations Regulation) in England, CCEA Regulation
Initial: TCL Entry Level Award in Graded
in Northern Ireland and by Qualifications Wales. Various
Examination in Acting (Entry 3) (Solo) (Initial) 603/4972/4
arrangements are in place with governmental education
authorities worldwide. Grade 1: TCL Level 1 Award in Graded
Examination in Acting (Solo) (Grade 1) 501/1939/4
All graded solo and pair qualifications are on the
Regulated Qualifications Framework (RQF) and a list of Grade 2: TCL Level 1 Award in Graded
the regulated titles and numbers for these qualifications Examination in Acting (Solo) (Grade 2) 501/1940/0
is opposite. Group exams are unregulated because the
examiner assesses the overall achievement of the group. Grade 3: TCL Level 1 Award in Graded
In the UK, Trinity’s Grade 6–8 Acting solo qualifications
are eligible for UCAS (Universities and Colleges Grade 4: TCL Level 2 Certificate in Graded
Admissions Service) points for those applying to Examination in Acting (Solo) (Grade 4) 501/1943/6
colleges and universities, as follows: Grade 5: TCL Level 2 Certificate in Graded
Grade 6 Examination in Acting (Solo) (Grade 5) 501/1945/X
UCAS POINTS
Grade 6: TCL Level 3 Certificate in Graded
PASS 8 | MERIT 10 | DISTINCTION 12
Examination in Acting (Solo) (Grade 6) 501//2116/9
Grade 7
UCAS POINTS
Grade 8 Grade 8: TCL Level 3 Certificate in Graded
UCAS POINTS Examination in Acting (Solo) (Grade 8) 501/2118/2
See trinitycollege.com/UCASdrama for further details. Qualification
Title — Pair exams
number
TIMING OF THE EXAMS Initial: TCL Entry Level Award in Graded
The maximum time allowed for each exam task Examination in Acting (Entry 3) (Pair) (Initial) 603/4973/6
is the time available to the candidate to demonstrate
Grade 1: TCL Level 1 Award in Graded
the widest range of skills they can, and candidates are
Examination in Acting (Pair) (Grade 1) 501/1936/9
advised to make full use of this.
The exams are designed to allow sufficient time for
setting up and presenting all tasks.
6
DURATION OF STUDY (TOTAL QUALIFICATION TIME)

All regulated qualifications are assigned a total qualification time. This should be used as guidance only. Total
qualification time is an estimate of the average time a candidate spends with a teacher (guided learning hours)
added to the average time spent learning independently. It is recognised that the amount of time needed to commit
to a qualification will depend on each individual’s, or group’s, level of experience and ability.
Level of regulated Guided learning hours Independent learning hours Total qualification time
qualification (GLH) (ILH) (TQT) (hours)
Initial 8 32 40
Grade 1 12 48 60
Grade 2 18 62 80
Grade 3 18 82 100
Grade 4 24 106 130
Grade 5 24 126 150
Grade 6 30 140 170
Grade 7 30 160 190
Grade 8 48 202 250
QUALIFICATION ACHIEVEMENT LEVELS WHERE THE QUALIFICATIONS COULD LEAD

FOR EXAMS The Trinity exams in Acting offer progression
RQF* EQF** routes towards:
Acting
Level Level w Diplomas in performing or teaching offered by Trinity
or other awarding organisations
Grade 8 w Courses in drama or literature at further and higher
3 4 Grade 7 education institutions
Grade 6 w Employment as a result of increased performance,
Grade 5 presentation and communication skills
2 3
Grade 4
Grade 3
1 2 Grade 2
Grade 1
Entry Level 3 1 Initial
* Regulated Qualifications Framework

** European Qualifications Framework
7
Learning outcomes: Acting

Learning outcomes describe the learning that a candidate will expect to undertake while preparing for the exam and
the skills/abilities they should be able to demonstrate because of this learning. The learning outcomes are listed below.
ACTING (SOLO)
On successful completion of this exam, the candidate will be able to:
Initial w Perform a monologue with some characterisation
w Perform a mime using physical skills appropriate to the story
w Respond appropriately to set questions on prepared material
Grade 1 w Perform a monologue using vocal and physical skills and the performance space appropriate
to the material
w Perform a mime using physical skills and the performance space appropriate to the story
Grade 2 w Perform a monologue using vocal and physical skills and the performance space appropriate
and Grade 3 to the material
w Perform a mime or speech/scene using vocal and physical skills and the performance space
appropriate to the material
w Perform an improvisation that shows a creative response to the instructions provided
w Respond appropriately to set questions on prepared material with understanding
Grade 4 w Perform play extracts using vocal and physical skills and the performance space appropriate
and Grade 5 to the material
w Devise and perform using published material within an invented alternative scenario
w Perform an improvisation that shows a creative and informed response to instruction
or questions provided
Grade 6 w Perform play extracts using vocal and physical skills and the performance space appropriate
to the material
w Devise and perform using published material within an invented alternative scenario
w Perform an improvisation that shows a creative and informed response to the instructions provided
Grade 7 w Perform a range of play extracts, using vocal and physical skills and the performance space
appropriate to the material
w Perform an improvisation that shows a creative response to instruction or questions provided
Grade 8 w Perform a programme of play extracts, using vocal and physical skills and the performance
space appropriate to the material
w Work with direction to modify a performance piece that demonstrates an in-depth
understanding of the original material and its interpretative possibilities
8
ACTING (PAIR)
Initial w Perform a duologue with some characterisation appropriate to the material
w Interact and work with others to create a finished piece of work
Grade 1 w Perform a duologue using vocal and physical skills and the performance space appropriate to
the material
w Interact and work with others to create a finished piece of work
Grade 2 w Perform duologues using vocal and physical skills and the performance space appropriate to
and Grade 3 the material
w Interact and work with others to create finished pieces of work
Grade 4 w Perform a duologue using vocal and physical skills and the performance space appropriate to
and Grade 5 the material
w Devise and perform using published material within an invented alternative scenario, using the
performance space appropriate to the scenario.
Grade 6 w Perform scenes using vocal and physical skills and the performance space appropriate to
the material
w Perform an improvisation that shows a creative and informed response to instruction provided
Grade 7 w Perform play extracts, written in different periods, using vocal and physical skills and the
performance space appropriate to the material
w Perform an improvisation that shows a creative response to instruction provided
Grade 8 w Perform a programme of play extracts, written in different periods and language styles, using
vocal and physical skills and the performance space appropriate to the material
w Work with direction to modify a performance piece that demonstrates an in-depth
understanding of the original material and its interpretative possibilities
w Interact and work with others to create a finished programme of work
ACTING (GROUP) & PLAYS IN PRODUCTION

Initial to w Perform scenes/a play accurately using vocal and physical skills and the performance space
Grade 8 appropriate to the material
w Interact with others to create a finished piece of work
9
Exam requirements, assessment criteria and attainment descriptors: Acting (Solo)
Exam requirements, assessment criteria

and attainment descriptors: Acting (Solo)
The exam components break down as follows across the grades. For further guidance on the tasks see pages 84–95.
The Acting (Solo) exams are designed for candidates who want to focus on vocal, physical and characterisation skills
in dramatic performance. Candidates perform play extracts from a range of periods and styles and there is free
choice of performance pieces. They additionally demonstrate their understanding of their performances through
a reflection. Unless otherwise stated, all pieces should be taken from published works. For examples of suitable
material at each level, see Trinity’s online anthology — trinitycollege.com/anthology
INITIAL
EXAM DURATION
8 minutes
EXAM REQUIREMENTS FURTHER INFORMATION MARKS
Task 1: Performance w The monologue can come from a

The candidate performs a monologue from memory. published play, book of monologues
or be adapted from a novel 40
(maximum time: 2 minutes)
w Guidance for the performance task is
on page 84–85
Task 2: Performance w Guidance for the mime task is on

The candidate performs a mime from memory. page 85 40
Task 3: Reflection w Guidance for the reflection task is on

The candidate gives an impromptu response to set page 89
questions, reflecting on the performed pieces including their w The set questions are on page 89
20
meaning. At this level a teacher or care-giver can ask the
candidate the questions.
(maximum time: 3–4 minutes)
10
ASSESSMENT CRITERIA
During the exam, the candidate will:
w Perform audibly, clearly and accurately

Technical skills
w Demonstrate the ability to use body and space appropriate to the material
Engagement
w Demonstrate understanding of the material
with the material
Communication
w Demonstrate an awareness of audience
with the audience
w Demonstrate basic competence in delivering a performance Performance
ATTAINMENT DESCRIPTORS
Distinction w The work presented was audible, clear and accurate most of the time. There was some
imaginative use of vocal and physical skills to support characterisation and/or narrative.
w There was some awareness of audience and competence in delivering a performance
w There was a clear understanding of the material shown when reflecting on the work
Merit w The work presented was audible, clear and accurate most of the time. There was some use of
vocal and physical skills to support characterisation and/or narrative.
w There was a basic awareness of audience and some competence in delivering a performance
w There was a reasonably secure understanding of the material shown when reflecting on the work
Pass w The work presented was audible, clear and accurate some of the time. There was some use of
w There was a basic awareness of audience
w There was some understanding of the material shown when reflecting on the work
Below Pass w The work presented was hesitant and lacked audibility and/or clarity. There was little or no attempt
to use body and space.
w There was little or no awareness of audience
w There was a very limited understanding of the material shown when reflecting on the work
11
GRADE 1
EXAM DURATION
10 minutes

on page 84–85
Task 2: Performance w Guidance for mime task is on page 85

The candidate performs a mime from memory. 40

The candidate gives an impromptu response to set page 89
meaning. At this level a teacher or care-giver can ask the 20
candidate the questions.
ASSESSMENT CRITERIA

w Demonstrate variations in pace, pitch and volume to create character and support narrative Technical skills
w Demonstrate the ability to use body and space to create character and support narrative
w Demonstrate understanding of the material and connection with character Engagement

w Demonstrate the ability to create character and story through mime with the material
Communication
with the audience
w Demonstrate some confidence in delivering a performance Performance
12
Distinction w The work presented was audible, clear and accurate throughout. There was good use of vocal
modulation and physical skills to support characterisation and/or narrative.
w There was a consistent awareness of audience and a good level of confidence in delivering a
performance throughout
w The candidate was able to reflect with some confidence on the work, demonstrating a clear
understanding of the material
Merit w The work presented was audible, clear and accurate most of the time. There was some good
use of vocal modulation and physical skills to support characterisation and/or narrative.
w There was an awareness of audience and confidence in delivering a performance most of
the time
w The candidate was able to reflect well on the work, demonstrating a reasonable understanding
of the material
Pass w The work presented was audible, clear and accurate some of the time. There was some use
of vocal and physical skills to support characterisation and/or narrative.
w There was an awareness of audience and confidence in delivering a performance some of
the time
w The candidate was able to reflect on the work, demonstrating some understanding of
the material
Below Pass w The work presented was hesitant and lacked audibility and/or clarity with little evidence of
preparation. There was little or no attempt to use body and space appropriate to the material.
w There was a limited understanding of the material shown when reflecting on the work
13
GRADE 2
EXAM DURATION
12 minutes
Task 1: Performance w The monologue can come

The candidate performs a monologue from memory. from a published play, book of
monologues or be adapted from
(maximum time: 3 minutes) a novel 30
w Guidance for the performance
task is on page 84–85
Task 2: Performance w Guidance for mime task is on

The candidate performs a mime from memory. page 85 30
Task 3: Key Skills w Full details on how to access the

The candidate performs an improvisation arising from one improvisation stimulus and
of the prepared pieces. The stimulus to be used for the guidance on how to prepare and
improvisation is published on the Trinity website and changed respond to the task are on page 87
every two weeks. During the two-week validity period of the 20
stimulus the candidate must do the following: access the
stimulus; use that stimulus for this task; film their performance;
upload the video of their whole exam for assessment.
Task 4: Reflection w Guidance for the reflection task is

The candidate gives an impromptu response to set questions, on page 89
reflecting on the performed pieces including their meaning w The set questions are on page 90
20
and the characters involved. At this level a teacher or
care-giver can ask the candidate the questions.
ASSESSMENT CRITERIA

w Demonstrate variations in pace, pitch and volume to create character and support narrative
Technical skills
w Demonstrate the ability to convey an imagined situation through improvisation
w Demonstrate understanding of the material and connection with character

Engagement
w Respond creatively to improvisation stimulus
with the material
w Demonstrate an ability to create character and story through mime
Communication
with the audience
w Demonstrate confidence in delivering a performance Performance
14
Distinction w The work presented was audible, clear and accurate throughout and there was good use
of vocal and physical skills to support characterisation and/or narrative
w The candidate was able to improvise with confidence and coherence most of the time,
communicating an imagined situation with some creativity
w There was a consistent awareness of audience and a good level of confidence in delivering
a performance throughout
w The candidate was able to reflect with confidence on the work, demonstrating a good level
of understanding of the material
Merit w The work presented was audible, clear and accurate most of the time and there was some
good use of vocal and physical skills to support characterisation and/or narrative
w The candidate was able to improvise, communicating an imagined situation with confidence
and coherence most of the time
w There was an awareness of audience and confidence in delivering a performance most of
the time.
w The candidate was able to reflect with some confidence on the work, demonstrating a
reasonable understanding of the material
Pass w The work presented was audible, clear and accurate most of the time and there was some use
of vocal and physical skills to support characterisation and/or narrative
w The candidate was able to improvise, communicating an imagined situation that had some
coherence and clarity
w There was an awareness of audience and confidence in delivering a performance some of
the time
w The candidate was able to reflect with some confidence on the work, demonstrating some
Below Pass w The work presented was hesitant and lacked audibility, clarity and/or accuracy. There was little
use of body within the space and there was little evidence of preparation.
w There was a struggle to improvise and to stay within an imagined situation
w There was limited awareness of audience
w There was a limited understanding of the material and/or a reluctance or inability to reflect on
the discussion topics
15
GRADE 3
EXAM DURATION
14 minutes

w Guidance for the performance task
is on page 84–85
Task 2: Performance w Guidance for the mime task is on

The candidate performs EITHER a prepared mime OR an page 85
original speech/scene devised by the candidate from memory
based on one of the following:
w ‘The Disappointment’
30
w ‘The Best Day of My Life’
w ‘Terror’
w ‘The Surprise Party’
w ‘The Heroine/Hero saves the Day’
Task 3: Key Skills w Full details on how to access

The candidate performs an improvisation arising from the improvisation stimulus and
one of the prepared pieces. The stimulus to be used for guidance on how to prepare and
the improvisation is published on the Trinity website and respond to the task are on page 87
changed every two weeks. During the two-week validity
20
period of the stimulus the candidate must do the following:
access the stimulus, use that stimulus for this task, film their
performance, upload the video of their whole exam
for assessment.

reflecting on the performed pieces including their meaning, w The set questions are on page 90
20
mood and the characters involved. At this level a teacher or
care-giver can ask the candidate the questions.
16
ASSESSMENT CRITERIA

Technical skills
w Demonstrate the ability to convey an imagined situation through improvisation

Engagement with
the material
w Demonstrate some choices of interpretation
w Demonstrate the ability to engage an audience, communicating the meaning and mood Communication
of the material with the audience
w Demonstrate confidence in delivering a performance Performance
Distinction w The work presented was audible, clear and accurate throughout. There was some expressive use of
w The candidate was able to improvise with some confidence, communicating an imagined situation
creatively and coherently
w There was a confident ability to engage the audience, communicating meaning and mood throughout
with an appearance of ease
w The candidate was able to reflect with confidence on the work, demonstrating a secure
Merit w The work presented was audible, clear and accurate most of the time. There was some good use of
w The candidate was able to improvise with some confidence, communicating an imagined situation
with some creativity
w There was a good awareness of audience, communicating meaning and mood with an appearance
of ease and confidence most of the time
w The candidate was able to reflect with some confidence on the work, demonstrating a good level of
Pass w The work presented was audible, clear and accurate some of the time. There was some use of vocal
and physical skills to support characterisation and/or narrative.
w The candidate was able to improvise an imagined situation with some coherence and clarity
w There was an awareness of audience, communicating meaning and mood with an appearance of
ease and confidence some of the time
w The candidate was able to reflect with some confidence on the work, demonstrating a reasonable
Below Pass w The work presented was hesitant and lacked audibility, clarity and/or accuracy, showing little evidence
of preparation. There was little use of the body within the space appropriate to the material.
w Improvisation skills were limited, and the imagined situation was not sustained
w There was limited ability to engage the audience and/or there was a lack of confidence in delivering
a performance
w There was a limited understanding of the material and/or a reluctance or inability to reflect on the
discussion topics
17
GRADE 4
EXAM DURATION
16 minutes
Tasks 1–2: Performance w The contrast must be in at least

The candidate performs TWO contrasting play extracts one of the following: language
Each piece
from memory. style (eg prose, verse, colloquial,
non-colloquial), genre, or period is awarded
(maximum time: 6 minutes) in which the piece was written marks out
of 20
Task 3: Performance w Guidance for the devising task is

The candidate performs a devised re-working of EITHER on page 87
20
task 1 OR task 2 from memory.

The candidate performs an improvisation arising from the improvisation stimulus and
one of the prepared pieces. The stimulus to be used for guidance on how to prepare and
the improvisation is published on the Trinity website and respond to the task are on
page 87
changed every two weeks. During the two-week validity
20
period of the stimulus the candidate must do the following:
access the stimulus; use that stimulus for this task; film
their performance; upload the video of their whole exam
for assessment.

The candidate gives an impromptu response to set on page 89
meaning, mood, context, the vocal and physical aspects of 20
characterisation, and the process of devising.
18
ASSESSMENT CRITERIA
w Integrate vocal and physical performance skills appropriate to the material to deliver a clear
and accurate performance
w Employ vocal variety to create character and support narrative
w Demonstrate effective use of body and space to create character and support narrative Technical skills
w Create an imagined situation through improvisation with some character and
narrative development
w Show an imaginative connection between the scripted piece and re-worked performance

Engagement
with the material
w Deliver and sustain a secure and accurate performance with some sense of spontaneity Performance
Distinction w The work presented was audible, clear and accurate and had a sense of fluency throughout.
There was an expressive use of integrated vocal and physical skills to support characterisation
and/or narrative and there were imaginative choices of interpretation.
w The candidate was able to improvise with confidence and fluency, sustaining an imagined situation
creatively with character and narrative development
w There was a confident ability to engage the audience, communicating meaning and mood with a
sense of spontaneity, delivering a secure and accurate performance throughout
Merit w The work presented was audible, clear and accurate and had a sense of fluency most of the time.
There was a variety of integrated vocal and physical skills to support characterisation and/or
narrative, and clear choices of interpretation.
w The candidate was able to improvise with some confidence, sustaining an imagined situation with
some character and narrative development
w There was an ability to engage the audience, communicating meaning and mood with a sense of
spontaneity, delivering a secure and accurate performance most of the time
w The candidate was able to reflect with some confidence on the work, demonstrating a good level
Pass w The work presented was audible, clear and accurate and had a sense of fluency some of the time.
There was a range of vocal and physical skills to support characterisation and/or narrative, and there
were some clear choices of interpretation.
w The candidate was able to improvise an imagined situation with some creativity, sustaining an
imagined situation with some character and narrative development
w There was an awareness of audience, communicating meaning and mood, and some appearance
of ease and confidence, delivering a secure and accurate performance some of the time
w The candidate was able to reflect on the work, demonstrating a reasonable understanding of the material
Below Pass w The work presented lacked audibility, clarity and/or accuracy, showing little evidence of preparation.
A limited range of vocal and physical skills was demonstrated.
w Improvisation skills were limited, lacking creativity, character and/or narrative development
w There was limited awareness of audience and/or there was a lack of confidence in delivering
a performance
w The candidate demonstrated little ability to reflect with understanding on the work presented
19
GRADE 5
EXAM DURATION
18 minutes
Tasks 1–2: Performance w The contrast must be in at

The candidate performs TWO contrasting play extracts from memory. least one of the following:
language style (eg prose, Each piece
(maximum time: 8 minutes) verse, colloquial, non- is awarded
colloquial), genre or period in marks out
which the piece was written of 20
Task 3: Performance w Guidance for the devising

The candidate performs a devised re-working of EITHER task 1 task is on page 87
20
OR task 2 from memory.

The candidate performs an improvisation arising from one of the the improvisation stimulus
prepared pieces. The stimulus to be used for the improvisation is and guidance on how to
published on the Trinity website and changed every two weeks. prepare and respond to the
During the two-week validity period of the stimulus the candidate task are on page 87 20
must do the following: access the stimulus; use that stimulus for
this task; film their performance; upload the video of their whole
exam for assessment.
Task 5: Reflection w Guidance for the reflection

The candidate gives an impromptu response to set questions, task is on page 89
reflecting on the performed pieces including their meaning, mood w The set questions are on
and context, the writers’ use of language and how this contributes page 90 20
to characterization, the choices made in their staging, and the
process of devising.
20
ASSESSMENT CRITERIA
w Integrate vocal and physical performance skills appropriate to the material to deliver an
imaginative and accurate performance
w Employ vocal variety to create and sustain character and narrative
w Demonstrate effective use of body and space to create and sustain character and narrative Technical skills
w Create an imagined situation through improvisation with character and narrative development

Engagement
w Demonstrate clear choices of interpretation
with the material
w Respond creatively to an improvisation stimulus
of the material with the
audience
w Deliver and sustain a secure, accurate and engaging performance with spontaneity Performance
Expressive vocal modulation and imaginative physical skills were used in an integrated way and
with control to support characterisation and/or narrative throughout. There were some imaginative
choices of interpretation.
w The candidate was able to improvise with confidence and fluidity, sustaining an imagined situation
creatively with clear character and narrative developments
sense of spontaneity, delivering a secure and accurate performance throughout
w The candidate was able to reflect with confidence on the work, demonstrating a mature
with control to support characterisation and/or narrative most of the time. There were some clear
choices of interpretation.
w The candidate was able to improvise with some confidence and fluidity, sustaining an imagined
situation with character and narrative development
sense of spontaneity, delivering a secure and accurate performance most of the time
w The candidate was able to reflect with some confidence on the work, demonstrating a secure
Pass w The work presented was audible, clear and accurate and had a sense of fluency some of the
time. There was a range of vocal modulation, integrated with some effective physical skills to
support characterisation and/or narrative some of the time. There were some clear choices of
interpretation.
w The candidate was able to improvise with some imagination, sense of character and narrative
development
w The candidate engaged the audience, communicating meaning and mood with some appearance
of ease and confidence, delivering a secure and accurate performance some of the time
w The candidate was able to reflect on the work, demonstrating a good level of understanding of
the material
Below Pass w The work presented lacked audibility, clarity and/or accuracy, showing little evidence of
preparation. A limited range of material and performance skills was demonstrated.
w Improvisation skills were limited, lacking creativity, character or narrative development
a performance
21
GRADE 6
EXAM DURATION
20 minutes
Tasks 1–2: Performance w The extracts must contrast in

Each piece
The candidate performs TWO contrasting play extracts language style (eg prose, verse,
colloquial, non-colloquial) is awarded
from memory. marks out
(maximum time: 8 minutes) w Guidance for the performance
of 20
Task 3: Performance w Guidance for the devising task

The candidate performs a devised re-working of EITHER task 1 is on page 87
20
OR task 2 from memory.

The candidate performs an improvisation arising from one of the the improvisation stimulus
prepared pieces. The stimulus to be used for the improvisation is and guidance on how to
published on the Trinity website and changed every two weeks. prepare and respond to the
task are on page 87
During the two-week validity period of the stimulus the candidate 20
must do the following: access the stimulus; use that stimulus for
this task; film their performance; upload the video of their whole
exam for assessment.
Task 5: Reflection w Guidance for the reflection

The candidate gives an impromptu response to set questions, task is on page 89
reflecting on the performed pieces including their meaning, mood, w The set questions are on 20
context, style, preparation, and possible staging options. page 91
ASSESSMENT CRITERIA
w Integrate a range of vocal and physical performance skills appropriate to the material to
deliver an imaginative and accurate performance
Technical skills
w Demonstrate effective use of body and space to create and sustain character and narrative
w Create an imagined situation through improvisation with character and narrative development
w Demonstrate clear and creative choices of interpretation and an ability to work in the moment
w Demonstrate connection with character and understanding of the material and of the Engagement
preparation and staging processes with the material
w Deliver an emotionally sustained performance with accuracy and spontaneity Performance
22
Distinction w The work presented a synthesis of wide-ranging vocal and physical skills used accurately and
creatively to support characterisation and/or narrative. There were clear and creative choices
of interpretation, and an authentic connection with character was sustained throughout.
w The candidate was able to improvise with confidence and ownership, communicating
an imagined situation with creative character and narrative development
w There was a confident ability to engage the audience and a sense of spontaneity and assurance,
delivering a secure and accurate performance throughout
w The candidate was able to reflect in a thoughtful and considered way on the work, demonstrating
a mature understanding of the material
Merit w The work presented a wide range of integrated vocal and physical skills used accurately and
imaginatively to support characterisation and/or narrative. There were clear and creative choices
of interpretation, and a secure connection with character was demonstrated most of the time.
w The candidate was able to improvise with confidence, communicating an imagined situation with
creative character and narrative development
w There was a confident ability to engage the audience and a sense of spontaneity, delivering a
secure and accurate performance most of the time
w The candidate was able to reflect with some maturity on the work, demonstrating a secure
Pass w The work presented a range of integrated vocal and physical skills used accurately and with some
imagination to support characterisation and/or narrative. There were some clear and creative choices
of interpretation, and a secure connection with character was demonstrated some of the time.
w The candidate was able to improvise with some commitment, communicating an imagined
situation with character and narrative development
w There was some confidence in engaging the audience and the appearance of ease, delivering
a secure and accurate performance some of the time
w The candidate was able to reflect on the work, demonstrating a secure understanding of the material
Below Pass w The work presented, while showing some vocal and physical skills, was not sufficiently integrated
and had limited range. There were few clear choices of interpretation, limited creativity and/or
limited connection with character.
w Improvisation skills were limited, lacking imagination and/or knowledge of context
w There was a lack of confidence in communicating with the audience and/or in delivering a
performance with a sense of ownership
w The candidate demonstrated limited understanding of the material, lacking opinion and
detailed knowledge
23
GRADE 7
EXAM DURATION
23 minutes
Tasks 1–3: Performance w Two of the plays must have been

The candidate performs THREE extracts from different plays written in different periods or be
from memory. from different cultures
w One of the extracts can come
from an unpublished play — see
page 84 for guidance on the use Each piece
of unpublished material is awarded
marks out
w Another performer may be
of 20
involved in one of the pieces.
See page 86 for guidance on
filming with another performer.

The candidate performs an improvisation arising from one the improvisation stimulus and
of the prepared pieces. The stimulus to be used for the guidance on how to prepare and
every two weeks. During the two-week validity period of the 20
stimulus the candidate must do the following: access the
stimulus; use that stimulus for this task; film their performance;

reflecting on the performed pieces including their meaning, w The set questions are on
mood, context, contrasting styles, personal interpretation, page 91 20
the vocal and physical techniques employed, and the possible
staging options.
ASSESSMENT CRITERIA
w Integrate vocal and physical performance skills within a range of material to deliver an
w Employ a wide range of vocal skills to support and enhance performance and characterisation
w Demonstrate effective use of the performance space, moving with sustained purpose to Technical skills
communicate character and narrative
w Create an imagined situation through improvisation with creative character and
w Demonstrate a clear understanding of the material, character, preparation and staging processes
Engagement
w Demonstrate some persuasive choices of interpretation and an ability to work in the moment
with the material
w Demonstrate the ability to engage an audience, communicating the meaning and mood of Communication
the material with dramatic impact and authority with the audience
w Deliver an integrated, emotionally sustained, vocally and physically engaged performance
Performance
that displays a creative response to the material
24
Distinction w The work presented a synthesis of wide-ranging and integrated vocal and physical skills used accurately
and imaginatively to support characterisation and/or narrative. There were bold and original choices of
interpretation, and a sensitive connection with character was sustained throughout.
w The candidate was able to improvise with confidence, a sense of ease and ownership, inhabiting
w There was an assured, confident ability to engage the audience and a sense of spontaneity and
authority, delivering a secure and accurate performance throughout
w The candidate was able to reflect confidently and with maturity on the work, demonstrating an
in-depth and intelligent understanding of the material
imaginatively to support characterisation and/or narrative. There was an imaginative connection
to the material, clear and persuasive choices of interpretation, and a secure connection with
character was demonstrated most of the time.
w The candidate was able to improvise with confidence and commitment, communicating an
imagined situation with creative character and narrative development
w There was a confident ability to engage the audience and a sense of spontaneity, delivering
a secure and accurate performance throughout
w The candidate was able to reflect confidently on the work, demonstrating a full understanding
of the material
Pass w The work presented a range of integrated vocal and physical skills used accurately and with
imagination to support characterisation and/or narrative. There were some clear and persuasive
choices of interpretation and there was a secure connection with character some of the time.
w The candidate was able to improvise confidently with some creative character and
w There was a confident ability to engage the audience, delivering a secure and accurate
performance most of the time
and had limited range. There were few clear choices of interpretation and limited creativity.
w Improvisation skills were limited, lacking creative character and/or narrative development
w There was little evidence of control and/or preparation and limited ability to communicate and
engage the audience
w The candidate demonstrated limited understanding of the material, lacking knowledge, depth
of opinion and detail
25
GRADE 8
EXAM DURATION
26 minutes
Tasks 1–3: Performance w The pieces should contrast in at least

The candidate introduces and performs a continuous one of the following: style, language,
programme of THREE contrasting play extracts from mood or genre
different plays from memory. w Another performer may be involved
(maximum time: 15 minutes) in one of the extracts — see page 86 Each
for guidance on filming with another piece is
performer awarded
w One of the extracts can come marks
from an unpublished play — see out of 20
page 84 for guidance on the use of
unpublished material
on page 84–85

The candidate performs a modification arising from one modification stimulus and guidance
of their prepared pieces. The stimulus for the modification on how to prepare and respond to
is published on the Trinity website and changed every two the task are on page 88
weeks. During the two-week validity period of the stimulus 20
the candidate must do the following: access the stimulus; use
that stimulus for this task; film their performance; upload the
video of their whole exam for assessment.

The candidate gives an impromptu response to set questions, page 89
context and interpretation, as well as the rehearsal processes, 20
and the vocal and physical techniques employed in their
preparation and performance.
w Integrate vocal and physical performance skills within a range of material leading to an
imaginative programme that is cohesively linked
Technical skills
w Demonstrate effective use of the performance space, moving with sustained purpose to
w Demonstrate the ability to respond to direction given
w Demonstrate an in-depth, imaginative understanding of the material including an ability to
reflect on own performance with maturity and to clearly articulate artistic choices
w Demonstrate a clear understanding of character
w Demonstrate performance choices that show evidence of independent interpretation and Engagement
a sense of ownership with the material
w Demonstrate the ability to investigate a text with confidence, responding to directorial
prompts given by the examiner to create an imaginative modification of one of the prepared
performance pieces
w Demonstrate the ability to engage an audience fully, communicating the meaning and mood Communication
of the material with dramatic impact and authority with the audience
w Demonstrate the ability to deliver a sustained, coherent and fluent performance programme
Performance
of depth and originality
26
Distinction w The work presented a complete synthesis of wide-ranging and integrated vocal and physical skills
used accurately and creatively to support characterisation and/or narrative. There were clear and
creative choices of interpretation, an imaginative and original connection to the material and a
total sense of ownership. There was a complete sense of personal and emotional investment, with
an authentic connection with character throughout.
w During the modification task the candidate was able to improvise with confidence, ease
and fluency, fully inhabiting an imagined situation
w There was a seemingly effortless and assured ability to engage the audience fully, delivering
a secure and accurate performance of spontaneity and authority throughout
w The candidate was able to reflect confidently and with maturity on the work, demonstrating a
comprehensive and insightful understanding of the material
imaginatively to support characterisation and/or narrative. There were some clear and creative
choices of interpretation, a sense of originality and ownership, and an authentic connection with
character most of the time.
w During the modification task the candidate was able to improvise with confidence and
commitment throughout, inhabiting an imagined situation
w There was an assured, confident ability to engage the audience fully, delivering a secure and
accurate performance with spontaneity and authority most of the time
w The candidate was able to reflect confidently and with some maturity on the work, demonstrating
an in-depth understanding of the material
Pass w The work presented a wide range of integrated vocal and physical skills used accurately to support
characterisation and/or narrative. There was an imaginative connection to the material, some
clear and original choices of interpretation and some sense of ownership. There was an authentic
connection with character most of the time.
w During the modification task the candidate was able to improvise with confidence and with
some creativity
w There was a confident ability to engage the audience, delivering a secure and accurate
performance with some spontaneity and authority
w The candidate was able to reflect confidently on the work, demonstrating some in-depth
and had limited range. While some interpretive choices were made, there was little sense of
originality or ownership.
w Insecure improvisation skills during the modification task impeded creativity and the delivery
of a committed performance
w The programme lacked coherence. There was little evidence of control and/or preparation and
limited ability to communicate and engage fully with the audience and little sense of ownership.
w The candidate showed limited understanding of the material, lacking depth of opinion and
detailed knowledge
27
Exam requirements, assessment criteria and attainment descriptors: Acting (Pair)

and attainment descriptors: Acting (Pair)
The Acting (Pair) exams are designed for candidates who want to focus on collaborative vocal, physical and
characterisation skills in dramatic performance working with another performer. Candidates perform play extracts
from a range of periods and styles and develop scenes through collaborative improvisation. The tasks also test
the interactive skills of each candidate. In pair exams, both candidates must make an equal contribution to all
performances and in the reflection. Each candidate will receive marks and feedback on their performance and, if
successful, a certificate. There is free choice for the performance pieces. Unless otherwise stated, all pieces should
be taken from published works. For examples of suitable material at each level, see Trinity’s online anthology —
trinitycollege.com/anthology. For further guidance on the tasks see pages 84–95.
INITIAL
EXAM DURATION
8 minutes
Task 1: Performance w The duologue can come from a

The candidates perform a duologue from memory. (At the published play, book of duologues,
start of this task both candidates should state their full name be adapted from a novel, or devised 80
on camera). w Guidance for the performance task
is on page 84–85

The candidates give an impromptu response to set questions, on pages 89 and 91
reflecting on the performed piece, including its meaning. w The set questions are on page 91
20
At this level a teacher or care-giver can ask the candidates
the questions.
ASSESSMENT CRITERIA
During the exam, the candidates will:

Technical skills
Engagement
with the material
Communication
with the audience
w Demonstrate basic competence in delivering a shared performance Performance
28
imaginative use of vocal and physical skills to support characterisation and/or narrative and
there was some secure communication between the candidates.
w There was some awareness of audience and competence in delivering a shared performance
w There was a clear understanding of the material shown when reflecting on the work
vocal and physical skills to support characterisation and/or narrative and there was some secure
communication between the candidates.
w There was a basic awareness of audience and some competence in delivering a shared performance
w There was a reasonably secure understanding of the material shown when reflecting on the work
vocal and physical skills to support characterisation and/or narrative and there were moments of
w There was some understanding of the material shown when reflecting on the work
to use body and space and limited communication between the candidates.
w There was a very limited understanding of the material shown when reflecting on the work
29
GRADE 1
EXAM DURATION
10 minutes

The candidates perform a duologue from memory. published play, book of duologues,
be adapted from a novel, or devised 80
is on page 84–85

reflecting on the performed piece, including their meaning. At w The set questions are on page 92.
20
this level a teacher or care-giver can ask the candidates the
questions.
ASSESSMENT CRITERIA

w Demonstrate connection with character, understanding of the material and of how the Engagement
characters relate to each other with the material
Communication
with the audience
w Demonstrate some confidence in delivering a shared performance Performance
30
modulation and physical skills to support characterisation and/or narrative. There was a secure
shared performance
w The candidate was able to reflect with some confidence on the work, demonstrating a clear
vocal modulation and physical skills to support characterisation and/or narrative. There was some
secure communication between the candidates.
w There was an awareness of audience and confidence in delivering a shared performance most of
the time
w The candidate was able to reflect well on the work, demonstrating a reasonable understanding of
the material
vocal and physical skills to support characterisation and/or narrative. There were moments of
w There was an awareness of audience and confidence in delivering a shared performance some of
the time
w The candidate was able to reflect on the work, demonstrating some understanding of the material
preparation. There was little or no attempt to use body and space appropriate to the material and/
or communication between the candidates.
w There was a limited understanding of the material shown when reflecting on the work
31
GRADE 2
EXAM DURATION
12 minutes

is on page 84–85

reflecting on the performed piece, its meaning and the w The set questions are on page 92
20
characters involved. At this level a teacher or care-giver
can ask the candidates the questions.
ASSESSMENT CRITERIA

Communication
with the audience
32
Distinction w The work presented was audible, clear and accurate throughout. There was good use of
vocal and physical skills to support characterisation and/or narrative and there was efficient
shared performance throughout
w The candidate was able to reflect with confidence on the work, demonstrating a good level of
vocal and physical skills to support characterisation and/or narrative and there was some efficient
the time
w The candidate was able to reflect with some confidence on the work and the topics introduced by
the examiner, demonstrating a reasonable understanding of the material and of how the characters
relate to each other
Pass w The work presented was audible, clear and accurate most of the time. There was some use of
efficient communication between the candidates.
the time
w The candidate was able to reflect with some confidence on the work, demonstrating some
use of body within the space and there was little evidence of preparation. There was little or no
w There was a limited understanding of the material and/or a reluctance or inability to reflect on
the discussion topics
33
GRADE 3
EXAM DURATION
14 minutes

is on page 84–85
Task 2: Performance w The contrast must be in at least

The candidates perform from memory a devised duologue that one of the following: language
contrasts with the piece performed in task 1. style, genre, or period in which the 40
piece is set

20
mood and the characters involved. At this level a teacher or
care-giver can ask the candidates the questions.
ASSESSMENT CRITERIA

w Demonstrate connection with character, understanding of the material and of how the
characters relate to each other Engagement
with the material
w Demonstrate confidence in delivering a shared performance Performance
34
Distinction w The work presented was audible, clear and accurate throughout. There was some expressive
use of vocal and physical skills to support characterisation and/or narrative and there was a
confident communication between the candidates.
w There was a confident ability to engage the audience, communicating meaning and mood,
delivering a shared performance throughout with an appearance of ease
vocal and physical skills to support characterisation and/or narrative and there was some confident
w There was a good awareness of audience, communicating meaning and mood, delivering a shared
performance with an appearance of ease and confidence most of the time
w The candidate was able to reflect with some confidence on the work, demonstrating a good level of
w There was an awareness of audience, communicating meaning and mood, delivering a shared
performance with an appearance of ease and confidence some of the time
w The candidate was able to reflect with some confidence on the work, demonstrating a reasonable
Below Pass w The work presented was hesitant and lacked audibility, clarity and/or accuracy, showing little
evidence of preparation. There was little use of the body within the space appropriate to the
material and there was little communication between the candidates.
w There was a limited ability to engage the audience and/or there was a lack of confidence in
delivering a shared performance
w There was a limited understanding of the material and/or a reluctance or inability to reflect on the
discussion topics
35
GRADE 4
EXAM DURATION
16 minutes
Task 1: Performance w Guidance for the performance task

The candidates perform an extract from a play written in a and colloquial is on page 84–85
colloquial style from memory. 40
Task 2: Performance w Guidance for the devising task is on

The candidates perform from memory a devised duologue pages 87–88
with the same characters as those in task 1. 40

The candidates give an impromptu response to set on pages 89 and 92
questions, reflecting on the performed pieces including their w The set questions are on pages
92–93 20
meaning, mood, context, the vocal and physical aspects of
characterisation, and the process of devising.
ASSESSMENT CRITERIA
w Integrate vocal and physical performance skills appropriate to the material to deliver a
clear and accurate performance
w Employ vocal variety to create character and support narrative Technical skills
w Demonstrate effective use of body and space to create character and support narrative
with the material
w Deliver and sustain a secure and accurate shared performance with some sense
Performance
of spontaneity
36
and/or narrative and there were imaginative choices of interpretation. There was a good
communication and rapport between the candidates.
sense of spontaneity, delivering a secure and accurate shared performance throughout
narrative, and clear choices of interpretation. There was some good communication and rapport
between the candidates.
spontaneity, delivering a secure and accurate shared performance most of the time
w The candidate was able to reflect with some confidence on the work, demonstrating a good level
There was a range of vocal and physical skills to support characterisation and/or narrative, and
there were some clear choices of interpretation. There were moments of good communication
and rapport between the candidates.
w There was an awareness of audience, communicating meaning and mood and some appearance
of ease and confidence, delivering a secure and accurate shared performance some of the time
w The candidate was able to reflect on the work, demonstrating a reasonable understanding of
the material
preparation. A limited range of vocal and physical skills was demonstrated and there was limited
w There was limited awareness of audience and/or there was a lack of confidence in delivering a
shared performance
37
GRADE 5
EXAM DURATION
18 minutes

The candidates perform an extract from a play from memory is on page 84–85
with two characters of different status. 40
Task 2: Performance w Guidance for the devising task is on

The candidates perform from memory a devised duologue pages 87–88.
related to task 1. w Examples of how the pieces could 40
(maximum time: 7 minutes) be related are: through character,
setting, theme or subject matter

mood and context, the writers’ use of language and how this 20
contributes to characterisation, the choices made in their
staging, and the process of devising.
ASSESSMENT CRITERIA
w Employ vocal variety to create and sustain character and narrative Technical skills
characters relate to each other
Engagement
with the material
w Demonstrate knowledge of the process of devising and of how the writer’s use of
language contributes to characterisation
w Deliver and sustain a secure, accurate and engaging shared performance with spontaneity Performance
38
Expressive vocal modulation and imaginative physical skills were used in an integrated way
and with control to support characterisation and/or narrative throughout. There were some
imaginative choices of interpretation and there was convincing communication and rapport
w There was a confident ability to engage the audience, communicating meaning and mood with
a sense of spontaneity, delivering a secure and accurate shared performance throughout.
w The candidate was able to reflect with confidence on the work, demonstrating a mature
understanding of the material.
with control to support characterisation and/or narrative most of the time. There were some clear
choices of interpretation and there was some convincing communication and rapport between
the candidates.
w There was a confident ability to engage the audience, communicating meaning and mood with
a sense of spontaneity, delivering a secure and accurate shared performance most of the time
w The candidate was able to reflect with some confidence on the work, demonstrating a secure
Pass w The work presented was audible, clear and accurate and had a sense of fluency some of the
time. There was a range of vocal modulation, integrated with some effective physical skills to
support characterisation and/or narrative some of the time. There were some clear choices of
interpretation and there were moments of convincing communication and rapport between the
candidates.
w The candidate engaged the audience, communicating meaning and mood with some appearance
w The candidate was able to reflect on the work, demonstrating a good level of understanding of
the material
preparation. A limited range of material and performance skills was demonstrated. There was
limited communication between the candidates.
a shared performance
39
GRADE 6
EXAM DURATION
20 minutes
Task 1–2: Performance w The extracts must contrast in Each

The candidates perform two contrasting extracts from language style (eg prose, verse, piece is
different plays from memory. colloquial, non-colloquial) awarded
w Guidance for the performance task marks
is on page 84–85 out of
30

The candidates perform a scene developed through the improvisation stimulus and
improvisation and based on a plot outline. The stimulus to be guidance on how to prepare and
used for the improvisation is published on the Trinity website respond to the task are on page 87
and changed every two weeks.
20
During the two-week validity period of the stimulus the
candidate must do the following: access the stimulus; use that
stimulus for this task; film their performance; upload the video
of their whole exam for assessment.

reflecting on the performed pieces including their meaning, w The set questions are on pages 20
mood, context, style, preparation, and possible staging options. 93–94
ASSESSMENT CRITERIA
Technical skills
w Create an imagined situation through improvisation with character and narrative
development
Engagement
w Demonstrate understanding of the preparation and staging processes
with the material
w Demonstrate clear and creative choices of interpretation and an ability to respond
creatively to an improvisation stimulus
w Deliver an emotionally sustained, shared performance with accuracy and spontaneity Performance
40
creatively to support characterisation and/or narrative. There were clear and creative choices of
interpretation, and an authentic connection with character was sustained throughout. There was
an accomplished and seemingly natural communication between the candidates.
w The candidate was able to improvise with confidence and ownership, communicating an imagined
situation with creative character and narrative development
delivering a secure and accurate shared performance throughout
w The candidate was able to reflect in a thoughtful and considered way on the work, demonstrating
a mature understanding of the material
There was some accomplished and seemingly natural communication between the candidates.
w The candidate was able to improvise with confidence, communicating an imagined situation with
creative character and narrative development
secure and accurate shared performance most of the time
w The candidate was able to reflect with some maturity on the work, demonstrating a secure
imagination to support characterisation and/or narrative. There were some clear and creative
choices of interpretation, and a secure connection with character was demonstrated some of the
time. There were moments of accomplished communication between the candidates.
w The candidate was able to improvise with some commitment, communicating an imagined situation
with character and narrative development
w There was some confidence in engaging the audience and the appearance of ease, delivering a
secure and accurate shared performance some of the time
and had limited range. There were few clear choices of interpretation, limited creativity and/or
limited connection with character and communication between the candidates.
w Improvisation skills were limited, lacking imagination and/or knowledge of context
w There was a lack of confidence in communicating to the audience and/or in delivering a
performance with a sense of ownership
w The candidate demonstrated limited understanding of the material, lacking opinion and detailed
knowledge
41
GRADE 7
EXAM DURATION
23 minutes
Task 1–3: Performance w Two of the plays must have been

The candidates perform THREE extracts from different plays written in different periods or be
from different cultures Each
from memory. piece is
(maximum time: 14 minutes) w Guidance for the performance task
awarded
is on page 84–85
marks
w One of the extracts can come from out of
an unpublished play — see page 20
84 for guidance on the use of

The candidates perform a scene developed through improvisation the improvisation stimulus and
and based on a plot outline. The stimulus to be used for the guidance on how to prepare and
every two weeks.
20
During the two-week validity period of the stimulus the candidate
must do the following: access the stimulus; use that stimulus
for this task; film their performance; upload the video of their
whole exam for assessment.

mood, context, contrasting styles, personal interpretation, 20
the vocal and physical techniques employed, and the possible
staging options.
ASSESSMENT CRITERIA
w Integrate vocal and physical performance skills within a range of material to deliver an
w Create an imagined situation through improvisation with creative character and
w Demonstrate a clear understanding of the material, character, preparation and staging

processes and of how the characters relate to each other Engagement
w Demonstrate some persuasive choices of interpretation with the material
w Deliver an integrated, emotionally sustained, vocally and physically engaged shared

Performance
42 programme that displays a creative response to the material
Distinction w The work presented a synthesis of wide-ranging and integrated vocal and physical skills used
accurately and imaginatively to support characterisation and/or narrative. There were bold
and original choices of interpretation, and a sensitive connection with character was sustained
throughout. There was a skilful and seemingly natural communication between the candidates.
w The candidate was able to improvise with confidence, a sense of ease and ownership, inhabiting
authority, delivering a secure and accurate shared performance throughout
w The candidate was able to reflect confidently and with maturity on the work, demonstrating an
in-depth and intelligent understanding of the material
character was demonstrated most of the time. There was some skilful and natural communication
w The candidate was able to improvise with confidence and commitment, communicating an
imagined situation with creative character and narrative development
secure and accurate shared performance throughout
w The candidate was able to reflect confidently on the work, demonstrating a full understanding
of the material
choices of interpretation, and there was a secure connection with character some of the time.
There were moments of skilful communication between the candidates.
w The candidate was able to improvise confidently with some creative character and
w There was a confident ability to engage the audience, delivering a secure and accurate shared
and had limited range. There were few clear choices of interpretation and limited creativity and/or
rapport between the candidates.
w Improvisation skills were limited, lacking creative character and/or narrative development
engage the audience
w The candidate demonstrated limited understanding of the material, lacking knowledge, depth of
opinion and detail
43
GRADE 8
EXAM DURATION
26 minutes
Task 1–3: Performance w The pieces should contrast in at

The candidates introduce and perform a continuous least one of the following: style,
language, mood or genre Each
programme of THREE contrasting play extracts from different
piece is
plays from memory. w Guidance for the performance task
awarded
(maximum time: 15 minutes) is on page 84–85
marks
w One of the extracts can come from out of
an unpublished play — see page 20
84 for guidance on the use of

The candidates perform a modification arising from one modification stimulus and guidance
of their prepared pieces. The stimulus for the modification on how to prepare and respond to
is published on the Trinity website and changed every two the task are on page 88
weeks. During the two-week validity period of the stimulus the 20
candidate must do the following: access the stimulus; use that
stimulus for this task; film their performance; upload the video
of their whole exam for assessment.

reflecting on the performed pieces including their meaning, w The set questions are on pages
context and interpretation, as well as the rehearsal processes, 94–95 20
and the vocal and physical techniques employed in their
preparation and performance.
ASSESSMENT CRITERIA
Technical skills
w Demonstrate the ability to respond to direction given
w Demonstrate an in-depth, imaginative understanding of the material including an ability
to reflect on own performance with maturity and to clearly articulate artistic choices
w Demonstrate a clear understanding of character and of how the characters relate to
each other
Engagement
w Demonstrate performance choices that show evidence of independent interpretation and with the material
a sense of ownership
w Demonstrate the ability to investigate a text with confidence, responding to directorial
prompts given by the examiner to create an imaginative modification of one of the
prepared performance pieces
w Demonstrate the ability to engage an audience fully, communicating the meaning and Communication
mood of the material with dramatic impact and authority with the audience
w Demonstrate the ability to deliver a sustained, coherent and fluent shared performance
Performance
programme of depth and originality
44
used accurately and creatively to support characterisation and/or narrative. There were clear
and creative choices of interpretation, an imaginative and original connection to the material and
a total sense of ownership. There was a complete sense of personal and emotional investment,
with an authentic connection with character throughout. There was an excellent rapport and
seemingly natural communication between the candidates.
w During the modification task the candidate was able to improvise with confidence, ease and
fluency, fully inhabiting an imagined situation
w There was a seemingly effortless and assured ability to engage the audience fully, delivering a
secure and accurate shared performance of spontaneity and authority throughout
w The candidate was able to reflect confidently and with maturity on the work, demonstrating a
comprehensive and insightful understanding of the material
choices of interpretation, a sense of originality and ownership, and an authentic connection
with character most of the time. There was some excellent rapport and seemingly natural
w During the modification task the candidate was able to improvise with confidence and commitment
throughout, inhabiting an imagined situation
accurate shared performance of spontaneity and authority most of the time
w The candidate was able to reflect confidently and with some maturity on the work, demonstrating
an in-depth understanding of the material
Pass w The work presented a wide range of integrated vocal and physical skills used accurately to support
characterisation and/or narrative. There was an imaginative connection to the material, some
clear and original choices of interpretation and some sense of ownership. There was an authentic
connection with character most of the time. There were moments of excellent rapport and natural
w During the modification task the candidate was able to improvise with confidence and with
some creativity
w The candidate was able to reflect confidently on the work, demonstrating some in-depth
originality or ownership and an ineffective rapport between the candidates.
w Insecure improvisation skills during the modification task impeded creativity and the delivery of
a committed performance
w The candidate showed little knowledge of the material, lacking depth of opinion and detailed
knowledge
45
Exam requirements, assessment criteria and attainment descriptors: Acting (Group)

and attainment descriptors:
Acting (Group)
The Acting (Group) exams are designed for candidates who want to focus on creating and performing original and
scripted published work in a group scenario. Candidates perform and show knowledge and understanding of play
extracts from a range of periods and styles, and they engage with devised forms of theatre. There is free choice for
the performance pieces. Unless otherwise stated, all pieces should be taken from published works. For examples of
suitable material at each level, see Trinity’s online anthology — trinitycollege.com/anthology. For further guidance
on the tasks see pages 84–95. The minimum number of candidates in a group is 3. There is no maximum number.
INITIAL
EXAM DURATION
8 minutes
Task 1: Performance w The acting piece can come from a

The candidates perform a group acting piece from memory. published play, book of scenes, be
adapted from a novel, or devised 100
is on page 84–85
ASSESSMENT CRITERIA

Technical skills
Engagement
with the material
Communication
with the audience
46
imaginative use of vocal and physical skills to support characterisation and/or narrative and
there was some secure communication between the candidates.
w There was some awareness of audience and competence in delivering a shared performance
w The candidates demonstrated a clear understanding of the material
w There was a basic awareness of audience and some competence in delivering a shared performance
w The candidates demonstrated a reasonably secure understanding of the material
w The candidates demonstrated some understanding of the material
to use body and space and limited communication between the candidates.
w There was a very limited understanding of the material
47
GRADE 1
EXAM DURATION
10 minutes

is on page 84–85
ASSESSMENT CRITERIA

Communication
with the audience
48
shared performance
w The candidates demonstrated a clear understanding of the material and of how the characters
Merit w The work presented was audible, clear and accurate most of the time. There was some good use
of vocal modulation and physical skills to support characterisation and/or narrative. There was
some secure communication between the candidates.
w There was an awareness of audience and confidence in delivering a shared performance most
of the time
w The candidates demonstrated a reasonable understanding of the material and of how the
w There was an awareness of audience and confidence in delivering a shared performance some
of the time
w The candidates demonstrated some understanding of the material and of how the characters relate
to each other
preparation. There was little or no attempt to use body and space appropriate to the material
and/or communication between the candidates.
w There was a very limited understanding of the material and of how the characters relate to each other
49
GRADE 2
EXAM DURATION
12 minutes

is on page 84–85
ASSESSMENT CRITERIA

Communication
with the audience
50
Distinction w The work presented was audible, clear and accurate throughout. There was good use of
vocal and physical skills to support characterisation and/or narrative and there was efficient
shared performance throughout
w The candidates demonstrated a good level of understanding of the material and of how the
the time
w The candidates demonstrated a reasonable understanding of the material and of how the characters
Pass w The work presented was audible, clear and accurate most of the time. There was some use of
efficient communication between the candidates.
the time
w The candidates demonstrated some understanding of the material and of how the characters relate
to each other
w There was a limited understanding of the material and of how the characters relate to each other
51
GRADE 3
EXAM DURATION
14 minutes

The candidates perform a group acting piece from memory. published play or book of scenes,
be adapted from a novel or devised 100
is on page 84–85
ASSESSMENT CRITERIA

with the material
52
Distinction w The work presented was audible, clear and accurate throughout. There was some expressive
w There was a confident ability to engage the audience, communicating meaning and mood,
delivering a shared performance throughout with an appearance of ease
w The candidates demonstrated a secure understanding of the material and of how the characters
vocal and physical skills to support characterisation and/or narrative and there was some confident
w There was a good awareness of audience, communicating meaning and mood, delivering a shared
performance with an appearance of ease and confidence most of the time
vocal and physical skills to support characterisation and/or narrative and there were moments
of confident communication between the candidates.
w There was an awareness of audience, communicating meaning and mood, delivering a shared
performance with an appearance of ease and confidence some of the time
Below Pass w The work presented was hesitant and lacked audibility, clarity and/or accuracy, showing little evidence
of preparation. There was little use of the body within the space appropriate to the material and there
was little communication between the candidates.
w There was a limited ability to engage the audience and/or there was a lack of confidence in delivering
a shared performance
w There was limited understanding of the material and of how the characters relate to each other
53
GRADE 4
EXAM DURATION
16 minutes

The candidates perform ONE of the following from memory: is on page 84–85 and the meaning
of colloquial is on page 85
w An extract from a published play written in a colloquial style
100
w A scene devised by the group and based on a newspaper,
magazine or web-based article
ASSESSMENT CRITERIA
Technical skills
with the material
Performance
of spontaneity
54
and/or narrative and there were imaginative choices of interpretation. There was a good
communication and rapport between the candidates.
spontaneity, delivering a secure and accurate shared performance most of the time
There was a range of vocal and physical skills to support characterisation and/or narrative, and
there were some clear choices of interpretation. There were moments of good communication and
w There was an awareness of audience, communicating meaning and mood with some appearance
Below Pass w The work presented lacked audibility, clarity and/or accuracy, showing little evidence of preparation.
A limited range of vocal and physical skills was demonstrated and there was limited communication
w There was limited awareness of audience and/or there was a lack of confidence in delivering a
shared performance
55
GRADE 5
EXAM DURATION
18 minutes
Task 1: Performance w Guidance for the performance

The candidates introduce and perform ONE of the following task is on page 84–85 and the
from memory: meaning of non-colloquial is
on page 85
w An extract from a published play written in a non-colloquial style
w Guidance for devising is on
w A scene devised by the group and based on one of the following: pages 87–88 60
— Budget Airline — Under Siege
— Obsession — The Apprentice
— Final Night — The Legacy
Task 2: Performance w Guidance for the performance

The candidates introduce and perform ONE of the following task is on page 84–85
from memory:
40
w A scene devised by the group.
w An extract from a published play
ASSESSMENT CRITERIA
Technical skills
with the material
56
Expressive vocal modulation and imaginative physical skills were used in an integrated way
and with control to support characterisation and/or narrative throughout. There were some
imaginative choices of interpretation and there was convincing communication and rapport
w The candidates demonstrated a mature understanding of the material and of how the characters
Expressive vocal modulation and imaginative physical skills were used in an integrated way and with
control to support characterisation and/or narrative most of the time. There were some clear choices
of interpretation and there was some convincing communication and rapport between the candidates.
sense of spontaneity, delivering a secure and accurate shared performance most of the time
There was a range of vocal modulation, integrated with some effective physical skills to support
characterisation and/or narrative some of the time. There were some clear choices of interpretation
and there were moments of convincing communication and rapport between the candidates.
w The candidates engaged the audience, communicating meaning and mood with some appearance
preparation. A limited range of material and performance skills was demonstrated. There was
limited communication between the candidates.
w There was limited ability to engage the audience and/or there was a lack of confidence in delivering a
shared performance
57
GRADE 6
EXAM DURATION
20 minutes
Tasks 1–2: Performance w The piece(s) should contrast

The candidates introduce and perform TWO performance pieces in style of language (eg prose,
verse, colloquial, non-colloquial) Each
from memory. The pieces can be either: piece is
w TWO extracts from published plays or w Guidance for the performance
awarded
w TWO scenes devised by the group or marks
w ONE extract from a published play and ONE scene devised by out of
the group 50
ASSESSMENT CRITERIA
Technical skills
with the material
w Demonstrate clear and creative choices of interpretation
58
creatively to support characterisation and/or narrative. There were clear and creative choices of
interpretation, and an authentic connection with character was sustained throughout. There was
an accomplished and seemingly natural communication between the candidates.
delivering a secure and accurate shared performance throughout
w The candidates demonstrated a mature understanding of the material and of how the characters
There was some accomplished and seemingly natural communication between the candidates.
w There was a confident ability to engage the audience and a sense of spontaneity, delivering a secure
and accurate shared performance most of the time
imagination to support characterisation and/or narrative. There were some clear and creative
choices of interpretation, and a secure connection with character was demonstrated some of the
time. There were moments of accomplished communication between the candidates.
w There was some confidence in engaging the audience and the appearance of ease, delivering a
secure and accurate shared performance some of the time
Below Pass w The work presented, while showing some vocal and physical skills, was not sufficiently integrated and
had limited range. There were few clear choices of interpretation, limited creativity and/or limited
connection with character and communication between the candidates.
w There was a lack of confidence in communicating to the audience and/or in delivering a performance
with a sense of ownership
w There was limited understanding of the material and of how the characters relate to each other
59
GRADE 7
EXAM DURATION
23 minutes
Tasks 1–2: Performance w The performance piece(s)

The candidates introduce and perform TWO performance pieces should be set or written in
different periods or cultures Each
from memory. The pieces can be either: piece is
w TWO extracts from published plays or w Guidance for the performance
awarded
task is on page 84–85.
w TWO plays or scenes devised by the group or marks
w ONE extract from a published play and ONE play or scene devised out of
by the group 50
ASSESSMENT CRITERIA
w Integrate vocal and physical performance skills to deliver an imaginative and accurate
performance
w Employ a wide range of vocal skills to support and enhance performance and characterisation Technical skills
with the material

Performance
programme that displays a creative response to the material
60
Distinction w The work presented a synthesis of wide-ranging and integrated vocal and physical skills used
accurately and creatively to support characterisation and/or narrative. There were bold and
original choices of interpretation, and a sensitive connection with character was sustained
authority, delivering a secure and accurate shared performance throughout
w The candidates demonstrated an in-depth and intelligent understanding of the material and of
how the characters relate to each other
character was demonstrated most of the time. There was some skilful and natural communication
secure and accurate shared performance throughout
w The candidates demonstrated a full understanding of the material and of how the characters relate
to each other
choices of interpretation, and there was a secure connection with character some of the time.
There were moments of skilful communication between the candidates.
engage the audience
61
GRADE 8
EXAM DURATION
25 minutes
Tasks 1–2: Performance w The piece(s) should contrast in

The candidates introduce and perform from memory a two or more of the following: style
continuous programme of either: of language, mood, genre, period,
culture in which they are set Each piece
w TWO extracts from published plays or is awarded
w TWO plays or scenes devised by the group or marks out
task is on page 84–85.
w ONE extract from a published play and ONE play or scene of 50
devised by the group
ASSESSMENT CRITERIA
w Employ a wide range of vocal skills to support and enhance performance and characterisation Technical skills
w Demonstrate a clear understanding of character and an in-depth, imaginative

understanding of the material and of how the characters relate to each other Engagement
w Demonstrate performance choices that show evidence of independent interpretation with the material
and a sense of ownership
w Demonstrate the ability to engage an audience fully, communicating the meaning and Communication
mood of the material with dramatic impact and authority with the audience
w Demonstrate the ability to deliver a sustained, coherent and fluent shared performance
Performance
programme of depth and originality
62
used accurately and creatively to support characterisation and/or narrative. There were clear
and creative choices of interpretation, an imaginative and original connection to the material and
a total sense of ownership. There was a complete sense of personal and emotional investment,
with an authentic connection with character throughout. There was an excellent rapport and
seemingly natural communication between the candidates.
w There was a seemingly effortless and assured ability to engage the audience fully, delivering a
secure and accurate shared performance of spontaneity and authority throughout
w The candidates demonstrated a comprehensive and insightful understanding of the material and
of how the characters relate to each other
choices of interpretation, a sense of originality and ownership, and an authentic connection
with character most of the time. There was some excellent rapport and seemingly natural
accurate shared performance of spontaneity and authority most of the time
w The candidates demonstrated an in-depth understanding of the material and of how the characters
Pass w The work presented a wide range of integrated vocal and physical skills used accurately to
support characterisation and/or narrative. There was an imaginative connection to the material,
some clear and original choices of interpretation and some sense of ownership. There was an
authentic connection with character most of the time. There were moments of rapport and natural
w The candidates demonstrated some in-depth understanding of the material and of how the
originality or ownership and an ineffective rapport between the candidates.
63
Exam requirements, assessment criteria and attainment descriptors: Plays in Production

and attainment descriptors: Plays in Production
The Plays in Production exams are designed to allow schools, colleges and theatre groups to offer an entire production
for assessment. Candidates taking part in any role (including backstage and technical) as part of a production, and who
want feedback and recognition for their achievement from an industry professional, can be included.
Teachers can choose between two pathways, depending on their style of production and the resources used:
PERFORMANCE, DESIGN AND TECHNICAL PERFORMANCE ONLY

(PATHWAY 1) (PATHWAY 2)
This option is for productions where all students, This option is for productions where students are mainly
whether participating in backstage/technical/front of focused on the performance. If some of the technical
house or onstage elements including performance, elements are led by students, then assessment of these
costume, lighting, design and sound, will be assessed. can be included.
MARKING MARKING
ASSESSMENT AREA MARKS ASSESSMENT AREA MARKS
Group dynamic 20 Group dynamic 20
Individual performances 20 Individual performances 20
Staging 20 Staging 20
Design (including set, props and costumes) 20 Engagement with audience 20
Technical (including lighting and sound) 20 Response to the material 20
Total 100 Total 100
Please note that where professionals have created the technical elements, then the Performance Only option
(pathway 2) should be selected.
GENERAL INFORMATION
Group size The minimum number of candidates in a group is 3. There is no maximum number.
Level of entry The entire production is entered at one grade.
A performance is submitted that is ready for public viewing (even if the intention is not
to invite an audience). The examiner watches the recording, writes feedback and assigns
Assessment method marks for the selected performance elements using the appropriate assessment areas
and criteria (see above and pages 66–83). The total mark assigned will reflect the level
of achievement of the group as a whole.
64
INITIAL TO GRADE 8
EXAM DURATION
No maximum
EXAM REQUIREMENTS:
PLAYS IN PRODUCTION MAXIMUM MARKS MAXIMUM TIME
Task 1: Performance
The candidates present the whole or part of a play
or drama performance programme for assessment.
The performance should be planned and choices
made in the staging as if it were intended for public
performance — although the attendance of an
audience is optional. 100 No maximum
If the Performance, Design and Technical option

is selected, then the production should feature
design and technical elements such as lighting, set,
costume, sound, make-up and props.
(See below the minimum timings by grade.)
MINIMUM DURATION BY GRADE

The following table provides details on the minimum duration of the production at each grade
(there is no maximum duration).
LEVEL MINIMUM DURATION
Initial 8 minutes
Grade 1 10 minutes
Grade 2 12 minutes
Grade 3 14 minutes
Grade 4 16 minutes
Grade 5 18 minutes
Grade 6 20 minutes
Grade 7 23 minutes
Grade 8 25 minutes
WHAT TO PROVIDE FOR THE EXAMINER

Candidates should upload with their video a programme providing details of what is being performed including
details of those performing backstage roles. Where a candidate has produced a visual for the performance, eg a
poster, an image of this should be included either in the programme or as a separate upload.
65
INITIAL
MINIMUM EXAM DURATION
8 minutes
ASSESSMENT CRITERIA

Technical skills
w (Pathway 1) Demonstrate some ability to use basic staging elements such as lighting,
sound, costume, props and set
Engagement
with the material
Communication
with the audience
66
Distinction Pathways 1 and 2

The work presented was audible, clear and accurate most of the time. There was some imaginative
use of vocal and physical skills to support characterisation and/or narrative and there was
some secure communication between the candidates. There was some awareness of audience
and competence in delivering a shared performance. The candidates demonstrated a clear
Pathway 1
Basic costumes, make-up or personal props were created or sourced that helped convey the world
of the production and the characters. Some effects (lighting/sound/set/FX) were used to provide a
sense of the world of the production. An original programme, poster and/or other front of house
elements may have been produced which provided some support for the production.
Merit Pathways 1 and 2

The work presented was audible, clear and accurate most of the time. There was some use of
communication between the candidates. There was a basic awareness of audience and some
competence in delivering a shared performance. The candidates demonstrated a reasonably secure
Pathway 1
Some basic costumes, make-up or personal props were created or sourced that were appropriate
to the world of the production and the characters. Some effects (lighting/sound/set/FX) were used
which provided some sense of the world of the production. A programme, poster and/or other front
of house elements may have been produced which provided basic support for the production.
Pass Pathways 1 and 2

The work presented was audible, clear and accurate some of the time. There was some use of
communication between the candidates. There was a basic awareness of audience. The candidates
demonstrated some understanding of the material.
Pathway 1
Some costumes, make-up or personal props were used. Some effects (lighting/sound/set/FX) were
used to provide a basic sense of the world of the production. A programme, poster and/or other front
of house elements may have been produced which provided some basic support for the production.
Below Pass Pathways 1 and 2

The work presented was hesitant and lacked audibility and/or clarity. There was little or no attempt
to use body and space and limited communication between the candidates. There was little or no
awareness of audience. There was a very limited understanding of the material.
Pathway 1
There was little or no attempt to use any staging elements such as costume, make-up or personal props.
67
GRADE 1
10 minutes
ASSESSMENT CRITERIA

w Demonstrate the ability to use body and space to create character and support narrative Technical skills
w (Pathway 1) Demonstrate the ability to use some staging elements such as lighting,
sound,costume, props and set to support narrative
Communication
with the audience
68

The work presented was audible, clear and accurate throughout. There was good use of vocal
communication between the candidates. There was a consistent awareness of audience and a
good level of confidence in delivering a shared performance. The candidates demonstrated a clear
understanding of the material and of how the characters relate to each other.
Pathway 1
Some costumes, make-up or personal props were created or sourced and some effects (lighting/
sound/set/FX) were used to provide some enhancement and to convey the world of the production.
An original programme, poster and/or other front of house elements may have been produced
which supported the production.

The work presented was audible, clear and accurate most of the time. There was some good use of
vocal modulation and physical skills to support characterisation and/or narrative. There was some
secure communication between the candidates. There was an awareness of audience and confidence
in delivering a shared performance most of the time. The candidates demonstrated a reasonable
Pathway 1
Some basic costumes, make-up or personal props were created or sourced that helped convey the
world of the production. Some effects (lighting/sound/set/FX) were used to provide a sense of the
world of the production. A programme, poster and/or other front of house elements may have been
produced which provided some support for the production.

The work presented was audible, clear and accurate some of the time. There was some use of
communication between the candidates. There was an awareness of audience and confidence
in delivering a shared performance some of the time. The candidates demonstrated some
Pathway 1
Some basic costumes, make-up or personal props were used. Some effects (lighting/sound/set/ FX) were
used which provided some sense of the world of the production. A programme, poster and/or other front
of house elements may have been produced which provided some basic support for the production.

The work presented was hesitant and lacked audibility and/or clarity with little evidence of
preparation. There was little or no attempt to use body and space appropriate to the material and/or
communication between the candidates. There was little or no awareness of audience. There was a
very limited understanding of the material and of how the characters relate to each other.
Pathway 1
There was little or no attempt to use any staging elements such as costume, make-up or personal props.
69
GRADE 2
12 minutes
ASSESSMENT CRITERIA

w (Pathway 1) Demonstrate the ability to use staging elements such as lighting, sound,
costume, props and set to support narrative
Communication
with the audience
70

The work presented was audible, clear and accurate throughout. There was good use of vocal and
physical skills to support characterisation and/or narrative and there was efficient communication
between the candidates. There was a consistent awareness of audience and a good level of
confidence in delivering a shared performance throughout. The candidates demonstrated a good
level of understanding of the material and of how the characters relate to each other.
Pathway 1
Costumes, make-up or personal props were created or sourced and were used to convey and
enhance the world of the production and the characters. Some effects (lighting/sound/set/FX) were
used which contributed to creating some sense of place and enhancement to the production. An
original programme, poster and/or other front of house elements may have been produced which
supported and enhanced the production.

The work presented was audible, clear and accurate most of the time. There was some good use of
communication between the candidates. There was an awareness of audience and confidence in
delivering a shared performance most of the time. The candidates demonstrated a reasonable
Pathway 1
sound/set/FX) were used to provide some enhancement and convey the world of the production.
which supported and provided some enhancement to the production.

The work presented was audible, clear and accurate most of the time. There was some use of vocal
and physical skills to support characterisation and/or narrative and there were moments of efficient
communication between the candidates. There was an awareness of audience and confidence in
delivering a shared performance some of the time. The candidates demonstrated some understanding
of the material and of how the characters relate to each other.
Pathway 1
Basic costumes, make-up or personal props were created or sourced that helped to convey the world
of the production and the characters. Some effects (lighting/sound/set/FX) were used to provide a
sense of the world of the production. An original programme, poster and/or other front of house
elements may have been produced which supported the production.

The work presented was hesitant and lacked audibility, clarity and/or accuracy. There was little
communication between the candidates. There was limited awareness of audience and limited
understanding of how the characters relate to each other.
Pathway 1
There was little attempt to use any staging elements such as costume, make-up or personal props to
enhance the production. While some lighting/sound/set/FX was used, it was operated ineffectively
and gave no enhancement to the world of the play.
71
GRADE 3
14 minutes
ASSESSMENT CRITERIA

w (Pathway 1) Demonstrate the ability to use staging elements such as lighting,
sound,costume, props and set to support narrative and enhance the production
with the material
72

The work presented was audible, clear and accurate throughout. There was some expressive
confident communication between the candidates. There was a confident ability to engage the
audience, communicating meaning and mood, delivering a shared performance throughout with an
appearance of ease. The candidates demonstrated a secure understanding of the material and of
how the characters relate to each other.
Pathway 1
Costumes, make-up or personal props were created or sourced and used to support the candidates
in creating a good sense of character and setting. Some effects (lighting/ sound/set/FX) were used
which contributed to creating a good sense of place, mood and enhancement to the production.
A programme, poster and/or other front of house elements may have been produced which
provided some effective support and communication for the production.

The work presented was audible, clear and accurate most of the time. There was some good use
of vocal and physical skills used to support characterisation and/or narrative and there was some
confident communication between the candidates. There was a good awareness of audience,
communicating meaning and mood, delivering a shared performance with an appearance of ease
and confidence most of the time. The candidates demonstrated a good level of understanding of the
material and of how the characters relate to each other.
Pathway 1
in creating some sense of character and setting. Some effects (lighting/sound/set/FX) were used
which contributed to creating some sense of place, mood and enhancement to the production.
provided some effective support and communication for the production.

The work presented was audible, clear and accurate some of the time. There was some use of vocal
and physical skills to support characterisation and/or narrative and there were moments of confident
communication between the candidates. There was an awareness of audience, communicating
meaning and mood, delivering a shared performance with an appearance of ease and confidence
some of the time. The candidates demonstrated a reasonable understanding of the material and of
Pathway 1
sound/set/FX) were used to provide some enhancement and convey the world of the production.
which supported and provided some enhancement to the production.

The work presented was hesitant and lacked audibility, clarity and/or accuracy, showing little
evidence of preparation. There was little use of the body within the space appropriate to the
material and there was little communication between the candidates. There was a limited ability to
engage the audience and/or there was a lack of confidence in delivering a shared performance. There
was limited understanding of the material and of how the characters relate to each other.
Pathway 1
There was little attempt to use any staging elements such as costume, make-up or personal props to
enhance the production. While some lighting/sound/set/FX was used, it was operated ineffectively
and gave no enhancement to the world of the play.
73
GRADE 4
16 minutes
ASSESSMENT CRITERIA
Technical skills
w (Pathway 1) Demonstrate effective use of a range of staging elements such as lighting,
sound, costume, props and set to support narrative and enhance the production
with the material
Performance
of spontaneity
74

The work presented was audible, clear and accurate and had a sense of fluency throughout. There
was an expressive use of integrated vocal and physical skills to support characterisation and/or
narrative and there were imaginative choices of interpretation. There was a good communication
and rapport between the candidates. There was a confident ability to engage the audience,
communicating meaning and mood with a sense of spontaneity, delivering a secure and accurate
shared performance throughout. The candidates demonstrated a secure understanding of the
Pathway 1
in creating a very good sense of character and setting and communicated some sense of the style
of the production. Lighting/sound/set/FX were used which contributed to creating a very good
sense of place and mood and conveying the style of the production and were mostly operated
smoothly. A programme, poster and/or other front of house elements may have been produced
which provided effective support and communicated some sense of the style of the production.

The work presented was audible, clear and accurate and had a sense of fluency most of the time.
between the candidates. There was an ability to engage the audience, communicating meaning and
mood with a sense of spontaneity, delivering a secure and accurate shared performance most of
the time. The candidates demonstrated a good level of understanding of the material and of how the
characters relate to each other.
Pathway 1
in creating a very good sense of character and setting. Lighting/sound/set/FX were used which
contributed to creating a good sense of place and mood of the world of the production and were
mostly operated smoothly. A programme, poster and/or other front of house elements may have
been produced which provided effective support and communication for the production

The work presented was audible, clear and accurate and had a sense of fluency some of the time.
There was a range of vocal and physical skills to support characterisation and/or narrative, and there
were some clear choices of interpretation. There were moments of good communication and rapport
between the candidates. There was an awareness of audience, communicating meaning and mood
with some appearance of ease and confidence, delivering a secure and accurate shared performance
some of the time. The candidates demonstrated a reasonable understanding of the material and of
Pathway 1
in creating some sense of character and setting. Lighting/sound/set/FX were used which contributed
to creating a good sense of place and mood of the world of the production and were mostly operated
smoothly some of the time. A programme, poster and/or other front of house elements may have
been produced which provided some effective support and communication for the production.

The work presented lacked audibility, clarity and/or accuracy, showing little evidence of preparation.
A limited range of vocal and physical skills was demonstrated and there was limited communication
between the candidates. There was limited awareness of audience and/or there was a lack of
confidence in delivering a shared performance. There was a limited understanding of the material
and of how the characters relate to each other.
Pathway 1
While some costumes, make-up or personal props had been created/sourced, they provided little
sense of character and setting. While some lighting/sound/set/FX was used, it was operated
ineffectively and provided limited enhancement to the world of the play.
75
GRADE 5
18 minutes
ASSESSMENT CRITERIA
Technical skills
w (Pathway 1) Demonstrate effective use of a range of staging elements to communicate a
sense of the style of the production
with the material

The work presented was audible, clear and accurate and had a sense of fluency throughout.
with control to support characterisation and/or narrative throughout. There were some imaginative
choices of interpretation and there was convincing communication and rapport between the
candidates. There was a confident ability to engage the audience, communicating meaning and
mood with a sense of spontaneity, delivering a secure and accurate shared performance throughout.
The candidates demonstrated a mature understanding of the material and of how the characters
relate to each other.
Pathway 1
in creating character and setting and style of the production with some clarity. Lighting/sound/set/
FX were used which contributed to creating a very good sense of place, mood, and the style of the
production and were operated smoothly. A programme, poster and/or other front of house elements
may have been produced which provided effective support and communicated the style of the
production with some clarity.

The work presented was audible, clear and accurate and had a sense of fluency most of the time.
Expressive vocal modulation and imaginative physical skills were used in an integrated way and with
control to support characterisation and/or narrative most of the time. There were some clear choices
of interpretation and there was some convincing communication and rapport between the candidates.
There was a confident ability to engage the audience, communicating meaning and mood with a sense
of spontaneity, delivering a secure and accurate shared performance most of the time. The candidates
demonstrated a secure understanding of the material and of how the characters relate to each other.
Pathway 1
in creating a very good sense of character and setting and communicated some good sense of the
style of the production. Lighting/sound/set/FX were used which contributed to creating a very
good sense of place, mood, and the style of the production and were mostly operated smoothly.
76 provided effective support and communicated a good sense of the style of the production.

The work presented was audible, clear and accurate and had a sense of fluency some of the time.
There was a range of vocal modulation, integrated with some effective physical skills to support
characterisation and/or narrative some of the time. There were some clear choices of interpretation
and there were moments of convincing communication and rapport between the candidates. The
candidates engaged the audience, communicating meaning and mood with some appearance of
ease and confidence, delivering a secure and accurate shared performance some of the time. The
candidates demonstrated a good level of understanding of the material and of how the characters
relate to each other.
Pathway 1
in creating a very good sense of character and setting and communicated some sense of the style of
the production. Lighting/sound/set/FX were used which contributed to creating a very good sense of
place and mood, and some sense of the style of the production and were operated smoothly some of
the time. A programme, poster and/or other front of house elements may have been produced which
provided effective support and communicated some sense of the style of the production.

The work presented lacked audibility, clarity and/or accuracy, showing little evidence of preparation. A
limited range of material and performance skills was demonstrated. There was limited communication
between the candidates. There was limited ability to engage the audience and/or there was a lack of
confidence in delivering a shared performance. There was a limited understanding of the material and
of how the characters relate to each other.
Pathway 1
While some costumes, make-up and personal props had been created/sourced, they provided little
sense of character, setting and style. While some lighting/sound/set/FX was used, it was operated
ineffectively and provided limited enhancement to the world of the play with little sense of place and
mood conveyed.
77
GRADE 6
20 minutes
ASSESSMENT CRITERIA
Technical skills
w (Pathway 1) Demonstrate effective use of a range of staging elements that show some
evidence of being designed and communicate the setting and style of the production
with the material

The work presented a synthesis of wide-ranging vocal and physical skills used accurately and
of interpretation, and an authentic connection with character was sustained throughout. There
was an accomplished and seemingly natural communication between the candidates. There was
a confident ability to engage the audience and a sense of spontaneity and assurance, delivering
a secure and accurate shared performance throughout. The candidates demonstrated a mature
Pathway 1
Costumes, make-up or personal props were created or sourced and provided effective support to the
candidates in creating character, setting and the style of the production with clarity. Lighting/sound/
set/FX showed some evidence of being designed and effectively contributed to creating a sense of
place, mood and style of the production and were operated smoothly. Marketing materials, which
might include programme/poster/leaflet or other front of house elements, may have been produced
which provided effective support and communicated the style of the production with clarity.

The work presented a wide range of integrated vocal and physical skills used accurately and
imaginatively to support characterisation and/or narrative. There were clear and creative choices of
interpretation, and a secure connection with character was demonstrated most of the time. There
was some accomplished and seemingly natural communication between the candidates. There was a
confident ability to engage the audience and a sense of spontaneity, delivering a secure and accurate
shared performance most of the time. The candidates demonstrated a secure understanding of the
Pathway 1
Costumes, make-up or personal props were created or sourced and provided effective support to
the candidates in creating character, setting and the style of the production with clarity. Lighting/
sound/set/FX effectively contributed to creating a sense of place, mood and style of the production
and were operated smoothly. Marketing materials, which might include programme/poster/leaflet or
other front of house elements may have been produced which provided some effective support and
communicated the style of the production with clarity.
78

The work presented a range of integrated vocal and physical skills used accurately and with
choices of interpretation, and there was a secure connection with character some of the time. There
were moments of skilful communication between the candidates. There was a confident ability to
engage the audience, delivering a secure and accurate shared performance most of the time. The
candidates demonstrated a secure understanding of the material and of how the characters relate to
each other.
Pathway 1
Costumes, make-up or personal props were created or sourced and provided some effective support
to the candidates in creating character, setting and the style of the production with some clarity.
Lighting/sound/set/FX showed some evidence of being designed and effectively contributed to
creating a sense of place, mood and style of the production and were operated smoothly. Marketing
materials, which might include programme/poster/leaflet or other front of house elements, may have
been produced which provided some effective support and communicated the style of the production
with some clarity.

The work presented, while showing some vocal and physical skills, was not sufficiently integrated
rapport between the candidates. There was little evidence of control and/or preparation and limited
ability to communicate and engage the audience. There was a limited understanding of the material
Pathway 1
While some costumes, make-up or personal props had been created/sourced, they provided limited
enhancement to the production and there was little communication of character/setting/style.
While some lighting/sound/set/FX was used, it was operated ineffectively and provided limited
enhancement to the world of the play and there was little communication of place/mood/style.
79
GRADE 7
23 minutes
ASSESSMENT CRITERIA
w Integrate vocal and physical performance skills to deliver an imaginative and

accurate performance
w Demonstrate effective use of the performance space, moving with sustained purpose Technical skills
to communicate character and narrative
w (Pathway 1) Demonstrate effective use of a range of integrated staging elements that
show evidence of being designed and clearly communicate a sense of place, mood, and
style of the production
w Demonstrate connection with character and a clear understanding of the material and
of how the characters relate to each other Engagement
with the material
w Demonstrate some persuasive choices of interpretation

Performance
programme that displays a creative response to the material

The work presented a synthesis of wide-ranging vocal and physical skills used accurately and
of interpretation, and an authentic connection with character was sustained throughout. There
was an accomplished and seemingly natural communication between the candidates. There was
a confident ability to engage the audience and a sense of spontaneity and assurance, delivering
a secure and accurate shared performance throughout. The candidates demonstrated a mature
Pathway 1
Costumes, make-up or personal props were created or sourced as part of a design, and were
effectively used to enhance the world of the production and the characters. Lighting/sound/set/FX
showed evidence of design which enhanced the production and were operated smoothly. Marketing
materials, which might include programme/poster/leaflet or other front of house elements, may
have been produced which provided effective support and communicated the style and themes of
the production with clarity.
80

imaginatively to support characterisation and/or narrative. There was an imaginative connection to
the material, clear and persuasive choices of interpretation, and a secure connection with character
was demonstrated most of the time. There was some skilful and natural communication between
the candidates. There was a confident ability to engage the audience and a sense of spontaneity,
delivering a secure and accurate shared performance throughout. The candidates demonstrated
a full understanding of the material and of how the characters relate to each other.
Pathway 1
Costumes, make-up or personal props were created or sourced and provided effective support to the
candidates in creating character, setting and the style of the production with clarity. Lighting/sound/
set/FX showed some evidence of being designed and effectively contributed to creating a sense of
place, mood and style of the production and were operated smoothly. Marketing materials, which
might include programme/poster/leaflet or other front of house elements, may have been produced
which provided effective support and communicated the style of the production with clarity.

The work presented a range of integrated vocal and physical skills used accurately and with
choices of interpretation, and there was a secure connection with character some of the time. There
were moments of skilful communication between the candidates. There was a confident ability to
engage the audience, delivering a secure and accurate shared performance most of the time. The
candidates demonstrated a secure understanding of the material and of how the characters relate
to each other.
Pathway 1
Costumes, make-up or personal props were created or sourced and used to support the candidates in
creating character, setting and style of the production with some clarity. Lighting/sound/set/FX were
used to contribute to creating a sense of place, mood and style of the production and were operated
smoothly. Programme, poster and/or other front of house elements may have been produced which
provided effective support and communicated the style of the production with some clarity.

The work presented, while showing some vocal and physical skills, was not sufficiently integrated
rapport between the candidates. There was little evidence of control and/or preparation and limited
ability to communicate and engage the audience. There was a limited understanding of the material
Pathway 1
While some lighting/sound/set/FX was used, it was operated ineffectively and provided limited
enhancement to the world of the play and there was little communication of place/mood/style.
81
GRADE 8
25 minutes
ASSESSMENT CRITERIA
imaginative performance that is cohesively linked
w (Pathway 1) Make effective use of a range of integrated staging elements as part of a
design to enhance the world of the production
w Demonstrate a clear understanding of character and an in-depth, imaginative

understanding of the material and of how the characters relate to each other Engagement
w Demonstrate performance choices that show evidence of independent interpretation and with the material
a sense of ownership
w Demonstrate the ability to engage an audience fully, communicating the meaning of the Communication
material with dramatic impact and authority with the audience
w Deliver a sustained, coherent and fluent shared performance programme of depth

Performance
and originality

The work presented a synthesis of wide-ranging and integrated vocal and physical skills used
accurately and creatively to support characterisation and/or narrative. There were bold and
original choices of interpretation, and a sensitive connection with character was sustained
There was an assured, confident ability to engage the audience and a sense of spontaneity and
authority, delivering a
secure and accurate shared performance throughout. The candidates demonstrated an in-depth
and intelligent understanding of the material and of how the characters relate to each other.
Pathway 1
Staging elements including, but not limited to, costumes, make-up or personal props were created
or sourced as part of a cohesive design, and effectively used to significantly enhance the world
of the production and the characters. Lighting, sound and set showed evidence of a cohesive
design which enhanced the production and were executed and operated sympathetically with the
performance. Marketing materials, which might include programme/poster/leaflet or other front of
house elements may have been produced which worked in synthesis with the staging and technical
elements to support and communicate the production, its style and themes.
82

creatively to support characterisation and/or narrative. There were some clear and creative choices
of interpretation, a sense of originality and ownership, and an authentic connection with character
most of the time. There was some excellent rapport and seemingly natural communication between
the candidates. There was an assured, confident ability to engage the audience fully, delivering
a secure and accurate shared performance of spontaneity and authority most of the time. The
candidates demonstrated an in-depth understanding of the material and of how the characters relate
to each other.
Pathway 1
Costumes, make-up or personal props were created or sourced as part of a cohesive design and were
showed evidence of a cohesive design which enhanced the production and were operated smoothly.
Marketing materials, which might include programme/poster/leaflet or other front of house elements,
may have been produced which provided effective support and communicated the style and themes
of the production with clarity.

The work presented a wide range of integrated vocal and physical skills used accurately to support
characterisation and/or narrative. There was an imaginative connection to the material, some clear and
original choices of interpretation and some sense of ownership. There was an authentic connection
with character most of the time. There were moments of rapport and natural communication between
candidates. There was a confident ability to engage the audience, delivering a secure and accurate
shared performance with some spontaneity and authority. The candidates demonstrated some in-depth
Pathway 1
Costumes, make-up or personal props were created or sourced as part of a design, and were
showed evidence of design which enhanced the production and were operated smoothly. Marketing
materials, which might include programme/poster/leaflet or other front of house elements may have
been produced and which provided effective support and communicated the style of the production
with clarity.

The work presented, while showing some vocal and physical skills, was not sufficiently integrated and
had limited range. While some interpretive choices were made, there was little sense of originality or
ownership and an ineffective rapport between the candidates. The performance lacked coherence.
There was little evidence of control and/or preparation and limited ability to communicate and
engage fully with the audience and little sense of ownership. There was a limited understanding
of the material and of how the characters relate to each other.
Pathway 1
While some lighting/sound/set/FX was used, there was little evidence of design, it was operated
ineffectively and provided limited enhancement to the world of the play, and there was little
communication of place/mood/style. Overall, any cohesiveness in design was lacking.
83
Exam guidance
Exam guidance
GENERAL GUIDANCE The content of the material should offer candidates the
opportunity to explore emotions, moods and atmosphere
DURATION OF PIECES AND PERFORMANCE
outside their immediate experience, eg from other periods
PROGRAMMES
or cultures. The material should contain a variety of
When compiling their performance programmes, expressive vocabulary and meaning, as well as offering
candidates may combine shorter and longer pieces to some opportunity for interpretative choices.
fit the time allowed. Candidates should ensure that their
performances are of sufficient length to allow them the Grades 4–5
fullest opportunity to demonstrate the skills required. The length and complexity of the material should be
substantial enough to convey some development,
DRESS CODE, COSTUME AND STAGING DEVICES both in terms of authors’ intentions and candidates’
There is no set dress code for Trinity drama exams. interpretation and performance. The material should
Candidates should wear comfortable clothing that allows be sufficiently complex to provide some internal
them to move in the appropriate way for their chosen contrast and range, for example in terms of theme,
pieces. Except for the Plays in Production (pathway 1) character, situation or mood, and provide opportunity for
exams, there is no requirement to use costumes, candidates to begin to explore more universal themes,
scenery, lighting, props or other staging devices. If eg family, survival, peer pressure, justice. The material
candidates do wish to make use of them, they should should contain a stylistic variety of language and literary
ensure that their use does not cause the exam to overrun. form and include subtleties of vocabulary and meaning
to provide the opportunity for a variety of approaches
ROLE GENDER and interpretative choices.
Candidates can perform male or female roles regardless Grades 6–8
of their gender identification.
The length and complexity of the material should be
PERFORMANCE TASKS sufficient to enable variety and range of presentation to
The purpose of these tasks is to encourage candidates be demonstrated and sustained. It should be drawn from
to develop their performance skills alongside building an authors past and present, and from different periods
awareness and understanding of different literary forms. and cultures that provide opportunity for engagement
Candidates develop their skills in being able to: with different genres and styles, contrast of themes,
settings, characters and mood. The material should
w Memorise and perform material
enable the candidate to engage with complex emotions,
w Adopt and sustain a role universal themes and require analysis and reflection in
w Understand and interpret a text the preparation of performance, presenting challenge in
w Bring a text to life, integrating physical and vocal skills terms of physical and vocal requirements.
to enhance performance and communicate meaning to
For examples of suitable material at each level,
the audience
see Trinity’s online anthology — trinitycollege.com/
anthology
PUBLISHED AND UNPUBLISHED MATERIAL
Unless otherwise stated, all performance pieces should PROSE AND PLAY EXTRACTS
be taken from published works (not self-published).
Where candidates are required to perform ‘an extract
At Grades 7 and 8 (solo and pair), the candidates can
from a play’, at Intermediate (Grades 4–5) and Advanced
present a piece of unpublished work. This acknowledges
(Grades 6–8) levels this must be a speech/extract from a
the wealth of material that is available, often in digital
longer work rather than from a book of speeches, so the
form, that may not have been through the traditional
peer check/ publishing house approval process. candidates can demonstrate understanding of the context
This can be a piece of the candidate’s own writing or of the extract in performance and in the discussion.
from someone else. When selecting a piece, candidates
should keep in mind that it should present opportunities EDITING MATERIAL
for different interpretations, and for displaying the Extracts may be edited, for example to remove
range of vocal and physical skills required at the grade subsidiary characters, but the overarching structure,
the candidate is being assessed for. sense and dramatic development must remain clear.
In solo performances, candidates should avoid playing
SELECTING MATERIAL a single character in a scene in which dramatic
The candidate’s age, level of maturity and capabilities development depends largely on verbal interaction
should be considered carefully when selecting the material. with one or more other characters who remain — in the
context of a solo performance — invisible and inaudible.
Initial–Grade 3 Candidates should not attempt to play multiple
The length and complexity of the material should be characters within a scene unless this is specifically
sufficient to allow candidates to show their ability to related to the style and content of the play.
establish and sustain their performance and interpretation.
84
Exam guidance
DRAMA PERIODS DELIVERY OF POETRY/VERSE

When we refer to drama periods, we refer to an interval A number of styles may be adopted for the effective
of time in the past that is meaningful because of its delivery of poetry and verse and there are no set rules.
overall characteristics and context. Therefore, when The delivery is both a vocal and a physical engagement
candidates are asked to perform works taken from with an imagined audience. The performance may
different periods, they are expected to take a piece be enhanced by some relaxed and contained body
from a particular period of time that is considered to be movement, gesture and facial expression that stem
a movement such as Caroline, Realism, Greek Theatre or organically from the context.
Modern Indian. Candidates should familiarise themselves
with the features of the play that make it characteristic DELIVERY OF MONOLOGUES/PLAY EXTRACTS
of the period in which it was written, and its context. Monologues and extracts from plays should be
performed as though on stage, particularly in terms
COLLOQUIAL/NON-COLLOQUIAL of focus, sightlines, positioning, movement and
‘Colloquial’ describes language as it is informally used engagement with an imagined audience.
in a person’s contemporary idiomatic everyday speech.
For instance: ‘Hiya Jenny, how’s it going?’ is an informal MIME
colloquial greeting, but ‘Hello Jenny, how are you Mime is an effective way of encouraging students to
today?’ is more formal, and does not use contractions develop their acting skills in terms of body language
and idiomatic language. (posture, movements, gestures, etc) and for them
Material written in a colloquial style will typically be to gain a greater awareness of its importance as a
written in an informal, natural, conversational style form of communication. It tests candidates’ ability to
and be recognisable as natural speech. Idioms are produce a performance that demonstrates a thoughtful
always changing, and an idiomatic style of the 1920s interpretation, purposeful use of body and space, a
using vogue words may well sound out of place, sense of spontaneity and conscious awareness of
non-colloquial or ironic used in conversation today, audience. Mimes can be delivered in silence or to music/
such as ‘Spiffing!’ But a text from the 1920s may soundscape. Further guidance on mime can be found at
very well use the colloquialisms of its day, which trinitycollege.com/drama-resources
are of course contemporary to its period. Such a
text can be considered colloquial even though those CONTINUOUS PROGRAMMES
colloquialisms are no longer current for us. For this Grade 8
reason some scenes in Shakespeare can be considered Candidates at this advanced level are putting together
colloquial — generally those in prose. Material written a programme of pieces, and so effectively creating
in a non-colloquial style will typically use some form ONE performance comprised of different components.
of heightened or stylised language that is outside The way in which the pieces are linked is entirely up to
the contemporary idiom of its day. All verse drama the candidates. For example, a few sentences of original
is considered to be non-colloquial because there is a text might be used to address any linked themes of the
heightening and shaping of style. All drama in blank pieces chosen, or the characters’ connections in some
verse — as written by Shakespeare or Marlowe, for way. Any stage business should be included in this
instance — is non-colloquial, even though some of linking. Alternatively, the candidates could remain ‘in
the verse may contain colloquial elements. Marlowe’s character’ throughout the performance and link each
Tamburlaine and Shakespeare’s dramatic blank verse piece with a continuous monologue, in character. We are
can be considered non-colloquial. So is modern verse inviting candidates to think more imaginatively than ‘and
drama, such as T S Eliot’s Murder in the Cathedral. for my next piece’ and to think about the performance
as a whole, sustaining their performance throughout.
It is important to note that, in asking students to
Please note any linking material will not be marked by
perform an extract written in a colloquial style, the aim
the examiner.
is to encourage their development of their acting skills
by working on material which does not present overly
demanding linguistic or contextual challenges, dealing
with situations, feelings and characters that have a
sense of familiarity and contemporary relevance.
For examples of non-colloquial work, go to
trinitycollege.com/drama-resources
85
Exam guidance
FILMING ADDITIONAL PERFORMERS internet connections, a VC application can only be used

AND PAIR EXAMS to record a submission if there is no music involved
in the performance. Additionally, if candidates intend
Important: For pair exams, each candidate is required
to sing together (without music) watch the video in
to wear a label. The label should have the letter A for
advance of submitting it for assessment to check there
candidate 1 and the letter B for candidate 2. The letter
is no detrimental effect to the performance. For Acting
should be large enough to be clearly seen on the video.
(Group) and Plays in Production exams, all candidates
When uploading the video, the candidates are required
should be filmed performing together in the same
to provide the following information on the online
physical location.
submission form:
For VC recording, it is not necessary for both performers
Candidate Identification to attempt to create the perception that they are facing
Role(s)
name label each other during the performance. They can instead
look at the audience (camera). Both candidates should
Angela Taylor A Juliet in Romeo
ensure that they can be clearly seen by the camera. This
and Juliet
includes ensuring that each candidate can be seen from
Antigone in head down to at least knee level to enable assessment
Antigone of the candidates’ use of body and space to create
character and support the narrative.
Jessie Harper B Nurse in Romeo
and Juliet The VC format Zoom focuses equally on both candidates
Ismene in for the duration of the performance. Therefore, both
Antigone candidates need to be actively engaged throughout the
piece; being clearly attentive, listening and responding
In Acting (Solo) exams where an additional performer to the offer from the other candidate and ensure
is taking part, or in Acting (Pair) exams, two video performance energy has a physical root as well as vocal.
recording options are available: candidates can Think carefully about the staging of the piece and where
perform together in the same location (eg a school, possible choose scenes that can be adapted to a VC
studio or public centre); or candidates can use a format, eg scenes that don’t require a lot of physical
video-conferencing (VC) application (eg Teams or interaction. The following table acts as visual guidance
Zoom), to record themselves performing together. on the formats of filming permitted for the exams
However, due to timing difficulties caused by differing available in these syllabus specifications:
VIDEO RECORDING OPTION
Perform together in the same location Perform together using VC

Exam type
(school, studio or public centre) application (eg Zoom or Teams)
Acting (Solo)
(where an additional performer √ √
is taking part)
Acting (Pair) √ √
Acting (Group) √ X
Plays in Production √ X
86
Exam guidance
KEY SKILLS TASKS Candidates should:

IMPROVISATION w Allow skills gained in practice to guide their work
Solo: Grades 2–7 | Pair: Grades 6–7 rather than trying to remember a rehearsed scenario
w Be encouraged to explore the stimulus and find new
TASK OBJECTIVE ideas during the recording of their submission
The objective of the task is for the candidate(s) to w Challenge themselves to work in the live moment and
demonstrate their ability to engage with, and develop embrace the element of surprise as they creatively
a creative response to, time-bound stimulus material. explore the material.
The task encourages the candidate to explore their
Candidates should avoid:
imagination and deliver a piece of acting inspired by
a stimulus. w The need to polish or fix a final piece for assessment
w Being concerned over ‘mistakes’ or the piece taking a
In the assessment, examiners are looking for evidence
new path during the recording.
of: creative and imaginative dramatic choices; free-
flowing dialogue rather than a prepared script; good use
THE CANDIDATE PERFORMS A DEVISED
of space available; at higher grades, clarity of setting
RE-WORKING OF ONE OF THEIR
and character’s intentions, depth of understanding and
PERFORMANCE PIECES
a development of the original text/scenario/character
within the improvised setting. Solo: Grades 4–6
The aim of the task is for the candidate to further
WHAT THE CANDIDATE NEEDS TO DO demonstrate their understanding of one of their
To prepare for this task, the candidate should go performed pieces and, through this process gain deeper
to trinitycollege.com/key-skills-tasks-grades and insights into the character and narrative. Examples of
download the improvisation stimulus for their grade. re-working are:
They should then prepare their response. The stimulus w Grade 4 — Reworking a speech from Eclipse by Simon
to be used for the improvisation is published on the Armitage — Tulip, — ‘When she left us for good I was
Trinity website and changed every two weeks. During
nine or ten’. The candidate could rework as the police
the two-week validity period of the stimulus the
officer who is interviewing Tulip, asking about her
candidate must do the following: access the stimulus;
background and relationships with Klondike and Lucy —
use that stimulus for this task; film their performance;
exploring the speech from someone else’s perspective.
w Grade 5 — Reworking a speech from Romeo and Juliet
The candidate(s) should begin the task by reading out
the stimulus for the improvisation. — Romeo, — ‘But soft what light’. The candidate could
re-work the speech in modern language and as if
HOW TO PREPARE FOR THIS TASK Romeo is looking at Juliet in a busy Starbucks.
When preparing for this task, candidates should know w Grade 6 — Reworking a speech from The Country
the content and context of their chosen texts well, and Wife by William Wycherley — Marjorie Pinchwife, —
should invent possible situations for the characters ‘Mr Horner — So, I am glad he has told me his name;
they play and others within the texts in order to gain Dear Mr Horner’. The candidate could re-work this
confidence in sustaining a scenario. A sense of play as if Marjorie is writing an email rather than letter
and discovery should be encouraged, and at higher and telling the opposite to what is in the original text,
grades candidates should develop a deeper clarity that she really doesn’t like him and she isn’t the fool
of understanding of character through imaginative everyone takes her for.
response. For example, at Grades 2–3, the stimulus
may instruct the candidates to show a character in a THE CANDIDATES DEVISE AND PERFORM A
different situation (at home, on holiday, at school) or to SCENE RELATED TO OR FEATURING THE SAME
speak to a character on the telephone. CHARACTERS FROM TASK 1
At Grades 4–7, the task given will reflect the developing Pair: Grades 4–5
emotional maturity of the candidate(s), giving the
The aim of this task is for candidates to further
opportunity to display more authoritative performance
demonstrate their understanding of their performed
skills and to demonstrate a more complex imaginative
text. In Grade 4, the focus is on exploring character
awareness of the dramatic possibilities inherent in their
to show an ability to place the characters in another
chosen material. Candidates might, for example, be
setting while retaining their qualities and relationships.
asked to imagine scenarios that occur before, during or
For example, if the original scene had been from
after events in their performed piece. Or they might be
A A Milne’s Toad of Toad Hall, the prologue between
given a situation that picks up a theme or emotion from
Marigold and the Nurse, the candidates might then
one of their performed pieces (for instance jealousy
perform a scene that imagines a telephone call between
in Othello, ambition in Macbeth) in order to present a
scene exploring that emotion in a different context. those two characters after the events of the play,
showing development in their relationship.
Examples of improvisation stimuli are at
trinitycollege.com/digital-drama-grades 87
Exam guidance
At Grade 5 there is an expansion on this; the candidates established at this level. An example of a scene a
can explore different scenarios and re-imagine the candidate(s) may present at Grade 8 is Ronnie from
original extract in a new style, setting, or with an Chicken Soup with Barley by Arnold Wesker, the speech
alternative point of view or with another character’s starting ‘No, he’s a store-keeper in a sweet factory
understanding. For example Helena’s speech ‘Through now.’ The stimulus may ask the candidate to present
Athens I am thought as fair as she’ from A Midsummer the scene in a different environment, for example as a
Night’s Dream could be set at a bus stop in the present stand-up comedian, presenting the speech directly to an
day: ‘Everyone on Instagram thinks I’m as pretty as audience as if standing at a microphone and delivering the
Hermia.’ Or Hermia might give us her thoughts about punchlines. Or in a very quiet place, a library for example,
what she thinks of Demetrius’s feelings for Helena. trying not to allow anyone else to hear the dialogue.
At this Intermediate level, the task develops research A musical theatre example is in Stephen Sondheim’s
skills which further develop understanding of the Sweeney Todd Johanna sings wistfully ‘Green Finch and
original scene. When devising their new scene, Linnet Bird’, thinking about the freedom that is denied
candidates are advised to explore all options they to her. In a modification of this, the candidate(s) could
can think of to bring new perspectives to the original be asked to sing the song as though she were a school
material, experimenting with style, period, physicality teacher chastising her young class for singing badly in
and vocal delivery in order to create an imaginative and choir practice to bring out a more extrovert performance.
secure performance. Examples of modification task stimuli are at
trinitycollege.com/digital-drama-grades
THE CANDIDATE(S) WORKS ON A MODIFICATION
OF ONE OF THE PIECES THEY PERFORMED Candidates should:
Acting (Solo) Grade 8 | Acting (Pair) Grade 8 w Allow skills gained in practice to guide their work
rather than trying to remember a rehearsed scenario
TASK OBJECTIVE w Be encouraged to explore the stimulus and find new
The objective of the task is for the candidate(s) to ideas during the recording of their submission
demonstrate their ability to engage with, and develop w Challenge themselves in the moment and embrace
a creative response to, time-bound stimulus material. the element of surprise as they creatively explore
It provides the candidate(s) with an opportunity to the material
demonstrate a deeper understanding of the chosen
texts, along with the ability to respond and adapt to a Candidates should avoid:
given stimulus. In the assessment, examiners are looking w The need to polish or fix a final piece for assessment
for evidence of: depth, maturity and fearlessness of w Being concerned over ‘mistakes’ or the piece taking a
approach; a thoughtful response; working freely with a new path during the recording
sense of the unexpected; clarity and understanding of
the original text; a naturalness and a sense of being ‘in
the moment’.
WHAT THE CANDIDATE NEEDS TO DO

To prepare for this task, the candidate should go
to trinitycollege.com/key-skills-tasks-grades and
download the modification stimulus for their grade.
They should then prepare their response. The stimulus
to be used for the modification is published on the
Trinity website and changed every two weeks. During
the two-week validity period of the stimulus the
candidate must do the following: access the stimulus;
use that stimulus for this task; film their performance;
The candidate(s) should begin the task by stating the
performance piece they are modifying and reading
out the stimulus for the modification.
HOW TO PREPARE FOR THIS TASK

The candidate(s) should be secure about the original
context of their performance pieces to be able to
adapt them to various scenarios. Exploring other styles
and settings within the text and an open and creative
response to different ideas are essential, as is awareness
of the other characters’ purpose and relationships.
A confidence and ability to explore text should be
88
Exam guidance
REFLECTION TASK w Remember this is an opportunity to express their

Solo, Pair: Initial–Grade 8 acquired knowledge and understanding of their
Candidates reflect on the performances they have just chosen pieces and should be an authentically
given, giving impromptu responses to set questions. personal reflection
The questions are listed below. Candidates should avoid:
w Reading responses from a written script. Short-form
TASK OBJECTIVE
notes, with key words or phrases, can be used but
In all solo and pair exams, candidates are given the reading throughout from a page or other device will
opportunity to demonstrate knowledge and understanding limit a candidate’s ability to engage with the task.
of their performed pieces and relevant aspects of
performance skills. The objective of the reflection task is w Rehearsing and memorising a pre-written reflection;
to explore candidates’ understanding of the pieces they this will hinder a candidate’s ability to reflect on the
have performed and, where appropriate, to encourage performance they have just given and limit their
them to articulate their thoughts in such areas as ability to engage with the task
meaning, context and character development. At higher
levels, this could also include performance techniques, the SET QUESTIONS: SOLO EXAMS
processes of rehearsal, and their journey from choosing
the material to their performance in the exam. Initial
(Total time for the task: a minimum of 3 and a
In the assessment, examiners are looking for evidence
maximum of 4 minutes)
of: understanding of and accuracy on the given subjects/
pieces/skills; ability to speak with confidence and, at Guide length of response for each question is
higher grades, ability to speak with authority, assurance 40 seconds to 1 minute. While responses might vary in
and depth; and evidence of a natural thought process length, the candidate should aim to make full use of the
rather than a prepared speech. total time allocated for the task.
The candidate (or teacher/care-giver) chooses TWO or
WHAT CANDIDATES NEED TO DO
THREE of the following questions to respond to.
The questions the candidates should respond to The teacher or care-giver can ask the candidate the
are listed below. The candidates can use notes to questions on camera to facilitate the response if preferred:
refer to during their response. However, this is not a
performance — candidates should not memorise, or have 1. W
hat did you enjoy about the performances you have
a scripted, word-for-word response to the questions. Any just given?
use of notes should support an immediate and reflective 2. W
hat did you decide was the most important moment
response to the performances they have just given. in either your task 1 or task 2 performance?
Once the candidates have completed their performances 3. Choose one of your performances and talk about
and any key skills tasks, they should move straight on to what happened in the story or to the character.
the reflective response. For Initial to Grade 3, a teacher
4. What piece did you have to practise most? Why?
or care-giver can ask the questions during the recording
to facilitate a response. The teacher or care-giver can Grade 1
provide one prompt per question if necessary, eg to
(Total time for the task: a minimum of 3 and a maximum
re-word the question if a clarification is needed or to
of 4 minutes)
encourage a response. The objective of the task is for
the candidates to have a thoughtful response to their Guide length of response for each question is
performance work, as well as demonstrating insights 40 seconds to 1 minute. While responses might vary in
and understanding of the material they have just length, the candidate should aim to make full use of the
performed. total time allocated for the task.
Candidates should aim to talk about two or more of The candidate (or teacher/care-giver) chooses TWO or
their performed pieces rather than focusing on one THREE of the following questions to respond to.
piece only. The teacher or care-giver can ask the candidate the
questions on camera to facilitate the response if preferred:
Candidates should begin each section by reading out
the question they are about to respond to. Guide times 1. W
hat did you enjoy about the performances you have
are provided for the responses and candidates can use a just given?
clock to assist in keeping to time. 2. C
hoose one of your performances and talk about
what happened in the story or to the character. Did
Candidates should:
anything change?
w Approach the reflection as a one-to-one conversation
3. What piece did you have to practise the most? Why?
with somebody who has just watched their work, this
4. H
ow did you show the audience what your character
should be relaxed and spontaneous and addressed to
felt when you were performing?
the camera
89
Exam guidance
Grade 2 Grade 4
(Total time for the task: a minimum of 3 and a maximum (Total time for the task: 4 minutes)
of 4 minutes)
Guide length of response for each question is
Guide length of response for each question is 50 seconds to 1 minute 15 seconds. While responses
40 seconds to 1 minute. While responses might vary in might vary in length, the candidate should aim to make
length, the candidate should aim to make full use of the full use of the total time allocated for the task.
total time allocated for the task.
The candidate chooses THREE or FOUR of the following
The candidate (or teacher/care-giver) chooses TWO or questions to respond to:
ow do you feel your performances went?
1. H
The teacher or care-giver can ask the candidate the
questions on camera to facilitate the response if 2. Choose one of your pieces and talk about how the
preferred: character’s or narrator’s feelings changed.
1. W
hat did you enjoy about the performances you have 3. D
escribe the imaginary surroundings in one of
just given and the pieces/items you chose? your pieces.
2. H
ow were the characters or performed pieces 4. T
alk about how the skills you worked on preparing for
different from each other? How did you show that to today helped your performance.
the audience? 5. W
hat did you consider to be the funniest or
3. C
hoose one of your performed pieces and talk most dramatic moment in your pieces? What
about what makes the story or subject matter vocal or physical skills did you use to show that
interesting to you. to the audience?
ow did you show the audience what your character
4. H 6. H
ow were your performances different from
felt when you were performing? each other? How did you show that to your
imagined audience?
5. W
hich piece did you have to practise the most
and why? Grade 5
Grade 3 (Total time for the task: 4 minutes)
(Total time for the task: a minimum of 3 and a maximum Guide length of response for each question is
of 4 minutes) 50 seconds to 1 minute 15 seconds. While responses
might vary in length, the candidate should aim to make
Guide length of response for each question is full use of the total time allocated for the task.
40 seconds to 1 minute. While responses might vary in
length, the candidate should aim to make full use of the The candidate chooses THREE or FOUR of the following
total time allocated for the task. questions to respond to:
7. H
ow successful do you think your performances
The candidate (or teacher/care-giver) chooses TWO or
were? What went well?
The teacher or care-giver can ask the candidate 8. H
ow did the writing or musical style and language/
the questions on camera to facilitate the response lyrics help you to create your characters?
if preferred: 9. H
ow did you employ your voice or body to show
1. H
ow do you feel your performances went? key moments or dramatic development in one of your
What were you most pleased with? pieces?
2. C
hoose one of your pieces and talk about how the 10. W
hat happens either before or after one of the
character’s or narrator’s feelings changed. extracts from a piece you performed?
3. C
hoose one of your pieces and explain what makes the 11. H
ow did the skills that you worked on for your
story or subject matter interesting to you. performances affect your understanding of either a
performed piece or stagecraft in general?
4. D
escribe the imaginary surroundings in one
of your pieces. 12. Talk about the environment you imagined for one
of your pieces and how that influenced your staging
5. W
hat did you consider to be the funniest or most
choices during your preparation.
dramatic moment in your pieces? What vocal or
physical skills did you use to show that to the
audience?
6. H
ow were your performances different from each
other? How did you show that to your imagined
audience?
90
Exam guidance
Grade 6 The candidate chooses FOUR of the following questions

(Total time for the task: 5 minutes) to respond to:
1. T
alk about how you chose your pieces for today’s
performance, and how you balanced the contrasts in
1 minute 15 seconds. While responses might vary in
mood and style.
length, the candidate should aim to make full use of the
total time allocated for the task. 2. H
ow did your understanding of the writer, composer or
genre influence your interpretation and performance?
The candidate chooses FOUR of the following questions
3. How does the extract you performed in one of the
to respond to:
pieces fit in to the overall story/plot arc of the piece?
1. W
hich of the performed pieces/demonstrations did 4. W
hat have you learned about your own strengths
you find the most challenging and why? and limitations during your preparation for today’s
2. H
ow did you use your voice and/or body to show performance?
the contrasting styles in your performance to 5. H
ow have you developed your physical and vocal
the audience? skills during the preparation for today’s performance?
3. C
hoose one of your extracts. How does it fit in to the ow did you prepare yourself physically and
6. H
overall story/plot arc of the piece? emotionally for your performance programme today?
4. H
ow did you decide on your staging for one of your What are the key points that you have learned to help
performed pieces? What other options did you try? you sustain a performance?
5. W
hat new skills have you learned in your preparation
for today, and how did you apply them in your
SET QUESTIONS: PAIR EXAMS
performance?
alk about the ways in which you can take
6. T FOUNDATION
responsibility for a safe and effective performance. In Initial to Grade 3: teachers should encourage the
candidates to speak in a natural way, ensuring that both
Grade 7 have a chance to speak alone as well as talking with one
(Total time for the task: a minimum of 5 and a maximum another for one of the questions. The teacher or care-
of 6 minutes) giver can provide one prompt per question if necessary,
eg to re-word the question if a clarification is needed or
to encourage a response.
1 minute 15 seconds to 1 minute 30 seconds. While
responses might vary in length, the candidate should aim Initial
to make full use of the total time allocated for the task. (Total time for the task: a minimum of 3 and a maximum
The candidate chooses FOUR of the following questions of 4 minutes)
to respond to: Guide length of response for each question is:
1. T
alk about the contrasts in the writers’/composers’ w 40 seconds to 1 minute for the question to be
approach to communicating with an audience. responded to individually
2. What choices did you make about the character’s ◗ 1–2 minutes for the question to be responded to jointly
motivation in one of your performed pieces?
While responses might vary in length, candidates should
3. Were there any challenges in combining vocal and aim to make full use of the total time allocated for the task.
physical techniques to realise the style/genre in any
of the pieces you performed today? How did you The candidates (or teacher/care-giver) chooses ONE
work on them in rehearsal? question for each candidate to respond to individually,
and ONE question for them to respond to jointly.
4. How does the extract you performed in one of the
The candidates can ask each other the questions, or
pieces fit in to the overall story/plot arc?
the teacher or care-giver can ask the candidate the
5. What skills have you developed most in preparation for questions (on camera or off-camera) to facilitate the
today? How did you apply them in your performance? response if preferred:
6. Talk about the process of staging your pieces,
1. W
hat did you enjoy about the performance you
your imagined surroundings and how you made
have given?
your decisions.
2. What did you have to practise the most? (eg the
Grade 8 words, the movement, a particular moment.) Why?
(Total time for the task: a minimum of 6 and a maximum 3. Talk about what happened in the story, or to the
of 7 minutes) character, in your performance piece.
Guide length of response for each question is 4. H
ow did you work on listening and taking turns when
1 minute 30 seconds to 1 minute 45 seconds. you were rehearsing?
hat did you decide was the most important moment
5. W
While responses might vary in length, the candidate
in your performance piece? Was it the same moment
should aim to make full use of the total time allocated
for both of you?
for the task.
91
Exam guidance
Grade 1 Grade 3
(Total time for the task: a minimum of 3 and a maximum of (Total time for the task: a minimum of 3 minutes and a
4 minutes) maximum of 4 minutes)
Guide length of response for each question is: Guide length of response for each question is:
w 40 seconds to 1 minute for the question to be responded w 40 seconds to 1 minute for the question to be responded
to individually to individually
w 1–2 minutes for the question to be responded to jointly w 1–2 minutes for the question to be responded to jointly
While responses might vary in length, the candidate should While responses might vary in length, candidates should
aim to make full use of the total time allocated for the task. aim to make full use of the total time allocated for the task.
The candidates (or teacher/care-giver) chooses ONE The candidates (or teacher/care-giver) chooses ONE
question for each candidate to respond to individually, question for each candidate to respond to individually,
and ONE question for them to respond to jointly. The and ONE question for them to respond to jointly. The
candidates can ask each other the questions, or the candidates can ask each other the questions, or the
teacher or care-giver can ask the candidate the questions teacher or care-giver can ask the candidate the questions
(on camera or off-camera) to facilitate the response if (on camera or off-camera) to facilitate the response if
preferred: preferred:
1. W
hat did you enjoy about the performance/ 1. How do you feel your performances went? What were
performances you have given? you most pleased with?
hat did your character feel about the other character,
2. W 2. Choose one of your pieces and talk about how
and how did you show that to the audience? the character’s feelings changed, or how the
mood changed?
3. Which element did you have to practise the most? (eg
the words, the movement, a particular moment.) Why? hoose one of your performed pieces and talk
3. C
about what makes the story or subject matter
4. H
ow did you work on listening and taking turns when
interesting to you?
you were practising?
4. Talk about how you decided between you on your
hat did you decide what the most important moment
5. W
imaginary surroundings in one of your pieces.
in your performance piece? Was it the same moment
How did that help your performance?
for both of you?
5. What did you consider to be the funniest or most
Grade 2 dramatic moment in your pieces? What skills did you
(Total time for the task: a minimum of 3 minutes and a use to show that to the audience?
maximum of 4 minutes) 6. How did you improve your team-work when you were
Guide length of response for each question is: working on your performance pieces?
w 40 seconds to 1 minute for the question to be responded
INTERMEDIATE
to individually
In Grades 4–5: candidates should choose a different
w 1–2 minutes for the question to be responded to jointly
question each from section 1 and talk together on one
While responses might vary in length, candidates should topic in section 2. This should be in the form of a
aim to make full use of the total time allocated for the task. conversation or discussion rather than prepared answers.
The candidates (or teacher/care-giver) chooses ONE Candidates should answer one question each individually
question for each candidate to respond to individually, from section 1. They should also engage in a conversation
and ONE question for them to respond to jointly. The about one question from section 2 in order to reflect
candidates can ask each other the questions, or the spontaneously on the performance they have just given.
teacher or care-giver can ask the candidate the questions
(on camera or off-camera) to facilitate the response if Candidates should announce which questions they are
preferred: addressing.
1. W
hat did you enjoy about the performance/ Grade 4
performances you have just given and the material you (Total time for the task: 4 minutes)
chose?
Guide length of response for each question is:
2. H
ow did your characters differ from one another,
and how did you decide to show that to the imagined w 50 seconds to 1 minute 15 seconds for the question to
audience? be responded to individually
3. H
ow did you work together on movement and staging w 1 minute 45 seconds to 2 minutes 30 seconds for the
when you were practising? question to be responded to jointly
4. W
hat made the story or subject matter of your scene While responses might vary in length, the candidate should
interesting to you? aim to make full use of the total time allocated for the task.
5. Which element did you have to practise the most? (eg
the words, the movement, a particular moment.) Why?
92
Exam guidance
The candidates choose ONE question from section 1 4. C

hoose one of your pieces and talk about how the
for each candidate to respond to individually, and ONE mood changes during the piece, and how you showed
question from section 2 for them to respond to jointly. that to the audience.
The candidates can ask each other the questions:
Section 2 — Talk together, taking it in turns to lead the
Section 1 — Choose one different question each: conversation on one of the following:
1. C
hoose one of your pieces and talk about how your 1. T
alk about the imaginary environments for your
character’s feelings changed, or how the mood of the pieces. (For example: How did you create them? Did
piece developed. you do any research? Did you agree straight away, or
2. T
alk about how the skills you worked on preparing for try alternatives when you were rehearsing?)
today helped in your performance. 2. T
alk about how you developed your devised piece.
3. H
ow did you decide together about the imaginary (eg Did you have a starting point? Did your ideas
surroundings in one of your pieces and how did that change as you rehearsed? What were you most
help you? pleased with?)
4. H
ow did you show the different styles in your 3. S
hare your favourite comic or dramatic moment in
performances to the imagined audience? your performance — what did you have to work on
to emphasise it for the audience? (If your ideas are
Section 2 — Talk together, taking it in turns to lead the different, talk about why that is.)
conversation on one of the following:
4. W
hy do you think it’s beneficial to work in pairs?
1. H
ow did you both feel about the performance you Are there any challenges?
gave? (For example: What were you most pleased
with? Did everything go to plan?) ADVANCED
2. S
hare your favourite comic or dramatic moment in your In Grades 6–8: candidates should choose a different
performance — how did you work on them in rehearsal? question each from section 1 and talk together on two
(If your ideas are different, talk about why that is.) topics in section 2. Section 2 should be in the form of a
3. Why do you think it’s beneficial to work in pairs? conversation or discussion rather than prepared answers.
4. T
alk about how you developed your devised piece. Candidates should answer one question each
(eg Did you have a starting point? Did your ideas individually from section 1. They should also jointly
change as you rehearsed? What were you most engage in a conversation on two questions from section
pleased with?) 2, in order to reflect spontaneously on the performance
they have just given. Candidates should announce which
Grade 5 questions they are addressing.
(Total time for the task: 4 minutes)
Grade 6
Guide length of response for each question is: (Total time for the task: 5 minutes)
w 50 seconds to 1 minute 15 seconds for the question to
be responded to individually
w 1 minute to 1 minute 15 seconds per question.
w 1 minute 45 seconds to 2 minutes 30 seconds for the
question to be responded to jointly While responses might vary in length, candidates should
aim to make full use of the total time allocated for the task.
While responses might vary in length, the candidates
should aim to make full use of the total time allocated The candidates choose ONE question from section 1
for the task. for each candidate to respond to individually, and TWO
questions from section 2 for them to respond to jointly.
The candidates choose ONE question from section 1
for each candidate to respond to individually, and ONE
question from section 2 for them to respond to jointly. Section 1 — choose one different question each:
The candidates can ask each other the questions: 1. W
hat did you enjoy most about working on either
your physical or vocal or contributory skill for today’s
Section 1 — Choose one different question each:
performance? How do you think these skills will be
1. C
hoose one of your pieces and talk about the skills useful to you for future drama work?
you needed to work on to bring the piece to life for
2. W
hich of the performed pieces/demonstrations did
an audience. Did you notice an improvement over the
you find the most challenging and why?
rehearsal process?
3. C
hoose one of your extracts and describe how it fits
2. C
hoose one of your pieces and talk about how the
into the overall story/plot arc of the piece.
language, or lyrics or musical style helped you to
create your character? alk about the ways you worked on delivering a safe
4. T
and effective performance during your preparation.
hoose one of your pieces and talk about what
3. C
happens to your character either before or after the
extract you performed.
93
Exam guidance
Section 2 — Talk together, taking it in turns to lead the interaction and trust? Did you make immediate
conversation on two of the following: decisions about the stimulus, did you adjust/refine
1. T
alk about how you staged your pieces and decided your ideas?)
on your imagined environments when you were 3. T
alk about the process of staging your pieces,
rehearsing. (For example: Did you do any research? and deciding on your imagined surroundings.
Did you do improvisations? What alternatives did (For example: What alternatives did you explore? Did
you explore?) you need to compromise? Did you use improvisations?
2. T
alk about the process of working together for today’s Did you do any research?)
performance. (For example: Your conversation could 4. R
eflect on the process of rehearsing together and
include thoughts on both benefits and challenges, building trust. (For example: Your conversation could
how you developed team-work, any obstacles you include how the performed pieces have changed over
overcame or what gave you the greatest sense of time, any games or exercises you worked on, what
achievement.) improvements you have noticed in your partner’s
3. T
alk about the contrasts you noticed in the pieces you performance as well as your own, what you are most
performed. How did you use the different styles of proud of and how these skills could help your ongoing
writing/music/skills to make these clear to an audience? learning?)
4. H
ow did you approach the Improvised task?
Grade 8
(For example: What exercises or games help improve
your skills and interaction? Does working in pairs (Total time for the task: a minimum of 6 minutes and a
help? Did you make immediate decisions about the maximum of 7 minutes)
stimulus? Is it easy to agree?) Guide length of response for each question is:
w 1 minute 30 seconds to 1 minute 45 seconds
Grade 7
per question
(Total time for the task: a minimum of 5 minutes and a
maximum of 6 minutes) While responses might vary in length, candidates should
aim to make full use of the total time allocated for the task.
The candidates choose ONE question from section 1
w 1 minute 15 seconds to 1 minute 30 seconds per question for each candidate to respond to individually, and TWO
While responses might vary in length, candidates should questions from section 2 for them to respond to jointly.
aim to make full use of the total time allocated for the task. The candidates can ask each other the questions:
The candidates choose ONE question from section 1 Section 1 — choose one question each:
for each candidate to respond to individually, and TWO 1. H
ow did your understanding of the writer, composer or
questions from section 2 for them to respond to jointly. genre influence your interpretation and performance?
2. W
hich of your performance pieces made the most
Section 1 — choose one different question each: demands on you vocally, physically or emotionally?
1. W
ere there any challenges in combining vocal or How did you approach it in rehearsal and overcome
physical techniques to realise the style or genre of the challenges?
your pieces today? How did you work on them in 3. C
hoose one of your pieces and talk about how it fits
rehearsal and overcome the challenges? into the overall story/plot arc in its original context.
2. C
hoose one of your pieces and talk about how it fits Did you adjust this for your own performance, and
into the overall story/plot arc in its original context. if so how?
Did you adjust this for your own performance, and if 4. T
alk about your approach to building a character.
so how? How do you work on body and voice, and describe any
3. C
hoose one of your pieces and talk about your improvisations or drama exercises you use in rehearsal?
character’s motivations and describe what processes Section 2 — Talk together, taking it in turns to lead the
you explored in rehearsal to bring them to life. conversation on one of the following:
4. T
hinking about the performance you gave today, talk 1. T
alk about how you selected your pieces for today’s
about the ways you sustained your energy and took performance. (For example: Your conversation could
responsibility for a safe and effective performance. include how they contrast, how easy they were to
Section 2 — Talk together, taking it in turns to lead the relate to, what research you did and what messages
conversation on two of the following: you wanted to put over to the audience.)
1. T
alk about the contrasts you noticed in the pieces 2. T
alk about either the improvisation skills or the
you performed. Discuss how you used the different contributory skills you have developed during the
styles of writing/music/skills to make these clear to preparation for today and say why you think they
an audience. are useful. (For example: Did you do exploratory
workshops, are there warm-up exercises/games which
ow did you both approach the improvised/modified
2. H
help, did you do research or use technical support etc)
task? (For example: What skills did you work on
in preparation for the task? How did you work on
94
Exam guidance
3. R
eflect on the process of rehearsing together and
building trust. (For example: Your conversation could
include how the performed pieces have changed over
time, any games or exercises you worked on, what
skills you have learned, what improvements you have
noticed in your partner’s performance as well as your
own, what you are most proud of and how these skills
could help your ongoing learning.)
4. T
alk about what you have learned about your own
strengths and limitations during your preparation for
today’s performance? Are there any skills you would like
to develop or challenges you would like to take on next?
95
Health and safety
Health and safety

Candidates should have a knowledge of basic health FACILITIES
and safety, and they may be asked about this in the w Stage floors, rehearsal spaces, studios, etc should be
discussion sections of the exam. This includes but is kept clear, dry and free from splinters and nails, and
not limited to the following: all performers should be made familiar with the layout
of any set and/or furniture
VOICE AND BODY
w Dance floors should always be sprung, and dancers
w Ensure that the body and voice are properly warmed
should not be required to work on, for example,
up before performance
concrete rehearsal floors as this can cause injury.
w Performers should not undertake anything that is Dance floors should be regularly checked and properly
beyond their physical or vocal capabilities maintained.
w All passageways should be clear and clean, with all
COSTUME, MAKE-UP, PROPS
cables marked or covered and taped. All backstage
w Any costumes should be tailored to the age and size areas and passageways should be lit adequately.
of the performer and should not hinder movement
w All possible steps should be taken to keep
unreasonably. All costumes should be either flame
temperatures reasonably cool in hot weather
resistant or treated with a flame retardant.
and reasonably warm in cold weather and to
w Attention should be paid to hygiene issues when using ensure draughts are kept to a minimum. Rest and
make-up, for example by cleaning applicators. Make rehearsal areas should be at an acceptable ambient
sure any make-up artist or designer is aware of any temperature.
allergy/skin conditions the performer has and, when
w Routes from backstage to the stage or set should be
performers apply their own make-up, the performer
rehearsed so that performers know the safe route
should check the ingredients of the products.
and are aware of any technical obstacles, and areas
w The age, size and physical fitness of the individual of reduced lighting and masking (curtains, boards,
should be taken into account when hand props are flats, etc). Performers should take note of any changes
constructed and used. Props should be checked for in the set including changes to the floor surface and
rough edges, chips, loose material or other potential to the location of electric cables.
hazards before being used in order to prevent injury.
FIRE
w Performers should be given detailed handling
instructions about the props and given time to w Fire drills should be routinely scheduled, especially
familiarise themselves with their use when someone is new to the environment
w Weapons should only be given to performers once it w Performers should ensure they know the emergency
has been determined that they are knowledgeable drills, escape routes and assembly points
in their safe and proper use. Whenever weapons are
to be used in a performance, the scene should be
carefully choreographed in order to minimise risks.
w The storage and use of weapons must fully comply
with safety and police regulations
96
General guidance and policies
General guidance and policies

SAFEGUARDING AND CHILD PROTECTION EXAM INFRINGEMENTS
Trinity is fully committed to safeguarding and protecting All exam infringements will be referred directly to
the candidates that we work with. All posts, including Trinity’s central office by the examiner. Exam reports
examiners, are subject to a safer recruitment process, may be withheld until the outcome of any referral has
including the disclosure of criminal records and vetting been considered by Trinity. Depending on the severity of
checks. Our safeguarding policies and procedures are the infringement, marks may be deducted or, in extreme
regularly reviewed and promote safeguarding and safer cases, the exam may be invalidated.
working practice across all parts of our work.
MALPRACTICE
EQUAL OPPORTUNITIES Trinity requires its registered exam centres to report
Trinity is committed to providing equality of opportunity any suspected malpractice by candidates, teachers or
and treatment for all, and will not unlawfully or unfairly examiners. In situations where a centre is found to be
discriminate directly or indirectly on the basis of any inadequate or to be guilty of malpractice, either in terms
characteristic. of provision of facilities or in administration, the exam
centre may be required to suspend all of its activities
REASONABLE ADJUSTMENT relating to Trinity exams until the cause of the problem
is identified and rectified, if appropriate. In extreme
Trinity is committed to creating an inclusive circumstances, the centre may have its registered centre
environment where candidates with special needs are status withdrawn.
able to demonstrate their skills and feel welcomed. We
aim to make our exams accessible to all. We treat each In the very rare cases or circumstances where a centre
candidate individually when considering how we can or individual may be suspected of malpractice, Trinity
achieve this aim, recognising that requirements vary. will aim to minimise any inconvenience caused to any
Candidates can be assured that we do not compromise affected candidate, and would like to thank candidates,
on the standard of marking or allow the quality of teachers and centre staff for their kind co-operation in
exams to be affected in any way. reporting any suspected incident of cheating, thereby
assisting Trinity in upholding the quality and integrity
All provision is tailored to the particular needs of each of its exam process.
candidate. In order to be most beneficial, as full an
explanation as possible of the required provision should
RESULTS REVIEW AND APPEALS PROCEDURE
be given. The need and request for provision should be
made on the appropriate form available to download Anyone who wishes to question their exam result
from trinitycollege.com/drama-csn. For enquiries please should refer to trinitycollege.com/results-enquiry for
contact drama-csn@trinitycollege.com full details of our results review and appeals process.
DATA PROTECTION
Trinity is registered as a Data Controller with the
Information Commissioner’s Office in the United
Kingdom under data protection legislation. Please
see trinitycollege.com/data-protection for the most
up-to-date information about Trinity’s data protection
procedures and policies.
CUSTOMER SERVICE
Trinity is committed to providing a high-quality
service for all our users from initial enquiry through
to certification. Full details of our customer service
commitment can be found at trinitycollege.com/
customer-service
97
Summary of process and details of how to submit your exam for assessment
Summary of process and details of how to

submit your exam for assessment
SUMMARY OF PROCESS
1. Prepare your performance pieces.
2. F
or key skills tasks that require stimulus material, eg improvisation/modification, this must be accessed from the
website. The stimulus material is changed every two weeks. During the two-week validity period of the stimulus
the candidate must do the following: access the required stimulus; use that stimulus for this task; film their
performance; upload the video of their whole exam for assessment. Further details about the key skills tasks are
on pages 87–88.
3. E
nsure you have made a note of the questions required for the reflection task. Further information about the
reflection task is on pages 89–95.
4. F
ilm your performance of the pieces and your response to the key skills tasks and reflection tasks in one
continuous take. Filming guidelines can be found at trinitycollege.com/drama-filming-guidance
5. Upload your complete exam, including the supporting files (see below for more information).
DETAILS OF HOW TO SUBMIT YOUR EXAM FOR ASSESSMENT

Please read the following closely before you make your submission to our online platform via trinitycollege.com/
digital-drama-grades:
w Full details of how to film your performance, what should be in shot and how to upload your files can be found at
trinitycollege.com/drama-filming-guidance
w You can be given assistance to film your exam and another person can be present to operate your backing tracks
(if applicable)
w Play back your video to ensure that the sound and visual quality is sufficient for an examiner to mark it
w Ensure your video is one continuous recording of all your performance pieces, key skills tasks and your reflective
response from start to finish, and you have not edited this into different sections or paused or stopped the video
at any point. Only submit one take of your complete exam.
w Audio and video must be recorded simultaneously and no pre- or post-production techniques should be applied
w Your files should be labelled with your name, subject and grade, for example for solo exams: ForenameSurname_
Acting(Solo)_Grade4, for pair exams: ForenameSurname&ForenameSurname_Acting (Pair)_Grade4, for group
exams: Group Name_Acting (Group)_Grade4
w Do not delete your exam video until you have received your feedback and certificate, just in case there are any
technical issues and you are required to resubmit
w You may not enter the same performance video for the same exam more than once, unless Trinity requires you to
resubmit your video
w You may not share your performance video on social media, or use it for any other exam entries, either with
Trinity College London or any other exam board
WHAT PROVIDE WITH YOUR DRAMA EXAM VIDEO

Candidates are required to upload the following information with the video of their exam — please note
that your performances cannot be marked without this information.
All exams
You will be asked to complete an online submission form which requires the following details:
w The titles and authors of the pieces being performed
w Details of the key skills task stimulus (where relevant)
98
Summary of process and details of how to submit your exam for assessment
Pair exams
For a pair exam, the candidates are required to provide on the submission form the following information:
w Candidate name: the full name of each candidate
w Identification label: This is a label that the candidate must wear. The label should have the letter A on it for
candidate 1, and the letter B on it for candidate 2. The letter should be large enough to be clearly seen on the video.
w Role(s): the name of the role(s) each candidate is performing
Candidate Identification
Role(s)
name label
Angela Taylor A Juliet in Romeo

and Juliet
Antigone in
Antigone
Jessie Harper B Nurse in Romeo

and Juliet
Ismene in
Antigone
In addition to completing the submission form, candidates are required to upload the texts/scripts of the performed
pieces as follows (these should be uploaded as separate documents):
w The text of the performed pieces set out in the published format and lineation — the script should also show
where any edits have been made
w The script of any devised pieces
Group exams and Plays in Production

In addition to the submission form and the texts, for a group exam, a programme should be uploaded providing the
names of the candidates and the roles they are performing for each piece.
99
Acting resources
Acting resources
A wide range of resources to support teaching and learning is available at trinitycollege.com/drama-resources
Digital resources are available to support teaching and learning, including advice and content on:
w Preparing for your exam
w Performance technique
w Choosing performance pieces
Trinity also provides a free online anthology at trinitycollege.com/anthology, which offers a diverse and
international range of example pieces, giving teachers and candidates the structure and inspiration needed to
build performance programmes.
For further help you can contact the drama support team at Trinity’s central office at drama@trinitycollege.com,
or find the contact details of your local representative at trinitycollege.com/worldwide
Facebook Twitter YouTube

/TrinityCollegeLondon /TrinityC_L /TrinityVideoChannel
100

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Pair and group

Charity number England & Wales: 1014792

ABOUT TRINITY COLLEGE LONDON

Introduction to Trinity’s digital graded

w Research and reflection Grades 2–3 8 years and over

64 and below Below Pass HOW TO ENTER FOR AN EXAM

Employability and learning skills

SKILLS MEANING HOW TRINITY ACTING EXAMS SUPPORT THIS

Recognition and progression routes

DURATION OF STUDY (TOTAL QUALIFICATION TIME)

Grade 4 24 106 130

Grade 5 24 126 150

Grade 6 30 140 170

Grade 7 30 160 190

Grade 8 48 202 250

QUALIFICATION ACHIEVEMENT LEVELS WHERE THE QUALIFICATIONS COULD LEAD

* Regulated Qualifications Framework

Learning outcomes: Acting

ACTING (GROUP) & PLAYS IN PRODUCTION

Exam requirements, assessment criteria

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Task 1: Performance w The monologue can come from a

Task 2: Performance w Guidance for the mime task is on

Task 3: Reflection w Guidance for the reflection task is on

w Perform audibly, clearly and accurately

w Demonstrate basic competence in delivering a performance Performance

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Task 1: Performance w The monologue can come from a

Task 2: Performance w Guidance for mime task is on page 85

Task 3: Reflection w Guidance for the reflection task is on

w Perform audibly, clearly and accurately

w Demonstrate understanding of the material and connection with character Engagement

w Demonstrate some confidence in delivering a performance Performance

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Task 1: Performance w The monologue can come

Task 2: Performance w Guidance for mime task is on

Task 3: Key Skills w Full details on how to access the

Task 4: Reflection w Guidance for the reflection task is

w Perform audibly, clearly and accurately

w Demonstrate understanding of the material and connection with character

w Demonstrate confidence in delivering a performance Performance

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Task 1: Performance w The monologue can come from a

Task 2: Performance w Guidance for the mime task is on

Task 3: Key Skills w Full details on how to access

Task 4: Reflection w Guidance for the reflection task is

w Perform audibly, clearly and accurately

w Demonstrate understanding of the material and connection with character

w Demonstrate confidence in delivering a performance Performance

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Tasks 1–2: Performance w The contrast must be in at least

Task 3: Performance w Guidance for the devising task is

Task 4: Key Skills w Full details on how to access

Task 5: Reflection w Guidance for the reflection task is

w Demonstrate understanding of the material and connection with character

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Tasks 1–2: Performance w The contrast must be in at

Task 3: Performance w Guidance for the devising

Task 4: Key Skills w Full details on how to access

* Regulated Qualifications Framework