Acting Syllabus Specifications

ACTING
Syllabus specifications
for graded exams
Face-to-face and
digital exam formats
from September 2023
ACTING
Syllabus specifications
for graded exams
Face-to-face and
digital exam formats
from September 2023
Charity number England & Wales: 1014792

Charity number Scotland: SC049143
Patron: HRH The Duke of Kent KG
trinitycollege.com
Copyright © 2023 Trinity College London
Published by Trinity College London
Online edition, February 2024
2 Contents
Contents
3 / Section 1: Welcome
4 / Section 2: Introduction to Trinity’s digital graded Acting exams
5 / Section 3: Employability and learning skills
6 / Section 4: Recognition and progression routes
8 / Section 5: Introduction to exam tasks
9 / Section 6: Learning outcomes
11 / Section 7: Acting (Solo)
29 / Section 8: Acting (Pair)
47 / Section 9: Acting (Group)
65 / Section 10: Plays in Production
85 / Section 11: Reflection task
86 / Section 12: Reflection task in face-to-face exams
91 / Section 13: Reflection task in digital exams
96 / Section 14: Exam guidance: General
97 / Section 15: Exam guidance: Performance tasks
99 / Section 16: Exam guidance: Character development tasks
103 / Section 17: Health and safety
104 / Section 18: General guidance and policies
105 / Section 19: Acting resources
Trinity College London accepts entries on its exams on the condition that candidates conform to the requirements
of the appropriate specifications. Any amendments to the requirements will be published on the website and in
updated versions of the syllabus specifications.
3 Section 1: Welcome
Welcome
Welcome to Trinity College London’s syllabus specifications for Acting graded exams, containing details of Initial
to Grade 8 exams. These qualifications are designed for candidates who want to focus on developing their vocal,
physical and characterisation skills in dramatic performance — as solo performers, or in pairs or groups. Candidates
perform a variety of plays from a range of periods, cultures and styles. We do not prescribe the content of the
performance tasks in the exams, which allows teachers and candidates to choose pieces they have a particular
interest in or that complement their studies and/or teaching. These exams present candidates with practical,
creative tasks that prepare them for situations in both education and the workplace, enabling them to develop
invaluable 21st century skills in communication, creativity, and to build confidence.
These specifications outline the core information that teachers and candidates need to prepare and enter for
the exams. Further guidance and support resources are available at trinitycollege.com/acting
HOW TO ENTER FOR THE ACTING EXAMS

The Acting exams have been designed to support teaching, learning and assessment through both face-to-face
and digital mediums, offering even more choice in how the qualifications can be achieved. This flexibility means
that candidates can:
◗ Choose their preferred assessment medium and get feedback from a drama specialist.
◗ Enter for exams individually when they are ready.
◗ Access exams in a location convenient to them, particularly if they do not live near a physical centre.
◗ Develop their skills through preparing and responding to tasks with a progression framework.
Both mediums have the same academic rigour, and candidates who pass receive a certificate. Solo and pair
candidates at Grades 6–8 receive UCAS points.
For details on how to enter for face-to-face and digital exams go to trinitycollege.com/drama-entry
ABOUT TRINITY COLLEGE LONDON

Trinity College London, established in 1872, is a leading internationally recognised awarding organisation (exam
board), publisher and independent education charity. 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 people progress.
We 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 which is innovative, personal and authentic.
WHY CHOOSE TRINITY?

Teachers and students choose Trinity because:
◗ We understand the transformative power of performance
◗ Our qualifications help ensure candidates make progress by providing carefully levelled stepping stones that build
confidence and enjoyment while continuing to extend and challenge
◗ We aim to design assessments that have a positive impact on student learning, engagement and achievement
◗ We encourage candidates to bring their own choices and interests into our exams — this motivates students and
makes the assessment more relevant and enjoyable
◗ Our flexible exams give candidates the opportunity to perform to their strengths and interests
◗ Our qualifications are accessible to candidates of all ages and from all cultures
◗ Our highly qualified and friendly examiners are trained to put candidates at their ease and provide
maximum encouragement.
We hope you enjoy exploring the opportunities these qualifications present and we wish you every success.
The Trinity team
4 Section 2: Introduction to Trinity’s graded Acting exams
Introduction to Trinity’s
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
◗ Performance the following age ranges are provided as guidance and
show the minimum age advised for each stage.
◗ Planning and preparation
◗ Verbal and non-verbal communication Grade(s)/exam level Age of candidate
◗ Interpersonal Initial 5 years and over
◗ Critical thinking and problem-solving
Grade 1 7 years and over
◗ Research and reflection.
Grades 2–3 8 years and over
Furthermore, by working towards these exams, a range
of other skills not assessed directly are developed Grades 4–5 12 years and over
that are highly valued by schools and employers:
self-motivation, ability to learn and adjust, working Grades 6–8 16 years and over
to deadlines, organisational skills and flexibility. Trinity is committed to making its exams accessible
to all, and each candidate is treated individually when
LEVELS OF THE QUALIFICATIONS considering how assessments can be adapted for those
Each exam is assigned a level in accordance with the with special needs. Find out more at trinitycollege.com/
Regulated Qualifications Framework (RQF) in England drama-csn
and Northern Ireland. These levels are:
ENGLISH LANGUAGE EXPECTATIONS FOR
RQF level Grade(s) Level DRAMA EXAMS
Entry level Initial Initial Trinity’s graded Acting exams are conducted in English.
They assess how candidates use language as a tool for
Level 1 Grades 1–3 Foundation communicating and performing in particular contexts,
Level 2 Grades 4–5 Intermediate rather than assessing the fluency of the language itself.
We recommend, particularly for those exams that
Level 3 Grades 6–8 Advanced
involve a discussion with the examiner, that candidates
have a level of English language proficiency of at
ATTAINMENT BANDS
least B1 on the CEFR (Common European Framework
The exams are marked out of 100. Candidates’ results of Reference for languages). The English language
correspond to different attainment levels as follows: requirements become more demanding as the grades
advance. CEFR level B2 is suggested from Grade 3, and
Marks received Attainment level B2 to C1 for Grades 6 and above. More information on
85 or more Distinction the CEFR can be found at trinitycollege.com/CEFR-
level-descriptors
75–84 Merit
Candidates’ use of English must be intelligible to the
65–74 Pass examiner, although they are not required to conform
linguistically to any particular model of pronunciation
64 and below Below Pass
or usage.
5 Section 3: 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 ◗ 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 ◗ 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 ◗ 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.
◗ The ability to develop creative
responses to challenges and
in doing so create original and
imaginative situations
Working under ◗ The ability to manage the The challenge of preparing thoroughly for the exam
pressure and workload that comes with is an excellent measure of this skill area.
to deadlines deadlines
Organisation ◗ The ability to be organised Being prepared and organised in the exam room is a
skills and methodical key part of the assessment. Candidates are expected
◗ The ability to plan work to to research and prepare their performance pieces and
meet deadlines and targets take responsibility for the hard-copy information and
◗ The ability to monitor progress equipment required for the exam.
of work to ensure deadlines
are met
Critical thinking ◗ The ability to analyse material Through rehearsing and preparing for the tasks,
skills and deconstruct it to understand candidates hone their critical thinking and
how its specific impact is analytical skills.
achieved through language
and meaning
Confidence ◗ 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 ◗ 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
6 Section 4: Recognition and progression routes
Recognition and progression

routes
RECOGNITION AND UCAS POINTS REGULATED TITLES AND QUALIFICATION NUMBERS
Trinity College London is regulated by Ofqual (Office Qualification
of Qualifications and Examinations Regulation) in Title — Solo exams
number
England, CCEA Regulation in Northern Ireland and by
Initial: TCL Entry Level Award in Graded
Qualifications Wales. Various arrangements are in place
Examination in Acting (Entry 3) (Solo) (Initial) 603/4972/4
with governmental education authorities worldwide.
Grade 1: TCL Level 1 Award in Graded
All graded solo and pair qualifications are on the
Examination in Acting (Solo) (Grade 1) 501/1939/4
Regulated Qualifications Framework (RQF) and a list of
the regulated titles and numbers for these qualifications Grade 2: TCL Level 1 Award in Graded
is opposite. Group exams are unregulated because the Examination in Acting (Solo) (Grade 2) 501/1940/0
examiner assesses the overall achievement of the group.
In the UK, Trinity’s Grade 6–8 Acting solo qualifications Examination in Acting (Solo) (Grade 3) 501/1942/4
are eligible for UCAS (Universities and Colleges
Admissions Service) points for those applying to Grade 4: TCL Level 2 Certificate in Graded
colleges and universities, as follows: Examination in Acting (Solo) (Grade 4) 501/1943/6
Grade 6 Grade 5: TCL Level 2 Certificate in Graded

UCAS POINTS Examination in Acting (Solo) (Grade 5) 501/1945/X
PASS 8 | MERIT 10 | DISTINCTION 12 Grade 6: TCL Level 3 Certificate in Graded
Grade 7 Examination in Acting (Solo) (Grade 6) 501//2116/9
UCAS POINTS Grade 7: TCL Level 3 Certificate in Graded
PASS 12 | MERIT 14 | DISTINCTION 16 Examination in Acting (Solo) (Grade 7) 501/2117/0
Grade 8
Grade 8: TCL Level 3 Certificate in Graded
UCAS POINTS
Examination in Acting (Solo) (Grade 8) 501/2118/2
PASS 24 | MERIT 27 | DISTINCTION 30
See trinitycollege.com/UCASdrama for further details.
Qualification
Title — Pair exams
number
TIMING OF THE EXAMS
The maximum time allowed for each exam task Initial: TCL Entry Level Award in Graded
is the time available to the candidate to demonstrate Examination in Acting (Entry 3) (Pair) (Initial) 603/4973/6
the widest range of skills they can, and candidates are Grade 1: TCL Level 1 Award in Graded
advised to make full use of this. Examination in Acting (Pair) (Grade 1) 501/1936/9
The exams are designed to allow sufficient time for Grade 2: TCL Level 1 Award in Graded
setting up and presenting all tasks. Examination in Acting (Pair) (Grade 2) 501/1935/7
Examination in Acting (Pair) (Grade 3) 501/1937/0
7 Section 4: Recognition and progression routes
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
routes towards:
RQF* Level EQF** Level Musical Theatre
◗ Diplomas in performing or teaching offered by
6 6 LTCL
Trinity or other awarding organisations
5 —
4/5 ◗ Courses in drama or literature at further and higher
4 ATCL education institutions
Grade 8 ◗ Employment as a result of increased performance,
3 4 Grade 7 presentation and communication skills.
Grade 6
Grade 5
2 3
Grade 4
Grade 3
1 2 Grade 2
Grade 1
Entry Level 3 1 Initial
*R
egulated Qualifications Framework
** European Qualifications Framework
8 Section 5: Introduction to exam tasks
Introduction to exam tasks

In the following pages there are tables outlining each task that candidates must prepare for each grade, the
maximum time for each task and how many marks can be achieved.
The following are the assessment areas on which the tasks are built. For further details of the expectations for
each grade, please refer to the assessment criteria for each level.
Technical skills ◗ The use of voice, body and space appropriate to the performance materials, to convey
narrative, meaning and character to the audience
Engagement ◗ The understanding of the material and its context in terms of character and narrative
with the material ◗ The ability to interpret the material through acting choices
◗ In solo and pair exams, how well the candidate can articulate their understanding of the
material, and their ability to reflect upon the rehearsal processes and their performance
Performance ◗ The extent to which the candidate communicates the meaning of the pieces performed
& audience to engage the audience, and overall audience awareness during the performances
awareness ◗ The ability to prepare and deliver a cohesive range of material in an increasingly secure,
confident and creative manner with active and energetic purpose to entertain and engage
an audience
LEARNING OUTCOMES, ASSESSMENT CRITERIA AND ATTAINMENT DESCRIPTORS

Learning outcomes, assessment criteria and attainment descriptors are included for every grade and provide
information on the following:
Assessment criteria describes the standards to be met and what is expected from a candidate during the exam.
The assessment criteria are listed in each grade section of this document.
Attainment descriptors are split into Distinction, Merit, Pass and Below Pass and describe the level of skill a
candidate would need to meet to be awarded a particular result in the exam. The attainment descriptors are listed
in each grade section of this document.
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 for all
exams in this document are listed below.
ORDER OF EXAM TASKS

In the exam, candidates must work through their tasks in the order in which they are listed in the syllabus.
WHAT TO PROVIDE IN THE EXAM

The candidate should provide the examiner with the following — (as a hard copy for face-to-face exams or uploaded
to the submission platform with the exam video for digital exams):
◗ Copies of the texts (not handwritten) of prepared performance pieces set out in the original published format. Where
a piece has been edited for the candidate’s performance, the edits should be clearly marked in the text provided.
◗ An outline for any original scenes or devised pieces; to include context, environment, emotion, plot (as required).
◗ For Plays in Production exams: a programme providing details of what is being performed, who is in the cast
and the roles they are playing — 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.
◗ For Acting (Group) exams: a list of who is in the group and the roles they are playing.
9 Section 6: Learning outcomes
Learning outcomes
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 ◗ Perform a monologue with some characterisation
◗ Perform a mime using physical skills appropriate to the story
◗ Reflect at a basic level on performance material
Grade 1 ◗ Perform a monologue using vocal and physical skills and the performance space appropriate
to the material
◗ Perform a mime using physical skills and the performance space appropriate to the story
Grades 2–3 ◗ Perform a monologue using vocal and physical skills and the performance space appropriate
to the material
◗ Perform a mime or speech/scene using vocal and physical skills and the performance space
appropriate to the material
◗ Create and perform an original scene that demonstrates a further exploration of character
◗ Reflect on performance material
Grades 4–5 ◗ Perform play extracts using vocal and physical skills and the performance space appropriate
to the material
◗ Reflect on the material and skills used in the performances
Grade 6 ◗ Perform play extracts using vocal and physical skills and the performance space appropriate
to the material
Grade 7 ◗ Perform a range of play extracts, using vocal and physical skills and the performance space
appropriate to the material
Grade 8 ◗ Perform a programme of play extracts, using vocal and physical skills and the performance
space appropriate to the material
◗ Modify and perform a piece to demonstrate an in-depth understanding of the original material
and its interpretative possibilities
10 Section 6: Learning outcomes
ACTING (PAIR)
Initial ◗ Perform a duologue with some characterisation appropriate to the material
◗ Interact and work with others to create a finished piece of work
Grade 1 ◗ Perform a duologue using vocal and physical skills and the performance space appropriate
to the material
◗ Interact and work with others to create a finished piece of work
Grade 2 ◗ Perform duologues using vocal and physical skills and the performance space appropriate
to the material
◗ Interact and work with others to create finished pieces of work
Grade 3 ◗ Perform duologues using vocal and physical skills and the performance space appropriate
to the material
Grade 4 ◗ Perform a duologue using vocal and physical skills and the performance space appropriate
and Grade 5 to the material
Grade 6 ◗ Perform scenes using vocal and physical skills and the performance space appropriate to
the material
◗ Create and perform original scene that demonstrates a further exploration of character
Grade 7 ◗ Perform play extracts, written in different periods, using vocal and physical skills and the
performance space appropriate to the material
◗ Create and perform original scene that demonstrates a further exploration of character
Grade 8 ◗ 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
◗ Modify and perform a piece to demonstrate an in-depth understanding of the original material
and its interpretative possibilities
◗ Interact and work with others to create a finished programme of work
ACTING (GROUP) & PLAYS IN PRODUCTION

Initial to ◗ Perform scenes/a play accurately using vocal and physical skills and the performance space
Grade 8 appropriate to the material
◗ Interact with others to create a finished piece of work
11 Section 7: Acting (Solo)
Acting (Solo)
The exam components break down as follows across the grades. 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 ◗ The monologue can come from a

The candidate performs ONE monologue from memory. published play, book of monologues or
be adapted from a novel.
(maximum time: 2 minutes) 40
◗ For full details on how to prepare for this
task, see Section 15: Exam guidance:
Performance tasks.
Task 2: Performance ◗ For full details on how to prepare for this

The candidate performs ONE mime from memory. task, see Section 15: Exam guidance: 40
Performance tasks.
(maximum time: 2 minutes)
Task 3: Reflection ◗ For full details on how to prepare for this

The candidate demonstrates their knowledge and task and the set questions, see Sections
understanding of the performance material and 11–13: Reflection task. 20
processes through a prepared reflection.
ASSESSMENT CRITERIA
During the exam, the candidate will:
◗ Perform audibly, clearly and accurately

Technical skills
◗ Demonstrate some ability to use physicality and space as appropriate for the material
Engagement
◗ Demonstrate and communicate understanding of the material
with the material
Performance &
◗ Demonstrate a competent performance with a basic awareness of audience
audience awareness
ATTAINMENT DESCRIPTORS
Distinction ◗ The work presented by the candidate was audible, clear and accurate most of the time. There was
some imaginative use of vocal and physical skills within the space to support characterisation
and/or narrative.
◗ The candidate demonstrated a clear understanding of the material in the performance.
◗ There was some awareness of audience and competence in delivering a performance.
◗ The candidate reflected on the work, communicating a clear understanding of the material.
Merit ◗ The work presented by the candidate was audible, clear and accurate most of the time. There was some
use of vocal and physical skills within the space to support characterisation and/or narrative.
◗ The candidate demonstrated a reasonably secure understanding of the material in the performance.
◗ There was a basic awareness of audience and some competence in delivering a performance.
◗ The candidate reflected on the work, communicating a reasonably secure understanding of the material.
Pass ◗ The work presented by the candidate was audible, clear and accurate some of the time. There was
some use of vocal and physical skills within the space to support characterisation and/or narrative.
◗ The candidate demonstrated some understanding of the material in the performance.
◗ There was a basic awareness of audience and some competence in delivering a performance.
◗ The candidate reflected on the work, communicating some understanding of the material.
Below Pass ◗ The work presented by the candidate was hesitant, lacked audibility, clarity and/or accuracy.
There was little or no attempt to use physical skills within the space.
◗ The candidate demonstrated little or no understanding of the material in the performance.
◗ There was little or no awareness of audience.
◗ The candidate communicated little or no understanding of the material in the reflection.
GRADE 1
EXAM DURATION
10 minutes
Task 1: Performance ◗ The monologue can come from a published

The candidate performs ONE monologue from memory. play, book of monologues or be adapted
from a novel.
Performance tasks.

Performance tasks.

ASSESSMENT CRITERIA

◗ Demonstrate variations in pace, pitch and volume to create character and support narrative Technical skills
◗ Demonstrate the ability to use physicality and space to create character and support narrative
Engagement
◗ Demonstrate and communicate understanding of the and connection with character
with the material
Performance
◗ Demonstrate a competent performance with an awareness of audience & audience
awareness
Distinction ◗ The work presented by the candidate was audible, clear and accurate throughout. There
was good use of vocal and physical skills within the space to support characterisation
and/or narrative.
◗ There was some awareness of audience and a good level of confidence in delivering a
performance throughout.
◗ The candidate reflected on the work with some confidence, communicating a clear
understanding of the material.
Merit ◗ The work presented by the candidate was audible, clear and accurate most of the time.
There was some good use of vocal and physical skills within the space to support
characterisation and/or narrative.
◗ The candidate demonstrated a reasonable understanding of the material demonstrated in
the performance.
◗ There was an awareness of audience and confidence in delivering a performance most of the time.
◗ The candidate reflected on the work, communicating a reasonable understanding of the material.
Pass ◗ The work presented by the candidate was audible, clear and accurate some of the time.
There was some use of vocal and physical skills within the space to support characterisation
and/or narrative.
◗ There was an awareness of audience and confidence in delivering a performance some of the time.
Below Pass ◗ The work presented by the candidate was hesitant, lacked audibility, clarity, and/or accuracy,
with little evidence of preparation. There was little or no attempt to use physical skills within
the space appropriate to the material.
◗ The candidate communicated a limited understanding of the material in the reflection.
GRADE 2
EXAM DURATION
12 minutes

The candidate performs ONE monologue from memory. published play, book of monologues
or be adapted from a novel.
Performance tasks.

Performance tasks.
Task 3: Character development ◗ For full details on how to prepare for this
The candidate performs ONE original scene showing task, see Section 16: Exam guidance:
their character in a situation that takes place either Character development tasks.
20
immediately before or immediately after the events
of the piece performed in task 1.

processes through a prepared reflection
ASSESSMENT CRITERIA

◗ Demonstrate variations in pace, pitch and volume to create character and support narrative
◗ Demonstrate the ability to use physicality and space to create character and support narrative Technical skills
◗ Demonstrate the ability to create an original scene with some character and narrative
development
◗ Demonstrate and communicate understanding of the material and connection with character
Engagement
◗ Demonstrate the ability to explore a character with creativity
with the material
◗ Demonstrate an ability to create character and story through mime
Performance
◗ Demonstrate a confident performance communicating meaning, with an awareness
& audience
of audience
awareness
Distinction ◗ The work presented by the candidate was audible, clear and accurate throughout and there
was good use of vocal and physical skills within the space to support characterisation and/
or narrative.
◗ The candidate demonstrated a good level of understanding of the material in the performance.
◗ The candidate performed the original scene with some confidence communicating an
imagined situation with some creativity and coherence.
◗ There was a consistent awareness of audience and a good level of confidence in delivering
a performance throughout.
◗ The candidate reflected on the work with confidence, communicating a good level of
Merit ◗ The work presented by the candidate was audible, clear and accurate most of the time
and there was some good use of vocal and physical skills within the space to support
characterisation and/or narrative.
◗ The candidate demonstrated a reasonable understanding of the material in the performance.
◗ The candidate performed the original scene with coherence and clarity.
◗ There was an awareness of audience and confidence in delivering a performance most of the time.
◗ The candidate reflected on the work with some confidence, communicating a reasonable level
of understanding of the material.
Pass ◗ The work presented by the candidate was audible, clear and accurate some of the time and
there was some use of vocal and physical skills within the space to support characterisation
and/or narrative.
◗ The candidate performed the original scene with some coherence and clarity.
◗ There was an awareness of audience and confidence in delivering a performance some of the time.
◗ The candidate reflected on the work with some confidence, communicating some
Below Pass ◗ The work presented by the candidate was hesitant and lacked audibility, clarity and/or
accuracy. There was little use of physical skills within the space and there was little evidence
of preparation.
◗ The candidate demonstrated a limited understanding of the material in the performance.
◗ The candidate struggled to perform the original scene and to create an imagined situation.
◗ There was limited awareness of audience.
GRADE 3
EXAM DURATION
14 minutes

The candidate performs ONE monologue from memory. published play, book of monologues or
be adapted from a novel.
Performance tasks.

The candidate performs EITHER a prepared mime task, see Section 15: Exam guidance:
OR an original speech/scene devised by the candidate Performance tasks.
from memory based on one of the following:
◗ ‘The Disappointment’
30
◗ ‘The Best Day of My Life’
◗ ‘Terror’
◗ ‘The Surprise Party’
◗ ‘The Heroine/Hero saves the Day’.
their character in a situation that takes place either Character development tasks.
20

ASSESSMENT CRITERIA

◗ Demonstrate the ability to create an original scene with some character and narrative
development
◗ Demonstrate and communicate understanding of the material and connection with character
Engagement with
◗ Demonstrate the ability to explore a character
the material
◗ Demonstrate some choices of interpretation
◗ Demonstrate a confident performance, communicating meaning and mood, with an Performance

awareness of audience & audience
awareness
Distinction ◗ The work presented by the candidate was audible, clear and accurate throughout. There was
some expressive use of vocal and physical skills within the space to support characterisation
and/or narrative.
◗ The candidate demonstrated a secure understanding of the material in the performance.
◗ The candidate performed the original scene with some confidence, communicating an imagined
situation with creativity and coherence throughout.
◗ There was a confident ability to engage the audience, communicating meaning and mood with
an appearance of ease and confidence throughout.
◗ The candidate reflected on the work with confidence, communicating a secure understanding
of the material.
Merit ◗ The work presented by the candidate was audible, clear and accurate most of the time. There
was some good use of vocal and physical skills within the space to support characterisation
and/or narrative.
◗ The candidate demonstrated a good level of understanding of the material in the performance.
situation with some creativity and coherence.
◗ There was a good awareness of audience, communicating meaning and mood with an appearance
of ease and confidence most of the time.
◗ The candidate reflected on the work with some confidence, communicating a good level of
◗ The candidate demonstrated a reasonable understanding of the material in the performance.
◗ The candidate performed the original scene with some coherence and clarity.
◗ There was an awareness of audience, communicating meaning and mood with an appearance of
ease and confidence some of the time.
◗ The candidate reflected on the work with some confidence, communicating a reasonable
Below Pass ◗ The work presented by the candidate was hesitant and lacked audibility, clarity and/or accuracy,
showing little evidence of preparation. There was little use of physical skills within the space
appropriate to the material.
◗ The candidate demonstrated a limited understanding of the material in the performance.
◗ There was limited ability to engage the audience and/or there was a lack of confidence in delivering
a performance.
GRADE 4
EXAM DURATION
16 minutes
Tasks 1–2: Performance ◗ The contrast must be in at least one of

The candidate performs TWO contrasting play the following: language style (eg prose,
extracts from memory. verse, non-colloquial/formal, colloquial/ Each piece
informal), genre, or period in which the is awarded
(maximum time: 6 minutes) piece was written. marks out
◗ For full details on how to prepare for this of 20
Performance tasks.
Tasks 3–4: Character development ◗ For full details on how to prepare for this
The candidate performs TWO original scenes: task, see Section 16: Exam guidance:
Character development tasks.
◗ ONE original scene showing their character from
Each piece
EITHER task 1 OR task 2 working with an object
is awarded
that is relevant to the character
marks out
◗ ONE original scene showing their character from of 20
EITHER task 1 OR task 2. The focus of this scene is
the candidate’s own choice.

ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills to deliver a clear and accurate performance
Technical skills
◗ Demonstrate effective use of physicality and space to create character and support narrative
◗ Demonstrate ability to create original scenes with some character and narrative development
◗ Demonstrate and communicate understanding of the material, technique and connection

with character Engagement
◗ Demonstrate some choices of interpretation with the material
◗ Demonstrate a confident, secure and accurate performance, communicating meaning and Performance
mood with an awareness of audience & audience
awareness
Distinction ◗ The work presented by the candidate was audible, clear and accurate and had a sense of fluency
throughout. There was expressive use of integrated vocal and physical skills within the space to
support characterisation and/or narrative and imaginative choices of interpretation.
◗ The candidate demonstrated a secure understanding of the material and technique in the performance.
◗ The candidate performed the original scene with confidence, communicating an imagined situation
with a sense of fluency, creativity and coherence throughout.
◗ There was an ability to engage the audience, communicating meaning and mood with an appearance
of ease and confidence throughout.
◗ The candidate reflected on the work with confidence, communicating a secure understanding of the
material and technique.
Merit ◗ The work presented by the candidate was audible, clear and accurate and had a sense of fluency
most of the time. There was some good use of integrated vocal and physical skills within the space,
used to support characterisation and/or narrative and clear choices of interpretation.
◗ The candidate demonstrated a good level of understanding of the material and technique in
the performance.
with creativity and coherence most of the time.
◗ There was an ability to engage the audience, communicating meaning and mood with an appearance
understanding of the material and technique.
Pass ◗ The work presented by the candidate was audible, clear and accurate and had a sense of fluency
some of the time. There was some use of integrated vocal and physical skills within the space to
support characterisation and/or narrative and some clear choices of interpretation.
◗ The candidate demonstrated a reasonable understanding of the material and technique in
the performance.
◗ There was an awareness of audience, communicating meaning and mood with an appearance
of ease and confidence some of the time.
Below Pass ◗ The work presented by the candidate lacked audibility, clarity and/or accuracy, showing little evidence
of preparation. A limited range of vocal and physical skills within the space was demonstrated.
◗ The candidate demonstrated a limited understanding of the material and technique in the performance.
◗ The candidate struggled to create and perform the original scene, conveying limited creativity
and coherence.
◗ There was a limited awareness of audience and/or there was a lack of confidence in delivering
a performance.
◗ The candidate was unable to reflect on the work with confidence, communicating limited
GRADE 5
EXAM DURATION
18 minutes
Tasks 1–2: Performance ◗ The contrast must be in at least one of

The candidate performs TWO contrasting play the following: language style (eg prose,
extracts from memory. verse, non-colloquial/formal, colloquial/ Each piece
informal), genre or period in which the is awarded
piece was written. marks out
◗ For full details on how to prepare for this of 20
Performance tasks.
◗ ONE original scene showing one of their
Each piece
characters from performance tasks 1 OR 2 in a
is awarded
different environment
marks out
◗ ONE original scene showing their character from of 20
the other performance task. The focus of this
scene is the candidate’s own choice.

ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills to deliver an imaginative and

accurate performance
◗ Demonstrate the ability to create an original scene with character and narrative development
◗ Demonstrate and communicate understanding of the material, technique and connection
with character Engagement
◗ Demonstrate clear choices of interpretation with the material
◗ Demonstrate a confident, sustained and accurate performance Performance
◗ Demonstrate ability to engage the audience, communicating meaning and mood & audience
awareness
throughout. Integrated and expressive vocal modulation and imaginative physical skills used within
the space with control to support characterisation and/or narrative throughout. There were some
imaginative choices of interpretation.
◗ The candidate demonstrated a mature understanding of the material and technique in
the performance.
◗ The candidate performed the original scene with confidence and fluency, communicating
an imagined situation with creativity and coherence throughout.
an appearance of ease, delivering a secure and accurate performance throughout.
◗ The candidate reflected on the work with confidence, communicating a mature understanding
of the material and technique.
most of the time. Integrated and expressive vocal modulation and imaginative physical skills were
used within the space and with control to support characterisation and/or narrative most of the
time. There were some clear choices of interpretation.
◗ The candidate demonstrated a secure understanding of the material and technique in the performance.
◗ The candidate performed the original scene with some confidence and fluency, communicating an
imagined situation with creativity and coherence most of the time.
◗ There was a confident ability to engage the audience, communicating meaning and mood with an
appearance of ease, delivering a secure and accurate performance most of the time.
◗ The candidate reflected on the work with some confidence, communicating a secure understanding
some of the time. Integrated and expressive vocal modulation and imaginative physical skills were
used within the space with control to support characterisation and/or narrative some of the time.
There were some clear choices of interpretation.
◗ The candidate demonstrated a good level of understanding of the material and technique in
the performance.
imagined situation with creativity and coherence some of the time.
◗ The candidate engaged the audience, communicating meaning and mood with an appearance of
ease and confidence, delivering a secure and accurate performance some of the time.
◗ The candidate reflected on the work, communicating a good level of understanding of the material
and technique.
Below Pass ◗ The work presented by the candidate lacked audibility, clarity and/or accuracy, showing little evidence
of preparation. A limited range of vocal and physical skills within the space was demonstrated.
◗ The candidate demonstrated limited understanding of the material and technique in the performance.
◗ The candidate struggled to create and perform the original scene, conveying limited creativity,
coherence and fluency.
a performance.
◗ The candidate was unable to reflect on the work with confidence, communicating a limited
GRADE 6
EXAM DURATION
20 minutes
Tasks 1–2: Performance ◗ The extracts must contrast in language

The candidate performs TWO contrasting play style (eg prose, verse, non-colloquial/ Each piece
extracts from memory. formal, colloquial/informal). is awarded
◗ For full details on how to prepare for marks out
this task, see Section 15: Exam of 20
guidance: Performance tasks.
◗ ONE original scene showing one of their
Each piece
characters from performance tasks 1 OR 2
is awarded
exploring a theme from the published piece
marks out
◗ ONE original scene showing their character of 20
from the other performance task. The focus
of this scene is the candidate’s own choice.

ASSESSMENT CRITERIA
◗ Integrate a range of vocal and physical performance skills to create and sustain character
and deliver an imaginative and accurate performance
◗ Demonstrate ability to create an original scene with character and narrative development
◗ Demonstrate clear and creative choices of interpretation

◗ Demonstrate and communicate a clear understanding of the material and technique, Engagement
including being able to reflect on own performance with some maturity with the material
◗ Demonstrate a confident, sustained and accurate performance Performance

◗ Demonstrate a confident ability to engage the audience, communicating meaning and mood & audience
awareness
Distinction ◗ The work presented by the candidate demonstrated a synthesis of wide-ranging vocal and physical
skills used accurately and creatively within the space to support characterisation and/or narrative.
There were clear and creative choices of interpretation, and a secure connection with character
was sustained throughout.
◗ The candidate demonstrated a mature understanding of the material and technique in
the performance.
◗ The candidate performed the original scene with confidence, ownership and fluency,
communicating an imagined situation with creativity and coherence throughout.
◗ There was a confident ability to engage the audience with an appearance of ease and assurance,
delivering a secure and accurate performance throughout.
◗ The candidate reflected on the work in a thoughtful and considered way, communicating a mature
Merit ◗ The work presented by the candidate demonstrated a wide range of integrated vocal and physical
skills used accurately and imaginatively within the space 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.
◗ The candidate demonstrated some mature understanding of the material and technique in
the performance.
◗ The candidate performed the original scene with confidence and fluency, communicating an
◗ There was a confident ability to engage the audience with an appearance of ease, delivering a
secure and accurate performance most of the time.
◗ The candidate reflected on the work with some maturity, communicating a secure understanding
Pass ◗ The work presented by the candidate demonstrated a range of integrated vocal and physical skills
used accurately and with some imagination within the space 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.
◗ The candidate demonstrated a secure understanding of the material and technique in
the performance.
◗ The candidate performed the original scene with some confidence and ownership, communicating
an imagined situation with creativity and coherence some of the time.
◗ There was some confidence in engaging the audience with an appearance of ease, delivering a
secure and accurate performance some of the time.
◗ The candidate reflected on the work, communicating a secure understanding of the material
and technique.
Below Pass ◗ The work presented by the candidate, while demonstrating some vocal and physical skills within
the space, was not sufficiently integrated and had limited range. There were few clear choices of
interpretation, limited creativity and/or limited connection with character.
◗ The candidate demonstrated limited understanding of the material and technique in the performance.
◗ The candidate struggled to create and perform the original scene conveying limited ownership,
creativity and coherence.
◗ There was a lack of confidence in communicating with the audience and/or in delivering a
performance with a sense of ownership.
◗ The candidate was unable to reflect on the work in any depth, communicating a limited
GRADE 7
EXAM DURATION
23 minutes
Tasks 1–3: Performance ◗ Two of the plays must have been

The candidate performs THREE extracts from written in different periods or be from
different plays from memory. different cultures.
◗ One of the extracts can come from an
unpublished play, see Section 15: Exam
guidance: Performance tasks for
guidance on the use of unpublished Each piece
material. is awarded
marks out
◗ Another performer may be involved in
one of the pieces, see Section 15: Exam of 20
guidance: Performance tasks on filming
with another performer.
Performance tasks.
one of their characters from tasks 1–3. The scene Character development tasks.
20
should explore a theme from the published piece and
show the character conveying a different emotion.

understanding of the performance material and 11–13: Reflection task.
processes through a prepared reflection. 20
ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills within a range of material to create and
sustain character and deliver an imaginative and accurate performance
◗ Demonstrate a wide range of vocal skills to create character and support narrative Technical skills
◗ Demonstrate effective use of the performance space, to create character and support narrative
◗ Demonstrate and communicate a secure understanding of the material and technique,
including being able to reflect on own performance with maturity Engagement
◗ Demonstrate some persuasive choices of interpretation with the material
◗ Demonstrate an integrated, emotionally and physically sustained performance Performance
& audience
◗ Demonstrate a confident ability to engage the audience, communicating meaning and mood
awareness
Distinction ◗ The work presented by the candidate demonstrated a synthesis of wide-ranging and integrated
vocal and physical skills used accurately and imaginatively within the space to support
characterisation and/or narrative. There were bold and original choices of interpretation,
and a sensitive connection with character was sustained throughout.
◗ The candidate demonstrated a comprehensive understanding of the material and technique
in the performance.
◗ The candidate performed the original scene with confidence, ownership and fluency communicating
an imagined situation with sensitivity and coherence throughout.
◗ There was an assured ability to engage the audience with an appearance of ease and authority,
delivering a secure and accurate performance throughout.
◗ The candidate reflected on the work with confidence and maturity, communicating an in-depth
narrative. There was an imaginative connection to the material, clear and persuasive choices
of interpretation, and a secure connection with character was sustained most of the time.
◗ The candidate demonstrated some in-depth understanding of the material and technique
in the performance.
◗ The candidate performed the original scene with confidence, ownership and fluency
communicating an imagined situation with sensitivity and coherence most of the time.
◗ There was a confident ability to engage the audience with an appearance of ease, delivering
a secure and accurate performance most of the time.
◗ The candidate reflected on the work with confidence and maturity, communicating some in-depth
used accurately and imaginatively within the space to support characterisation and/or narrative.
There were some clear and persuasive choices of interpretation and a secure connection with
character was sustained some of the time.
◗ The candidate demonstrated a secure understanding of the material and technique in
the performance.
◗ The candidate performed the original scene with confidence, an appearance of ease and
ownership, communicating an imagined situation with sensitivity and coherence some of the time.
secure and accurate performance some of the time.
◗ The candidate reflected on the work with some confidence and maturity, communicating a secure
Below Pass ◗ The work presented by the candidate, while showing some vocal and physical skills within the
space, was not sufficiently integrated and had limited range. There were few clear choices of
interpretation and limited creativity and/or limited connection with character.
◗ The candidate demonstrated a limited understanding of the material and technique in
the performance.
◗ The candidate struggled to create and perform the original scene, conveying limited ownership,
creativity, and coherence.
◗ There was little evidence of preparation, a lack of confidence in communicating with the audience
and/or in delivering a performance with a sense of ownership.
GRADE 8
EXAM DURATION
25 minutes
Tasks 1–3: Performance ◗ 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. ◗ Another performer may be involved in
(maximum time: 15 minutes) one of the extracts, see Section 15: Exam
guidance: Performance tasks on filming Each piece
with another performer. is awarded
◗ One of the extracts can come from an marks out
unpublished play, see Section 15: Exam of 20
guidance: Performance tasks on the use
of unpublished material.
◗ For full details on how to prepare for
this task, see Section 15: Exam guidance:
Performance tasks.
The candidate performs ONE modification of one of task, see Section 16: Exam guidance:
their prepared pieces from tasks 1–3. The modification Character development tasks.
must show their chosen character in a different
context that explores a new interpretation. 20

ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills within a range of material leading to
an imaginative programme that is cohesively linked
◗ Demonstrate effective use of the performance space, moving with sustained purpose
to create character and support narrative
◗ Demonstrate and communicate an in-depth and imaginative understanding of the material
including an ability to reflect on own performance with maturity and to clearly articulate
artistic choices
◗ Demonstrate a clear understanding of character Engagement
◗ Demonstrate performance choices that show evidence of independent interpretation with the material
and a sense of ownership
◗ Demonstrate the ability to investigate a text with confidence, creating an imaginative
modification
◗ Demonstrate a sustained, coherent and fluent performance of depth and originality Performance
◗ Demonstrate a confident ability to engage the audience with authority and communicating & audience
meaning and mood awareness
Distinction ◗ The work presented by the candidate demonstrated a complete synthesis of wide-ranging and
integrated vocal and physical skills used accurately and creatively within the space to support
characterisation and/or narrative to create a fluent programme. 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 to character throughout.
◗ The candidate demonstrated a comprehensive and insightful understanding of the material
and technique in the performance.
◗ The candidate performed the modification with confidence, ease and fluency, inhabiting an
imagined situation throughout.
◗ There was an assured ability to engage the audience, delivering a secure and accurate
performance with authority throughout.
◗ The candidate reflected on the work with confidence and maturity communicating a
comprehensive and insightful understanding of the material and technique.
Merit ◗ The work presented by the candidate demonstrated a wide range of integrated vocal and
physical skills used accurately and imaginatively within the space to support characterisation
and/or narrative to create a fluent programme. 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.
◗ The candidate demonstrated an in-depth understanding of the material and technique in
the performance.
imagined situation most of the time.
performance with authority most of the time.
◗ The candidate reflected on the work with confidence and some maturity, communicating an
in-depth understanding of the material and technique.
Pass ◗ The work presented by the candidate demonstrated a wide range of integrated vocal and physical
skills used accurately within the space to support characterisation and/or narrative to create a
fluent programme. 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 some of the time.
◗ The candidate demonstrated some in-depth understanding of the material and technique in
the performance.
imagined situation some of the time.
◗ There was a confident ability to engage the audience, delivering a secure and accurate
performance with authority some of the time.
◗ The candidate reflected on the work confidently, communicating some in-depth understanding
space, was not sufficiently integrated and had limited range. While some interpretive choices
were made, there was little sense of originality or ownership.
◗ The candidate demonstrated a limited understanding of the material and technique in
the performance.
◗ The candidate struggled to create and perform a modification, conveying limited ability to
inhabit an imagined situation.
◗ The programme lacked coherence. There was a lack of ability to communicate with the audience
and/or perform a programme with a sense of ownership.
29 Section 8: Acting (Pair)
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.
INITIAL
EXAM DURATION
8 minutes
Face-to-face exams: plus 5 minutes for examiner’s report writing
Task 1: Performance ◗ The duologue can come from a published

The candidates perform ONE duologue from memory. play, book of duologues, be adapted from a
novel, or devised.
Performance tasks.

The candidates demonstrate their knowledge and task and the set questions, see Sections
ASSESSMENT CRITERIA
During the exam, the candidates will:

Technical skills
◗ Demonstrate some ability to use physicality and space as appropriate for the material
Engagement
◗ Demonstrate and communicate understanding of the material
with the material
Performance &
◗ Demonstrate a competent shared performance with a basic awareness of audience
audience awareness
Distinction ◗ The work presented by the candidate was audible, clear and accurate most of the time. There was
some imaginative use of vocal and physical skills within the space 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 candidate reflected on the work, communicating a clear understanding of the material.
Merit ◗ The work presented by the candidate was audible, clear and accurate most of the time. There was
some use of vocal and physical skills within the space to support characterisation and/or narrative
and there was some communication between the candidates.
◗ The candidate demonstrated a reasonably secure understanding of the material in the performance.
◗ There was a basic awareness of audience and some competence in delivering a shared performance.
◗ The candidate reflected on the work, communicating a reasonably secure understanding of
the material.
and there were moments of communication between the candidates.
Below Pass ◗ The work presented by the candidate was hesitant, lacked audibility, clarity and/or accuracy. There
was little or no attempt to use physical skills within the space, and limited communication between
the candidates.
◗ The candidate communicated little or no understanding of the material in the reflection.
GRADE 1
EXAM DURATION
10 minutes

The candidates perform ONE duologue from memory. play, book of duologues, be adapted from
a novel, or devised.
Performance tasks.

ASSESSMENT CRITERIA

◗ Demonstrate and communicate understanding of the material and a connection Engagement

with character with the material
Performance &
◗ Demonstrate a competent shared performance with an awareness of audience
audience awareness
good use of vocal and physical skills within the space to support characterisation and/or
narrative. There was a secure communication between the candidates.
◗ The candidate demonstrated a clear understanding of the material in the performance and of
how the characters relate to each other.
◗ There was a consistent awareness of audience and a good level of confidence in delivering a
shared performance throughout.
◗ The candidate reflected on the work with some confidence, communicating a clear understanding
of the material and of how the characters relate to each other.
some good use of vocal and physical skills within the space to support characterisation and/or
narrative. There was some secure communication between the candidates.
◗ The candidate demonstrated a reasonable understanding of the material in the performance and
of how the characters relate to each other.
◗ There was an awareness of audience and confidence in delivering a shared performance most
of the time.
◗ The candidate reflected on the work, communicating a reasonable understanding of the material
and of how the characters relate to each other.
There were moments of secure communication between the candidates.
◗ The candidate demonstrated some understanding of the material in the performance and of how
the characters relate to each other.
◗ There was an awareness of audience and confidence in delivering a shared performance some
of the time.
◗ The candidate reflected on the work, communicating some understanding of the material and
Below Pass ◗ The work presented by the candidate was hesitant, lacked audibility clarity, and/or accuracy, with
little evidence of preparation. There was little or no attempt to use physical skills within the space,
and/or limited communication between the candidates.
◗ The candidate demonstrated limited understanding of the material in the performance and of how
◗ The candidate communicated a limited understanding of the material in the reflection and of how
GRADE 2
EXAM DURATION
12 minutes

Performance tasks.

ASSESSMENT CRITERIA

Technical skills
◗ Demonstrate the ability to use physicality and space to create character and support
narrative
◗ Demonstrate and communicate understanding of the material, connection with character Engagement
and of how the characters relate to each other with the material
◗ Demonstrate a confident shared performance communicating meaning with an Performance &

awareness of audience audience awareness
good use of vocal and physical skills within the space to support characterisation and/or
narrative and there was efficient communication between the candidates.
◗ The candidate demonstrated a good level of understanding of the material in the performance
◗ The candidate reflected on the work with confidence, communicating a good level of
understanding of the material and of how the characters relate to each other.
narrative and there was some efficient communication between the candidates.
◗ The candidate demonstrated a reasonable understanding of the material in the performance
of the time.
and there were moments of efficient communication between the candidates.
◗ The candidate demonstrated some understanding of the material in the performance and of how
of the time.
◗ The candidate reflected on the work with some confidence, communicating some understanding
Below Pass ◗ The work presented by the candidate was hesitant and lacked audibility, clarity and/or accuracy.
There was little use of physical skills within the space and there was little evidence of preparation.
There was little or no communication between the candidates.
◗ The candidate demonstrated a limited understanding of the material in performance and of how
GRADE 3
EXAM DURATION
14 minutes

Performance tasks.
The candidates perform ONE original scene showing task, see Section 16: Exam guidance:
their characters in a situation that takes place either Character development tasks.
40

ASSESSMENT CRITERIA

◗ Demonstrate the ability to create an original scene with some character andnarrative
development
◗ Demonstrate and communicate understanding of the material, connection with character

and of how the characters relate to each other Engagement
◗ Demonstrate the ability to explore a character with some creativity
◗ Demonstrate a confident shared performance, communicating meaning and mood, Performance &
with an awareness of audience audience awareness
some expressive use of vocal and physical skills within the space to support characterisation
and/or narrative and there was a confident communication between the candidates.
◗ The candidate demonstrated a secure understanding of the material in the performance and
◗ There was a confident ability to engage the audience, communicating meaning and mood,
delivering a shared performance with an appearance of ease and confidence throughout.
narrative and there was some confident communication between the candidates.
◗ The candidate demonstrated a good level of understanding of the material in the performance and
situation with some coherence and clarity.
◗ 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.
and there were moments of confident communication between the candidates.
◗ The candidate demonstrated a reasonable understanding of the material in the performance and
situation with some coherence and clarity.
◗ 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 ◗ The work presented by the candidate was hesitant and lacked audibility, clarity and/or accuracy,
showing little evidence of preparation. There was little use of physical skills within the space
appropriate to the material and there was little communication between the candidates.
◗ The candidate demonstrated a limited understanding of the material in the performance and of
a shared performance.
GRADE 4
EXAM DURATION
16 minutes

The candidates perform ONE extract from a play task, see Section 15: Exam guidance:
written in a colloquial/informal style from memory. Performance tasks. 40
their characters from task 1 working with an object Character development tasks. 40
or objects relevant to their characters.

ASSESSMENT CRITERIA
Technical skills
◗ Demonstrate and communicate understanding of the material, technique, connection

with character and of how the characters relate to each other Engagement
◗ Demonstrate a confident, secure and accurate shared performance, communicating Performance &
meaning and mood with an awareness of audience audience awareness
throughout. There was an expressive use of integrated vocal and physical skills within the space
to support characterisation and/or narrative and imaginative choices of interpretation. There was
a good communication and rapport between the candidates.
◗ The candidate demonstrated a secure understanding of the material and technique in the
performance and of how the characters relate to each other.
◗ The candidate performed the original scene, communicating an imagined situation with a sense
of fluency, creativity and coherence throughout.
◗ There was an ability to engage the audience, communicating meaning and mood, delivering a
shared performance with an appearance of ease and confidence throughout.
of the material and technique and of how the characters relate to each other.
most of the time. There was some good use of integrated vocal and physical skills within the space
used to support characterisation and/or narrative, and clear choices of interpretation. There was
some good communication and rapport between the candidates.
◗ The candidate demonstrated a good level of understanding of the material and technique in the
with creativity and coherence most of the time.
◗ There was an ability to engage the audience, communicating meaning and mood, delivering a
shared performance with an appearance of ease and confidence most of the time.
understanding of the material and technique and of how the characters relate to each other.
some of the time. There was some use of integrated vocal and physical skills within the space to
support characterisation and/or narrative, and some clear choices of interpretation. There were
moments of good communication and rapport between the candidates.
◗ The candidate demonstrated a reasonable understanding of the material and technique in the
situation with creativity and coherence some of the time.
Below Pass ◗ The work presented by the candidate lacked audibility, clarity and/or accuracy, showing little
evidence of preparation. A limited range of vocal and physical skills within the space was
demonstrated and there was limited communication between the candidates.
◗ The candidate demonstrated limited understanding of the material and technique in the
◗ The candidate struggled to create and perform the original scene, conveying limited creativity
and coherence.
◗ There was limited awareness of audience and/or there was a lack of confidence in delivering
◗ The candidate was unable to reflect on the work with confidence, communicating limited
GRADE 5
EXAM DURATION
18 minutes

The candidates perform ONE extract from a play task, see Section 15: Exam guidance:
from memory with two characters of different status. Performance tasks. 40
The candidates perform ONE original scene task, see Section 16: Exam guidance:
showing their characters from task 1 in a different Character development tasks. 40
environment.

ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills to deliver an imaginative and accurate
performance
Technical skills
◗ Demonstrate effective use of physicality and space to create and sustain character
and narrative
◗ Demonstrate and communicate understanding of the material and technique, connection

with character and of how the characters relate to each other Engagement
with the material
◗ Demonstrate a confident, sustained and accurate shared performance Performance &

◗ Demonstrate ability to engage the audience, communicating meaning and mood audience awareness
throughout. Integrated and expressive vocal modulation and imaginative physical skills were used
within the space with control to support characterisation and/or narrative throughout. There
were some imaginative choices of interpretation and a convincing communication and rapport
between the candidates.
◗ The candidate demonstrated a mature understanding of the material and technique in the
imagined situation with creativity and coherence throughout.
an appearance of ease, delivering a secure and accurate shared performance throughout.
◗ The candidate reflected on the work with confidence, communicating a mature understanding
of the material and technique and of how the characters relate to each other
most of the time. Integrated and expressive vocal modulation and imaginative physical skills were
used within the space 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.
◗ The candidate performed the original scene with some confidence and fluency, communicating
an imagined situation with creativity and coherence most of the time.
an appearance of ease, delivering a secure and accurate shared performance most of the time.
◗ The candidate reflected on the work with some confidence, communicating a secure understanding
some of the time. Integrated and expressive vocal modulation and imaginative physical skills were
used within the space with control to support characterisation and/or narrative some of the time.
There were some clear choices of interpretation and moments of convincing communication and
rapport between the candidates.
◗ The candidate demonstrated a good level of understanding of the material and technique in the
imagined situation with creativity and coherence some of the time.
◗ The candidate engaged the audience, communicating meaning and mood with an appearance of
ease and confidence, delivering a secure and accurate shared performance some of the time.
◗ The candidate reflected on the work, communicating a good level of understanding of the material
and technique and of how the characters relate to each other.
Below Pass ◗ The work presented by the candidate lacked audibility, clarity and/or accuracy, showing little
evidence of preparation. A limited range of vocal and physical skills within the space was
demonstrated. There was limited communication between the candidates.
◗ The candidate struggled to create and perform the original scene, conveying limited creativity,
coherence and fluency.
◗ The candidate was unable to reflect on the work with confidence, communicating a limited
GRADE 6
EXAM DURATION
20 minutes
Task 1–2: Performance ◗ The extracts must contrast in language

The candidates perform TWO contrasting extracts style (eg prose, verse, non-colloquial/ Each piece
from different plays from memory. formal, colloquial/informal). is awarded
◗ For full details on how to prepare for this marks out
task, see Section 15: Exam guidance: of 30
Performance tasks.
their characters from task 1 or task 2 exploring a Character development tasks. 20
theme from the published piece.

ASSESSMENT CRITERIA
and deliver an imaginative and accurate performance
Technical skills
◗ Demonstrate the ability to modify a scene showing a new interpretation and character
development
◗ Demonstrate and communicate a clear understanding of the material and technique,

including being able to reflect on own performance with some maturity
Engagement
with the material
◗ Demonstrate the ability to investigate a text with confidence, creating an imaginative
modification
◗ Demonstrate a confident, sustained and accurate shared performance

Performance &
◗ Demonstrate a confident ability to engage the audience, communicating meaning audience awareness
and mood
Distinction ◗ The work presented by the candidate demonstrated a synthesis of wide-ranging vocal and
physical skills used accurately and creatively within the space to support characterisation
and/or narrative. There were clear and creative choices of interpretation, and a secure
connection with character was sustained throughout. There was an accomplished and
seemingly natural communication between the candidates.
◗ The candidate demonstrated a mature understanding of the material and technique in the
communicating an imagined situation with creativity and coherence throughout.
delivering a secure and accurate shared performance throughout.
◗ The candidate reflected on the work in a thoughtful and considered way, communicating a mature
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.
◗ The candidate demonstrated some mature understanding of the material and technique in the
secure and accurate shared performance most of the time.
◗ The candidate reflected on the work with some maturity, communicating a secure understanding
used accurately and with some imagination within the space 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.
◗ The candidate performed the original scene with some confidence and ownership, communicating
an imagined situation with creativity and coherence some of the time.
◗ There was some confidence in engaging the audience with an appearance of ease, delivering a
secure and accurate shared performance some of the time.
◗ The candidate reflected on the work, communicating a secure understanding of the material and
technique and of how the characters relate to each other.
Below Pass ◗ The work presented by the candidate, while demonstrating some vocal and physical skills within
the space, 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
creativity and coherence.
◗ There was a lack of confidence in communicating with the audience and/or in delivering a shared
GRADE 7
EXAM DURATION
23 minutes
Task 1–3: Performance ◗ Two of the plays must have been

The candidates perform THREE extracts from written in different periods or be from
different plays from memory. different cultures.
◗ One of the extracts can come from an Each piece
unpublished play, see Section 15: Exam is awarded
guidance: Performance tasks on the use marks out
of unpublished material. of 20
Performance tasks.
their characters from tasks 1, 2 or 3 exploring a Character development tasks.
20
theme from the published piece and conveying a
different emotion.

ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills within a range of material to create
and sustain character and deliver an imaginative and accurate performance
◗ Demonstrate a wide range of vocal skills to create character and support narrative
◗ Demonstrate effective use of the performance space to create character and Technical skills
support narrative
◗ Demonstrate ability to prepare and perform a coherent scene showing creative
character development
◗ Demonstrate and communicate a secure understanding of the material and technique,
including being able to reflect on own performance with maturity
◗ Demonstrate a clear understanding of character and of how the characters relate to Engagement
each other with the material
◗ Demonstrate some persuasive choices of interpretation
◗ Demonstrate ability to explore a character with creativity
◗ Demonstrate an integrated, emotionally and physically sustained shared performance Performance &
◗ Demonstrate a confident ability to engage the audience, communicating meaning and mood audience awareness
Distinction ◗ The work presented by the candidate demonstrated a synthesis of wide-ranging and integrated
vocal and physical skills used accurately and imaginatively within the space 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
◗ The candidate demonstrated a comprehensive understanding of the material and technique in
the performance and of how the characters relate to each other.
communicating an imagined situation with sensitivity and coherence throughout.
◗ The candidate reflected on the work with confidence and maturity, communicating an in-depth
narrative. There was an imaginative connection to the material, clear and persuasive choices of
interpretation, and a secure connection with character was sustained most of the time. There was
some skilful and natural communication between the candidates.
◗ The candidate demonstrated some in-depth understanding of the material and technique in the
communicating an imagined situation with sensitivity and coherence most of the time.
secure and accurate shared performance throughout.
◗ The candidate reflected on the work with confidence and maturity, communicating some in-depth
used accurately and imaginatively within the space to support characterisation and/or narrative.
There were some clear and persuasive choices of interpretation, and a secure connection with
character was sustained some of the time. There were moments of skilful communication between
the candidates.
◗ The candidate performed the original scene with confidence, an appearance of ease and ownership,
communicating an imagined situation with sensitivity and coherence some of the time.
◗ The candidate reflected on the work with some confidence and maturity, communicating a secure
space, was not sufficiently integrated and had limited range. There were few clear choices of
interpretation and limited creativity. There was a limited rapport between the candidates.
◗ The candidate demonstrated a limited understanding of the material and technique in the
creativity, and coherence.
and/or in delivering a shared performance with a sense of ownership.
GRADE 8
EXAM DURATION
25 minutes
Task 1–3: Performance ◗ The pieces should contrast in at least

The candidates introduce and perform a continuous one of the following: style, language,
programme of THREE contrasting play extracts from mood or genre.
different plays from memory. ◗ One of the extracts can come from an Each piece
(maximum time: 15 minutes) unpublished play, see Section 15: Exam is awarded
guidance: Performance tasks on the use marks out
of unpublished material. of 20
Performance tasks.
The candidates perform ONE modification of task, see Section 16: Exam guidance:
one of their prepared pieces from tasks 1–3. The Character development tasks.
modification must show their chosen characters 20
in a different context that explores a new
interpretation.

ASSESSMENT CRITERIA
Technical skills
◗ Demonstrate ability to modify a scene showing creative character development
◗ Demonstrate and communicate an in-depth and imaginative understanding of the
material and technique including an ability to reflect on own performance with maturity
and to clearly articulate artistic choices
Engagement
◗ Demonstrate a clear understanding of character and of how the characters relate to
with the material
each other
◗ Demonstrate performance choices that show evidence of independent interpretation
◗ Demonstrate a sustained, coherent and fluent shared performance of depth
and originality Performance &
◗ Demonstrate a confident ability to engage the audience with authority and audience awareness
communicating meaning and mood
Distinction ◗ The work presented by the candidate demonstrated a complete synthesis of wide-ranging and
integrated vocal and physical skills used accurately and creatively within the space to support
characterisation and/or narrative to create a fluent programme. 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 to character throughout. There was an excellent rapport and seemingly
◗ The candidate demonstrated a comprehensive and insightful understanding of the material
and technique in the performance and of how the characters relate to each other.
◗ The candidate performed the modification with confidence, ease and fluency, fully inhabiting
an imagined situation throughout.
◗ There was an assured ability to engage the audience, delivering a secure and accurate shared
◗ The candidate reflected on the work with confidence and maturity, communicating a
comprehensive and insightful understanding of the material and technique and of how the
characters relate to each other.
Merit ◗ The work presented by the candidate demonstrated a wide range of integrated vocal and
physical skills used accurately and imaginatively within the space to support characterisation
and/or narrative to create a fluent programme. There were some clear and creative choices of
interpretation, a sense of originality and ownership, and an authentic connection to character
most of the time. There was some excellent rapport and seemingly natural communication
◗ The candidate demonstrated an in-depth understanding of the material and technique in the
imagined situation most of the time.
◗ The candidate reflected on the work with confidence and some maturity, communicating an in-depth
Pass ◗ The work presented by the candidate demonstrated a wide range of integrated vocal and physical
skills used accurately within the space to support characterisation and/or narrative to create a
fluent programme. 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 to
character some of the time. There were moments of excellent rapport and natural communication
◗ The candidate demonstrated some in-depth understanding of the material and technique in the
imagined situation some of the time.
◗ There was a confident ability to engage the audience, delivering a secure and accurate shared
◗ The candidate reflected on the work confidently, communicating some in-depth understanding
Below Pass ◗ The work presented by the candidate, while showing some vocal and physical skills within the space,
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 candidate demonstrated a limited understanding of the material and technique in the
◗ The candidate struggled to create and perform a modification, conveying limited ability to inhabit
an imagined situation.
47 Section 9: Acting (Group)
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. The minimum number
of candidates in a group is three. There is no maximum number.
INITIAL
EXAM DURATION
8 minutes
Task 1: Performance ◗ The acting piece can come from a

The candidates perform ONE group acting piece published play, book of scenes, be adapted
from memory. from a novel, or be an original unpublished
piece created by the group. 100
Performance tasks.
ASSESSMENT CRITERIA

Technical skills
◗ Demonstrate some ability to use physicality and space appropriate to the material
Engagement
◗ Demonstrate understanding of the material
with the material
Performance &
audience awareness
Distinction ◗ The work presented by the candidates was audible, clear and accurate to the text/outline
most of the time. There was some imaginative use of vocal and physical skills within the space
to support characterisation and/or narrative and there was a secure communication between
the candidates.
◗ The candidates demonstrated a clear understanding of the material in the performance.
◗ There was some awareness of audience and competence in delivering a shared performance.
Merit ◗ The work presented by the candidates was audible, clear and accurate to the text/outline most of the
time. There was some use of vocal and physical skills within the space to support characterisation
and/or narrative and there was some secure communication between the candidates.
◗ The candidates demonstrated a reasonably secure understanding of the material in the performance.
Pass ◗ The work presented by the candidates was audible, clear and accurate to the text/outline some of the
and/or narrative and there were moments of communication between the candidates.
◗ The candidates demonstrated some understanding of the material in the performance.
◗ There was a basic awareness of audience.
Below Pass ◗ The work presented by the candidates was hesitant and lacked audibility, clarity and/or accuracy
to the text/outline. There was little or no attempt to use physical skills within the space, and limited
◗ The candidates demonstrated little or no understanding of the material in the performance.
GRADE 1
EXAM DURATION
10 minutes

Performance tasks.
ASSESSMENT CRITERIA

◗ Demonstrate connection with character, understanding of the material and of how the Engagement
characters relate to each other with the material
◗ Demonstrate some confidence in delivering a shared performance with an awareness Performance &
of audience audience awareness
throughout. There was good use of vocal and physical skills within the space to support
characterisation and/or narrative. There was a secure communication between the candidates.
◗ The candidates demonstrated a clear understanding of the material in the performance and
Merit ◗ The work presented by the candidates was audible, clear and accurate to the text/outline most
of the time. There was some good use of vocal and physical skills within the space to support
characterisation and/or narrative. There was some secure communication between the candidates.
◗ The candidates demonstrated a reasonable understanding of the material in the performance and
of the time.
Pass ◗ The work presented by the candidates was audible, clear and accurate to the text/outline
some of the time. There was some use of vocal and physical skills within the space to support
characterisation and/or narrative. There were moments of secure communication between
the candidates.
◗ The candidates demonstrated some understanding of the material in the performance and of
of the time.
Below Pass ◗ The work presented by the candidates was hesitant, lacked audibility, clarity and/or accuracy to
the text/outline. There was little or no attempt to use physical skills within the space, and limited
◗ The candidates demonstrated little or no understanding of the material in the performance and
GRADE 2
EXAM DURATION
12 minutes

Performance tasks.
ASSESSMENT CRITERIA
◗ Perform audibly, clearly and accurately to the text/outline

◗ Demonstrate understanding of the material, connection with character and of how the Engagement
◗ Demonstrate a confident shared performance communicating meaning, with an awareness Performance &
characterisation and/or narrative and there was efficient communication between
the candidates.
◗ The candidates demonstrated a good level of understanding of the material in the
◗ There was a consistent awareness of audience and a good level of confidence in delivering
a shared performance throughout.
characterisation and/or narrative and there was some efficient communication between
the candidates.
◗ The candidates demonstrated a reasonable understanding of the material in the performance
of the time.
characterisation and/or narrative and there were moments of efficient communication between
the candidates.
◗ The candidates demonstrated some understanding of the material in the performance and of
of the time.
to the text/outline. There was little use of physical skills within the space and there was little evidence
of preparation. There was little or no communication between the candidates.
◗ The candidates demonstrated a limited understanding of the material in the performance and of
GRADE 3
EXAM DURATION
14 minutes

The candidates perform ONE group acting piece published play or book of scenes, be
from memory. adapted from a novel or be an original
unpublished piece created by the group. 100
Performance tasks.
ASSESSMENT CRITERIA
◗ Perform audibly, clearly and accurately to the text/outline

◗ Demonstrate understanding of the material, connection with character and of how the
characters relate to each other Engagement
with the material
◗ Demonstrate a confident shared performance, communicating meaning and mood with an Performance &
awareness of audience audience awareness
throughout. There was some expressive use of vocal and physical skills within the space
to support characterisation and/or narrative and there was a confident communication
◗ The candidates demonstrated a secure understanding of the material in the performance
◗ There was a confident ability to engage the audience, communicating meaning and mood,
delivering a shared performance with an appearance of ease and confidence throughout.
characterisation and/or narrative and there was some confident communication between
the candidates.
◗ The candidates demonstrated a good level of understanding of the material in the performance
◗ 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.
characterisation and/or narrative and there were moments of confident communication between
the candidates.
◗ The candidates demonstrated a reasonable understanding of the material in the performance
to the text/outline, showing little evidence of preparation. There was little use of physical skills within
the space appropriate to the material and there was little communication between the candidates.
◗ The candidates demonstrated a limited understanding of the material in the performance and
◗ There was a limited ability to engage the audience and/or there was a lack of confidence in
delivering a shared performance.
GRADE 4
EXAM DURATION
16 minutes

The candidates perform ONE of the following task, see Section 15: Exam guidance:
from memory: Performance tasks.
100
◗ An extract from a published play
◗ ONE original unpublished piece created by the group.
ASSESSMENT CRITERIA
◗ Demonstrate variations in pace, pitch and volume to create and sustain character
Technical skills
and narrative
◗ Demonstrate understanding of the material and technique, connection with character

with the material
◗ Demonstrate a confident, secure and accurate shared performance communicating Performance &
meaning and mood, with an awareness of audience audience awareness
Distinction ◗ The work presented by the candidates was audible, clear and accurate to the text/outline and had
a sense of fluency throughout. There was an expressive use of integrated vocal and physical skills
within the space to support characterisation and/or narrative and there were imaginative choices
of interpretation. There was a good communication and rapport between the candidates.
◗ The candidates demonstrated a secure understanding of the material and technique in the
◗ There was an ability to engage the audience, communicating meaning and mood, delivering
a shared performance with an appearance of ease and confidence throughout.
Merit ◗ The work presented by the candidates was audible, clear and accurate to the text/outline and had a
sense of fluency most of the time. There was some good use of integrated vocal and physical skills
within the space to support characterisation and/or narrative, and clear choices of interpretation.
There was some good communication and rapport between the candidates.
◗ The candidates demonstrated a good level of understanding of the material and technique in
◗ There was an ability to engage the audience, communicating meaning and mood, delivering
a shared performance with an appearance of ease and confidence most of the time.
Pass ◗ The work presented by the candidates was audible, clear and accurate to the text/outline and had a
sense of fluency some of the time. There was some use of vocal and physical skills within the space
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.
◗ The candidates demonstrated a reasonable understanding of the material and technique in
Below Pass ◗ The work presented by the candidates lacked audibility, clarity and/or accuracy to the text/outline,
showing little evidence of preparation. A limited range of vocal and physical skills within the space
was demonstrated and there was limited communication between the candidates.
◗ The candidates demonstrated a limited understanding of the material and technique in the
◗ There was limited awareness of audience and/or there was a lack of confidence in delivering
GRADE 5
EXAM DURATION
18 minutes
Tasks 1–2: Performance ◗ The piece(s) should contrast in style of

The candidates introduce and perform TWO language (eg prose, verse, colloquial/
performance pieces from memory. The pieces informal, non-colloquial/ formal).
can be either: ◗ For full details on how to prepare for this Each piece
◗ TWO extracts from published plays or task, see Section 15: Exam guidance: is awarded
◗ TWO original unpublished pieces created by the Performance tasks. marks out
group or of 50
◗ ONE extract from a published play and ONE
original unpublished piece created by the group.
ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills appropriate to the material to deliver
an imaginative and accurate performance
Technical skills
and narrative
and narrative

with the material
◗ Demonstrate clear choices of interpretation

Distinction ◗ The work presented by the candidates was audible, clear and accurate to the text/outline and
had a sense of fluency throughout. Integrated and expressive vocal modulation and imaginative
physical skills were used within the space with control to support characterisation and/or
narrative throughout. There were some imaginative choices of interpretation and a convincing
communication and rapport between the candidates.
◗ The candidates demonstrated a mature understanding of the material and technique in the
Merit ◗ The work presented by the candidates was audible, clear and accurate to the text/outline and had
a sense of fluency most of the time. Integrated and expressive vocal modulation and imaginative
physical skills were used within the space with control to support characterisation and/or narrative
most of the time. There were some clear choices of interpretation and there was some convincing
an appearance of ease, delivering a secure and accurate shared performance most of the time.
Pass ◗ The work presented by the candidates was audible, clear and accurate to the text/outline and had
a sense of fluency some of the time. Integrated and expressive vocal modulation and imaginative
some of the time. There were some clear choices of interpretation and moments of convincing
◗ The candidates demonstrated a good level of understanding of the material and technique in the
◗ The candidates engaged the audience, communicating meaning and mood with an appearance
of ease and confidence, delivering a secure and accurate shared performance some of the time.
Below Pass ◗ The work presented by the candidates lacked audibility, clarity and accuracy to the text/outline,
was demonstrated. There was limited communication between the candidates.
GRADE 6
EXAM DURATION
20 minutes
Tasks 1–2: Performance ◗ The piece(s) should contrast in style

The candidates introduce and perform TWO of language (eg prose, verse, colloquial/
performance pieces from memory. The pieces informal, non-colloquial/formal).
can be either: ◗ For full details on how to prepare for this
Each piece
◗ TWO extracts from published plays or task, see Section 15: Exam guidance:
is awarded
Performance tasks.
◗ TWO original unpublished pieces created by marks out
the group or of 50
ASSESSMENT CRITERIA
and deliver an imaginative and accurate shared performance
Technical skills

with the material

◗ Demonstrate a confident ability to engage the audience, communicating meaning and mood audience awareness
Distinction ◗ The work presented by the candidates demonstrated a synthesis of wide-ranging vocal and
physical skills used accurately to the text/outline and creatively within the space to support
characterisation and/or narrative. There were clear and creative choices of interpretation,
and a secure connection with character was sustained throughout. There was an accomplished
and seemingly natural communication between the candidates.
◗ The candidates demonstrated a mature understanding of the material and technique in the
Merit ◗ The work presented by the candidates demonstrated a wide range of integrated vocal and
physical skills used accurately to the text/outline and imaginatively within the space 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.
◗ The candidates demonstrated some mature understanding of the material and technique in the
Pass ◗ The work presented by the candidates demonstrated a range of integrated vocal and physical
skills used accurately to the text/outline and with some imagination within the space 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.
◗ There was some confidence in engaging the audience with an appearance of ease, delivering
a secure and accurate shared performance some of the time.
Below Pass ◗ The work presented by the candidates, while demonstrating some vocal and physical skills within the
space, was not sufficiently integrated, had limited range and accuracy to the text/outline. There were
few clear choices of interpretation, limited creativity and/or limited connection with character and
◗ There was a lack of confidence in communicating with the audience and/or in delivering a shared
GRADE 7
EXAM DURATION
23 minutes
Tasks 1–2: Performance ◗ The performance piece(s) should be set or

The candidates introduce and perform TWO written in different periods or cultures.
performance pieces from memory. The pieces ◗ For full details on how to prepare for
can be either: this task, see Section 15: Exam guidance:
Each piece
◗ TWO extracts from published plays or Performance tasks.
is awarded
◗ TWO original unpublished pieces created by marks out
the group or of 50
original unpublished pieces created by the group.
ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills within a range of material to create and sustain
character and deliver an imaginative and accurate performance
Technical skills
◗ Demonstrate effective use of the performance space, to create character and support narrative
◗ Demonstrate a secure understanding of the material and technique

Engagement
◗ Demonstrate a clear understanding of character and of how the characters relate to each other
with the material
◗ Demonstrate an integrated, emotionally and physically sustained shared performance Performance

and audience
◗ Demonstrate a confident ability to engage the audience, communicating meaning and mood Awareness
Distinction ◗ The work presented by the candidates demonstrated a synthesis of wide-ranging and integrated
vocal and physical skills used accurately to the text/outline and imaginatively within the space 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.
◗ The candidates demonstrated a comprehensive understanding of the material and technique in
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 sustained most
of the time. There was some skilful and natural communication between the candidates.
◗ The candidates demonstrated some in-depth understanding of the material and technique in the
◗ There was a confident ability to engage the audience and an appearance of ease, delivering a
secure and accurate shared performance throughout.
Pass ◗ The work presented by the candidates demonstrated a range of integrated vocal and physical skills
used accurately to the text/outline and imaginatively within the space to support characterisation
and/or narrative. There were some clear and persuasive choices of interpretation, and a secure
connection with character some of the time. There were moments of skilful communication
◗ There was a confident ability to engage the audience with an appearance of ease, delivering
a secure and accurate shared performance most of the time.
Below Pass ◗ The work presented by the candidates, while showing some vocal and physical skills within
the space, was not sufficiently integrated, had limited range and accuracy to the text/outline.
There were few clear choices of interpretation and limited creativity and/or rapport between
the candidates.
and/or in delivering a shared performance with a sense of ownership.
GRADE 8
EXAM DURATION
25 minutes
Tasks 1–2: Performance ◗ The piece(s) should contrast in two or

The candidates introduce and perform from memory more of the following: style of language,
a continuous programme of either: mood, genre, period, culture in which
they are set. Each piece
◗ TWO extracts from published plays or
◗ For full details on how to prepare for is awarded
◗ TWO original unpublished pieces created by this task, see Section 15: Exam guidance: marks out
the group or Performance tasks. of 50
ASSESSMENT CRITERIA
◗ Demonstrate an in-depth and imaginative understanding of the material and technique

Engagement
each other
with the material
◗ Demonstrate a sustained, coherent and fluent shared performance of depth

and originality Performance and
◗ Demonstrate a confident ability to engage the audience with authority and audience awareness
communicating meaning and mood
Distinction ◗ The work presented by the candidates demonstrated a complete synthesis of wide-ranging
and integrated vocal and physical skills used accurately to the text/outline and creatively within
the space 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 to character throughout. There was an excellent rapport and seemingly natural
◗ The candidates demonstrated a comprehensive and insightful understanding of the material
and technique in the performance and of how the characters relate to each other.
a sense of originality and ownership, and an authentic connection to character most of the time.
There was some excellent rapport and seemingly natural communication between the candidates.
◗ The candidates demonstrated an in-depth understanding of the material and technique in the
Pass ◗ The work presented by the candidates demonstrated a wide range of integrated vocal and physical
skills used accurately to the text/outline within the space 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 to character
some of the time. There were moments of excellent rapport and natural communication between
the candidates.
◗ The candidates demonstrated some in-depth understanding of the material and technique in
◗ There was a confident ability to engage the audience, delivering a secure and accurate shared
Below Pass ◗ The work presented by the candidates, while showing some vocal and physical skills within the
space, was not sufficiently integrated, had limited range and accuracy to the text/outline. While
some interpretive choices were made, there was little sense of originality or ownership and an
ineffective rapport between the candidates.
65 Section 10: Plays in Production
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 focused on the performance. If some of the technical
of 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 three. 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 performance, writes feedback and
Assessment method assigns marks for the selected performance elements using the appropriate assessment
areas and criteria (see above and the following pages for details). The total mark
assigned will reflect the level of achievement of the group as a whole.
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 provide the examiner with a programme providing details of what is being performed,
who is in the cast and the roles they are playing — 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.
INITIAL
MINIMUM EXAM DURATION
8 minutes
ASSESSMENT CRITERIA

◗ Demonstrate some ability to use physicality and space appropriate to the material
Technical skills
◗ (Pathway 1) Demonstrate some ability to use basic staging elements such as lighting,
sound, costume, props and set
Engagement
◗ Demonstrate understanding of the material
with the material
Performance &
audience awareness
Distinction Pathways 1 and 2

The work presented by the candidates was audible, clear and accurate to the text/outline most of
the time. There was some imaginative use of vocal and physical skills within the space to support
characterisation and/or narrative and there was a secure communication between the candidates.
The candidates demonstrated a clear understanding of the material in the performance. There was
some awareness of audience and competence in delivering a shared performance.
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 by the candidates was audible, clear and accurate to the text/outline most of the
and/or narrative and there was some secure communication between the candidates. The candidates
demonstrated a reasonably secure understanding of the material in the performance. There was a
basic awareness of audience and some competence in delivering a shared performance.
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 by the candidates was audible, clear and accurate to the text/outline some of
the time. There was some use of vocal and physical skills within the space to support characterisation
and/or narrative and there were moments of communication between the candidates. The candidates
demonstrated some understanding of the material in the performance. There was a basic awareness
of audience.
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 by the candidates was hesitant and lacked audibility, clarity and/or accuracy
communication between the candidates. The candidates demonstrated little or no understanding
of the material in the performance. There was little or no awareness of audience.
Pathway 1
There was little or no attempt to use any staging elements such as costume, make-up or
personal props.
GRADE 1
10 minutes
ASSESSMENT CRITERIA

◗ (Pathway 1) Demonstrate the ability to use some staging elements such as lighting, sound,
costume, props and set to support narrative
◗ Demonstrate connection with character, understanding of the material and of how Engagement
the characters relate to each other with the material
◗ Demonstrate some confidence in delivering a shared performance with an awareness Performance &

The work presented by the candidates was audible, clear and accurate to the text/outline throughout.
There was good use of vocal and physical skills within the space to support characterisation
and/or narrative. There was a secure communication between the candidates. The candidates
demonstrated a clear understanding of the material in the performance and of how the characters
relate to each other. There was a consistent awareness of audience and a good level of confidence
in delivering a shared performance throughout.
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 by the candidates was audible, clear and accurate to the text/outline most
characterisation and/or narrative. There was some secure communication between the candidates.
The candidates demonstrated a reasonable understanding of the material in the performance
and of how the characters relate to each other. There was an awareness of audience and confidence
in delivering a shared performance most of the time.
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.

and/or narrative. There were moments of secure communication between the candidates. The
candidates demonstrated some understanding of the material in the performance and of how
the characters relate to each other. There was an awareness of audience and confidence in delivering
a shared performance some of the time.
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 by the candidates was hesitant and lacked audibility, clarity and/or accuracy
communication between the candidates. The candidates demonstrated little or no understanding of
the material in the performance and of how the characters relate to each other. There was little or
no awareness of audience.
Pathway 1
There was little or no attempt to use any staging elements such as costume, make-up or personal props.
GRADE 2
12 minutes
ASSESSMENT CRITERIA

◗ (Pathway 1) Demonstrate the ability to use staging elements such as lighting, sound,
costume, props and set to support narrative
◗ Demonstrate understanding of the material, connection with character and of how the Engagement
◗ Demonstrate a confident shared performance communicating meaning, with an awareness Performance &

The work presented by the candidates was audible, clear and accurate to the text/outline
characterisation and/or narrative and there was efficient communication between the candidates.
The candidates demonstrated a good level of understanding of the material in the performance
and of how the characters relate to each other. There was a consistent awareness of audience
and a good level of confidence in delivering a shared performance throughout.
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.
which supported and enhanced the production.

characterisation and/or narrative and there was some efficient communication between the
candidates. The candidates demonstrated a reasonable understanding of the material in the
performance and of how the characters relate to each other. There was an awareness of
audience and confidence in delivering a shared performance most of the time.
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.

and/or narrative and there were moments of efficient communication between the candidates. The
candidates demonstrated some understanding of the material in the performance and of how the
characters relate to each other. There was an awareness of audience and confidence in delivering
a shared performance some of the time.
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 by the candidates was hesitant and lacked audibility, clarity and/or accuracy to
the text/outline. There was little use of physical skills within the space and there was little evidence
of preparation. There was little or no communication between the candidates. The candidates
demonstrated a limited understanding of the material in the performance and of how the characters
relate to each other. There was limited awareness of audience.
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.
GRADE 3
14 minutes
ASSESSMENT CRITERIA

◗ (Pathway 1) Demonstrate the ability to use staging elements such as lighting, sound,
costume, props and set to support narrative and enhance the production
◗ Demonstrate understanding of the material, connection with character and of how the
characters relate to each other Engagement
with the material
◗ Demonstrate a confident shared performance, communicating meaning and mood with Performance &
an awareness of audience audience awareness

The work presented by the candidates was audible, clear and accurate to the text/outline
throughout. There was some expressive use of vocal and physical skills within the space to
support characterisation and/or narrative and there was a confident communication between
the candidates. The candidates demonstrated a secure understanding of the material in the
performance and of how the characters relate to each other. There was a confident ability
to engage the audience, communicating meaning and mood, delivering a shared performance
with an appearance of ease throughout.
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.

of the time. There was some good use of vocal and physical skills within the space used to support
characterisation and/or narrative and there was some confident communication between the
candidates. The candidates demonstrated a good level of understanding of the material in the
performance and of how the characters relate to each other. There was a good awareness of
audience, communicating meaning and mood, delivering a shared performance with an appearance
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.

and/or narrative and there were moments of confident communication between the candidates.
The candidates demonstrated a reasonable understanding of the material in the performance and
of how the characters relate to each other. 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.
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 by the candidates was hesitant and lacked audibility, clarity and/or accuracy to
the text/outline, showing little evidence of preparation. There was little use of physical skills within
the space appropriate to the material and there was little communication between the candidates.
The candidates demonstrated a limited understanding of the material in the performance and of how
the characters relate to each other. There was a limited ability to engage the audience and/or there
was a lack of confidence in delivering a shared performance.
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.
GRADE 4
16 minutes
ASSESSMENT CRITERIA
and narrative
Technical skills
◗ (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
◗ Demonstrate a confident, secure and accurate shared performance communicating Performance &
meaning and mood, with an awareness of audience audience awareness

The work presented by the candidates was audible, clear and accurate to the text/outline and
had a sense of fluency throughout. There was an expressive use of integrated vocal and physical
skills within the space to support characterisation and/or narrative and there were imaginative
choices of interpretation. There was a good communication and rapport between the candidates.
The candidates demonstrated a secure understanding of the material and technique in the
performance and of how the characters relate to each other. There was a confident ability to
engage the audience, communicating meaning and mood, delivering a shared performance with
an appearance of ease and confidence throughout.
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 by the candidates was audible, clear and accurate to the text/outline and had a
sense of fluency most of the time. There was some good use of integrated vocal and physical skills
within the space to support characterisation and/or narrative, and clear choices of interpretation.
There was some good communication and rapport between the candidates. The candidates
demonstrated a good level of understanding of the material and technique in the performance
and of how the characters relate to each other. There was an ability to engage the audience,
communicating meaning and mood, delivering a shared performance with an appearance of
ease and confidence most of the time.
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.

sense of fluency some of the time. There was some use of vocal and physical skills within the space
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. The candidates
demonstrated a reasonable understanding of the material and technique in the performance and
of how the characters relate to each other. 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.
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 by the candidates lacked audibility, clarity and/or accuracy to the text/outline,
was demonstrated and there was limited communication between the candidates. The candidates
demonstrated a limited understanding of the material and technique in the performance and of how
the characters relate to each other. There was limited awareness of audience and/or there was a lack
of confidence in delivering a shared performance.
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.
GRADE 5
18 minutes
ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills appropriate to the material to deliver
an imaginative and accurate performance
and narrative
Technical skills
and narrative
◗ (Pathway 1) Demonstrate effective use of a range of staging elements to communicate
a sense of the style of the production

with the material
◗ Demonstrate clear choices of interpretation


The work presented by the candidates was audible, clear and accurate to the text/outline and
had a sense of fluency throughout. Integrated and expressive vocal modulation and imaginative
throughout. There were some imaginative choices of interpretation and a convincing communication
and rapport between the candidates. The candidates demonstrated a mature understanding of
the material and technique in the performance and of how the characters relate to each other.
There was a confident ability to engage the audience, communicating meaning and mood with
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.

sense of fluency most of the time. Integrated and expressive vocal modulation and imaginative physical
skills were used within the space with control to support characterisation and/or narrative most of the
time. There were some clear choices of interpretation and some convincing communication and rapport
between the candidates. The candidates demonstrated a secure understanding of the material and
technique in the performance and of how the characters relate to each other. There was a confident
ability to engage the audience, communicating meaning and mood with an appearance of ease,
delivering a secure and accurate shared performance most of the time.
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.
provided effective support and communicated a good sense of the style of the production.

The work presented by the candidates was audible, clear and accurate to the text/outline and had
a sense of fluency some of the time. Integrated and expressive vocal modulation and imaginative
some of the time. There were some clear choices of interpretation and moments of convincing
communication and rapport between the candidates. The candidates demonstrated a good level
of understanding of the material and technique in the performance and of how the characters relate
to each other. The candidates engaged the audience, communicating meaning and mood with an
appearance of ease and confidence, delivering a secure and accurate shared performance some
of the time.
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 by the candidates lacked audibility, clarity and/or accuracy to the text/outline,
was demonstrated. There was limited communication between the candidates. The candidates
demonstrated a limited understanding of the material and technique in the performance and of
how the characters relate to each other. There was limited ability to engage the audience and/or
there was a lack of confidence in delivering a shared performance.
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.
GRADE 6
20 minutes
ASSESSMENT CRITERIA
and deliver an imaginative and accurate shared performance
Technical skills
◗ (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
◗ Demonstrate a confident, sustained and accurate shared performance

Performance &
and mood

The work presented by the candidates demonstrated a synthesis of wide-ranging vocal and physical
skills used accurately to the text/outline and creatively within the space to support characterisation
and/or narrative. There were clear and creative choices of interpretation, and a secure connection
with character was sustained throughout. There was an accomplished and seemingly natural
communication between the candidates. The candidates demonstrated a mature understanding
of the material and technique in the performance and of how the characters relate to each other.
There was a confident ability to engage the audience with an appearance of ease and assurance,
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 by the candidates demonstrated a wide range of integrated vocal and
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. The candidates demonstrated some
mature understanding of the material and technique in the performance and of how the characters
relate to each other. There was a confident ability to engage the audience with an appearance of
ease, delivering a secure and accurate shared performance most of the time.
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.

The work presented by the candidates demonstrated a range of integrated vocal and physical
skills used accurately to the text/outline and with some imagination within the space to support
and a secure connection with character was demonstrated some of the time. There were moments
of accomplished communication between the candidates. The candidates demonstrated a secure
understanding of the material and technique in the performance and of how the characters relate
to each other. There was some confidence in engaging the audience with an appearance of ease,
delivering a secure and accurate shared performance some of the time.
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 by the candidates, while demonstrating some vocal and physical skills, was
not sufficiently integrated, had limited range and accuracy to the text/outline. There were few
clear choices of interpretation, limited creativity and/or limited connection with character and
communication between the candidates. The candidates demonstrated a limited understanding
There was a lack of confidence in communicating with the audience and/or in delivering a shared
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.
GRADE 7
23 minutes
ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills within a range of material to create
and sustain character and deliver an imaginative and accurate performance
◗ Demonstrate effective use of the performance space, to create character and Technical skills
support narrative
◗ (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
◗ Demonstrate a secure understanding of the material and technique

◗ Demonstrate a clear understanding of character and of how the characters relate to Engagement
each other with the material
◗ Demonstrate an integrated, emotionally and physically sustained shared performance

Performance &
and mood

The work presented by the candidates demonstrated a synthesis of wide-ranging and integrated
vocal and physical skills used accurately to the text/outline and creatively within the space 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. The candidates demonstrated a
comprehensive understanding of the material and technique in the performance and of how the
characters relate to each other. There was an assured ability to engage the audience with an
appearance of ease and authority, delivering a secure and accurate shared performance throughout.
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

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 sustained most of
the time. There was some skilful and natural communication between the candidates. The candidates
demonstrated some in-depth understanding of the material and technique in the performance and of
how the characters relate to each other. There was a confident ability to engage the audience with an
appearance of ease delivering a secure and accurate shared performance throughout.
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 by the candidates demonstrated a range of integrated vocal and physical skills
used accurately to the text/outline and imaginatively within the space to support characterisation
and/or narrative. There were some clear and persuasive choices of interpretation, and a secure
connection with character was sustained some of the time. There were moments of skilful
communication between the candidates. The candidates demonstrated a secure understanding
There was a confident ability to engage the audience with an appearance of ease, delivering a
Pathway 1
in creating character, setting and the 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 by the candidates, while showing some vocal and physical skills within the space,
was not sufficiently integrated and had limited range and accuracy to the text/outline. There were
few clear choices of interpretation and limited creativity and/or rapport between the candidates. The
candidates demonstrated a limited understanding of the material and technique in the performance
and of how the characters relate to each other. There was little evidence of preparation, a lack of
confidence in communicating with the audience and/or in delivering a shared performance with a
sense of ownership.
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.
GRADE 8
25 minutes
ASSESSMENT CRITERIA
an imaginative performance that is cohesively linked
◗ Demonstrate effective use of the performance space, moving with sustained purpose Technical skills
◗ (Pathway 1) Make effective use of a range of integrated staging elements as part of a
design to enhance the world of the production
◗ Demonstrate an in-depth and imaginative understanding of the material and technique

Engagement
each other
with the material
◗ Demonstrate a sustained, coherent and fluent shared performance of depth and originality
Performance &
◗ Demonstrate a confident ability to engage the audience with authority and communicating audience awareness
meaning and mood

The work presented by the candidates demonstrated a synthesis of wide-ranging and integrated
vocal and physical skills used accurately to the text/outline and imaginatively within the space 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 to character
throughout. The candidates demonstrated a comprehensive and insightful understanding of
the material and technique in the performance and of how the characters relate to each other.
There was an assured ability to engage the audience, delivering a secure and accurate shared
performance throughout.
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.

a sense of originality and ownership, and an authentic connection to character most of the time.
There was some excellent rapport and seemingly natural communication between the candidates.
The candidates demonstrated an in-depth understanding of the material and technique in the
performance and of how the characters relate to each other. There was an assured ability to engage
the audience, delivering a secure and accurate shared performance with authority most of the time.
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 by the candidates demonstrated a wide range of integrated vocal and physical
skills used accurately to the text/outline within the space 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 to character some of the time. There
were moments of excellent rapport and natural communication between candidates. The candidates
demonstrated some in-depth understanding of the material and technique in the performance and of
how the characters relate to each other. There was a confident ability to engage the audience, delivering
a secure and accurate shared performance with authority some of the time.
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 which provided effective support and communicated the style of the production
with clarity.

The work presented by the candidates, while showing some vocal and physical skills within the
space, 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 candidates demonstrated a limited understanding of the material and technique in
the performance and of how the characters relate to each other. The programme lacked coherence.
There was a lack of ability to communicate with the audience and/or perform a programme with a
sense of ownership.
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.
85 Section 11: Reflection task
Reflection task
Guidance and set questions solo and pair:
Initial–Grade 8
Candidates reflect on their performances, giving prepared responses to set questions.
INTRODUCTION
The objective of the reflection task is to explore candidates’ knowledge about the pieces they have performed and
performance and rehearsal processes. Candidates are assessed in increasing depth on their understanding of the
content and meaning of their performance material and its context and mood. At higher grades this assessment
includes candidates’ knowledge of how performance processes contribute to audience engagement, and their ability
to reflect on own performance capabilities with maturity.
When preparing the reflection for either digital or face-to-face exams, candidates should keep in mind that this is
an opportunity to express their acquired knowledge and understanding of their chosen pieces and therefore their
responses should be an authentic, personal reflection, rather than delivering a memorised answer.
WHAT CANDIDATES NEED TO DO

The questions the candidates should prepare for are listed below and are divided into those required for face-to-face
exams and those required for digital exams. Candidates are not permitted to use notes: however, in digital exams
they are permitted to have a list of the questions for reference when a teacher/caregiver/another student is not
asking the questions.
Some questions are specific to certain skills eg mime and, where a candidate has not chosen to perform a mime in
their exam, they do not need to prepare a response for the mime question.
Note on timings: while responses might vary in length, candidates should aim to make full use of the total time
allocated for the task.
86 Section 12: Reflection task in face-to-face exams
Reflection task in
face-to-face exams
The examiner selects and asks the relevant number and at Initial and Grades 1–3, the examiner will always
of questions. begin by asking the candidate what their favourite piece
was and why. At this level, there may also be some
In a live face-to-face exam (where the examiner is in the
additional prompt questions to encourage response.
exam room with the candidate), the examiner will select
For example, the examiner might ask the candidate how
a specified number of questions (see the guidance
they practised their pieces. The candidate tells them
below for details of how many questions will be asked
how they practised their story but forgets to mention
from the list for each grade) to ask the candidate. The
how they practised their poem. Therefore, the examiner
examiner will decide, during the exam, which of the
would prompt about the poem. At all levels the examiner
questions to ask and, therefore, the candidate should
may re-word questions slightly to facilitate a response
have prepared responses to all the questions in relation
from the candidate eg instead of ‘What makes the pieces
to their performance pieces. The examiner may ask a
interesting to you?’, they might say ‘What was it about
question in relation to specific performance pieces or
the story of The Witches that you found interesting?’.
ask the question generally in relation to all the pieces.
The questions will be asked in a conversational manner,
INITIAL
Number of questions to be asked:
Solo exams: The examiner asks THREE questions in total. They will begin the task by asking the candidate
question 1 from the list below. They will then select TWO further questions from the following list for the
candidate to respond to.
Pair exams: The examiner asks THREE questions in total. They will begin the task by asking the candidates
question 1 from the list below. They will then select ONE further question from the following list for EACH
candidate to respond to INDIVIDUALLY and ONE question to respond to JOINTLY.
THE QUESTIONS
Topics covered: meaning
1. (Solo exams) Which piece was your favourite to perform? Why is it your favourite? (All solo candidates are asked
this question)
1. (Pair exams) What did you like about the piece that you performed? (All pair candidates are asked this question)
2. How did you practise your pieces?
3. What happens to your character(s) in the story?
4. (If performed) What is your mime about?
5. What does your mime/monologue/duologue make you and the audience feel?
6. (Pair exams only) How did you work on listening and taking turns when practising?
GRADE 1
Solo exams: The examiner asks THREE questions in total. They will begin the task by asking the candidate
THE QUESTIONS
this question)
2. What happens in the monologue/duologue?
4. How did you use your voice to show the audience what your character(s) was feeling?
5. How did you use your body to show the audience what your character(s) was feeling?
6. (Pair exams only) How did you work on listening and taking turns when practising?
GRADE 2
Solo exams: The examiner asks THREE questions in total. They will begin the task by asking the candidates
Pair exams: The examiner asks THREE questions in total. They will begin the task by asking the candidate(s)
THE QUESTIONS
Topics covered: meaning, the characters involved
this question)
2. What happens in your piece?
3. (If performed) How did you prepare your mime?
4. How were the characters in your performance piece(s) different from each other?
5. How did you use your voice and body to show the audience what your character(s) was feeling?
6. (Pair exams only) What the most important moment for your character and why?
GRADE 3
Solo exams: The examiner asks THREE questions in total. They will begin the task by asking the candidates
question 1 from the list below. They will then select TWO further questions from the following list for the candidate
to respond to.
THE QUESTIONS
Topics covered: meaning, mood, the characters involved, technical skills
1. Which piece was your favourite to perform? Why is it your favourite? (All candidates are asked this question)
2. Where are your performance pieces set? Describe where your character(s) are in your pieces.
3. What did you consider to be the funniest or most dramatic moment in your pieces? What vocal or physical skills
did you use to show that to the audience?
4. How did you use your voice and body to bring your pieces to life?
5. (If performed) How did you prepare your mime?
6. (Pair exams only) How did you work together to create your imaginary surroundings?
GRADE 4
Solo exams: The examiner will ask THREE questions from the following list for the candidate to respond to.
Pair exams: The examiner asks FOUR questions in total; ONE question from the following list for EACH candidate
to respond to INDIVIDUALLY and TWO questions for the candidates to respond to JOINTLY.
THE QUESTIONS
Topics covered: meaning, mood, context, the writers’ use of language, vocal and physical aspects of characterisation,
technical skills
1. Which of your pieces was the most challenging to perform? Why?

2. How did you use your voice and body to create the mood/atmosphere in your pieces?
3. How did you use your voice and body to create the characters in your pieces?
4. (Solo exams only) What did you learn about your character in your original scenes?
5. Describe the themes/narratives/settings of your pieces. How did you show these to the audience?
6. (Pair exams only) How did you work together to develop your original scene?
GRADE 5
THE QUESTIONS
Topics covered: meaning, mood, context, the writers’ use of language, characterisation, choices made in staging,
technical skills
1. How did the setting of your pieces influence your interpretation?

2. How did the writing style and language of the piece help you create your character?
3. How did what happens to your character immediately before and after your piece(s) influence your performance(s)?
4. How do your pieces contrast? How did you show these contrasts in your performances?
5. How did you vary your vocal delivery and movement to illustrate key moments or dramatic development in
your pieces?
6. (Pair exams only) Why do you think it is beneficial to work in pairs and what were the challenges for you when
preparing your pieces?
GRADE 6
THE QUESTIONS
Topics covered: meaning, mood, context, style, preparation, staging options
1. How did you connect to your characters’ emotional journeys through your performances?
2. How did you decide on your staging for your performed pieces? What other options did you try?
3. (Solo exams only) What did you do in preparation and rehearsal to help you bring the words/ character of your
pieces off the page?
4. What did you do to keep your voice and body safe for an effective performance?
5. How did you vary your vocal delivery to illustrate a key moment/ dramatic development in your pieces?
6. (Pair exams only) What were the challenges and opportunities you discovered through working with a partner
when preparing your pieces?
GRADE 7
THE QUESTIONS
Topics covered: meaning, mood, context, contrasting styles, personal interpretation, vocal and physical techniques,
staging options.
1. (Solo exams only) How did you approach the challenges of the different writing styles of your performed pieces?
2. Describe and demonstrate the vocal and physical techniques you have been working on in rehearsal.
3. Describe the emotional journey of your characters and how you sustained it.
4. How does the space you work in inform your performance and the connection with the audience?
5. What choices did you explore in relation to your interpretation of your pieces?
6. (Pair exams only) How did you both approach the challenges of the different writing styles and contrasts in
characters within the pieces?
GRADE 8
THE QUESTIONS
Topics covered: meaning, context, interpretation, programme selection, rehearsal processes, the vocal and
physical techniques.
1. How did you choose the pieces for your programme and find contrast in character and style?
2. Describe the context/narrative/themes of your pieces.
3. Describe the rehearsal process you employed to address the physical and vocal challenges in the pieces.
4. What have you learned about your own (and your partner’s — Pair exams only) strengths and limitations during
the preparation and execution of your performances?
5. What techniques did you use to convey the different styles of the pieces to the audience?
6. (Pair exams only) Talk about the approach to building a character as a pair, is this a separate process or did you
work with each other throughout?
91 Section 13: Reflection task in digital exams
Reflection task in digital exams

The candidate selects and responds to the relevant At Initial, and Grades 1–3, the facilitator can also ask a
number of questions in relation to their prepared prompt question to encourage response. For example,
performance pieces. the facilitator might ask the candidate how they
practised their pieces. The candidate tells them how
In a digital exam (where the candidate films their
they practised their story but forgets to mention how
performance and reflection, and uploads the video
they practised their poem. Therefore, the facilitator can
for marking), the candidate is instructed to answer a
prompt about the poem. Candidates can use a clock to
certain number of questions. The questions are split into
assist in keeping track of time.
assessment sections and the candidate must answer at
least one question from each section with the remainder Candidates can have a list of the questions to refer to.
of the questions coming from any of the sections. The They must not read out their responses from pre-written
candidate should respond to the questions by announcing notes. Candidates should approach the reflection as if
each one in turn followed by their response. Alternatively, it is a one-to-one conversation with somebody who has
a teacher/caregiver/another student can ask the candidate just watched their work, and address their responses to
the questions to facilitate their response. the camera.
INITIAL
Number of questions to be responded to:
Solo exams: answer THREE questions, at least ONE from each section.
Pair exams: answer THREE questions, at least ONE from each section. Select ONE question EACH to respond to
INDIVIDUALLY and one question to respond to JOINTLY.
THE QUESTIONS
SECTION 1 SECTION 2
1. (Solo exams) Which piece was your favourite 5. What does your mime or monologue/duologue make
to perform? Why is it your favourite? (All solo you and the audience feel?
candidates are asked this question) 6. How did you practise your pieces?
1. (Pair exams) What did you like about the piece
that you performed? (All pair candidates are
asked this question)
2. What happens to your character(s) in the story?
4. (Pair exams only) How did you work on listening
and taking turns when practising?
GRADE 1
Pair exams: answer THREE questions, at least ONE from each section. Select ONE question each to respond to
INDIVIDUALLY and one question to respond to JOINTLY.
THE QUESTIONS
SECTION 1 SECTION 2
1. (Solo exams) Which piece was your favourite 4. How did you use your voice to show the audience what
to perform? Why is it your favourite? (All solo the character(s) in ONE of your pieces was feeling?
candidates are asked this question) 5. How did you use your body to show the audience what
1. (Pair exams) What did you like about the piece the character(s) in ONE of your pieces was feeling?
that you performed? (All pair candidates are 6. (Pair exams only) How did you work on listening and
asked this question) taking turns when practising?
2. What happens in the monologue/duologue?
GRADE 2
Pair exams: answer THREE questions, ONE from each section. Select ONE question EACH to respond to
INDIVIDUALLY and ONE question to respond to JOINTLY.
THE QUESTIONS
Topics covered: meaning, the characters involved
SECTION 1 SECTION 2 SECTION 3
1. (Solo exams) Which piece was 3. How were the characters in your 4. How did you use your voice and
your favourite to perform? performance piece(s) different body to show the audience what
Why is it your favourite? from each other? your character was feeling?
(All solo candidates are 5. (If performed) How did you
asked this question) prepare your mime?
1. (Pair exams) What did you 6. (Pair exams only) What was
like about the piece that you the most important moment
performed? (All pair candidates for your character and why?
are asked this question)
2. Talk about what happens in
ONE of your pieces.
GRADE 3
Pair exams: answer THREE questions, ONE from each section. Select ONE question EACH to respond to
INDIVIDUALLY and ONE question to respond to JOINTLY.
THE QUESTIONS
Topics covered: meaning, mood, the characters involved, technical skills
1. Which piece was your favourite to 3. What did you consider to be 5. How did you use your voice
perform? Why is it your favourite? the funniest or most dramatic and body to bring ONE of your
2. Describe the setting of ONE of moment in your pieces? pieces to life?
your performance pieces. What vocal or physical skills 6. (If performed) How did you
did you use to show that to prepare your mime?
the audience?
4. (Pair exams only) How did you
work together to create the
imaginary surroundings of
ONE of your pieces?
GRADE 4
Solo exams: answer FOUR questions, at least ONE from each section.
Pair exams: answer FOUR questions, at least ONE from each section. Select ONE different question EACH to
respond to INDIVIDUALLY and TWO questions to respond to JOINTLY.
THE QUESTIONS
technical skills
1. Which of your pieces was the 4. How did you use your voice and 5. How did you use your voice
most challenging to perform? body to create the character in and body to create the
Why? ONE of your pieces? mood/atmosphere in ONE
2. (Solo exams only) What did you of your pieces?
learn about your character in 6. Describe the themes OR
your original scene? narratives OR settings of
3. (Pair exams only) How did you ONE of your pieces. How did
work together to develop your you show these to the audience?
original scene?
GRADE 5
Pair exams: answer FOUR questions, at least ONE from each section. Select ONE question EACH to respond to
INDIVIDUALLY and TWO questions to respond to JOINTLY.
THE QUESTIONS
technical skills
1. How did the setting of ONE 3. Describe the context OR 5. How did you vary your vocal
of your pieces influence your themes of your pieces. How delivery and movement to
interpretation? do they contrast? illustrate key moments or
2. How did the writing style and 4. How did what happens to one dramatic development in
language of the piece help you of your characters immediately your pieces?
create your character? before and after your piece 6. (Pair exams only) Why do you
influence your performance? think it is beneficial to work
in pairs and what are the
challenges for you when
preparing your pieces?
GRADE 6
INDIVIDUALLY and TWO questions that they respond to JOINTLY.
THE QUESTIONS
Topics covered: meaning, mood, context, style, preparation, staging options
1. How did you connect to 3. What did you do to keep your 5. How did you vary your vocal
your character’s emotional voice and body safe for an delivery to illustrate a key moment
journey through ONE of your effective performance? in your pieces?
performances? 4. (Pair exams only) What were 6. How did you decide on your
2. (Solo exams only) What did you the challenges and opportunities staging for ONE of your performed
do in preparation and rehearsal you discovered through working pieces? What other options did
to help you bring the words/ with a partner when preparing you try?
character of ONE of your pieces your pieces?
off the page?
GRADE 7
INDIVIDUALLY and TWO questions that they respond to JOINTLY.
THE QUESTIONS
Topics covered: meaning, mood, context, contrasting styles, personal interpretation, vocal and physical techniques,
staging options
1. (Solo exams only) How did you 4. Describe and demonstrate 5. How does the space you work in
approach the challenges of the the vocal and physical techniques inform your performance and the
different writing styles of your you have been working on connection with the audience?
performance pieces? in rehearsal. 6. What choices did you explore in
2. (Pair exams only) How did you relation to your interpretation of
both approach the challenges your pieces?
of the different writing styles
and contrasts in characters
within the pieces?
3. Describe the emotional journey
of ONE of your characters and
how you sustained it.
GRADE 8
INDIVIDUALLY and TWO questions to respond to JOINTLY.
THE QUESTIONS
Topics covered: meaning, context, interpretation, programme selection, rehearsal processes, the vocal and
physical techniques
1. How did you choose the pieces for 3. Choose TWO of your pieces and 5. What techniques did you use
your programme and find contrast talk about the vocal and physical to convey the different styles
in character and style? challenges they present and how of the pieces to the audience?
2. Describe the context or narrative they contrast. 6. (Pair exams only) Talk about
or themes of your pieces. 4. What have you learned about the approach to building a
your own (and your partner’s character as a pair, is this a
— Pair exams only) strengths separate process or did you
and limitations during the work with each other throughout?
preparation and execution of
your performances?
96 Section 14: Exam guidance: General
Exam guidance
EXAM GUIDANCE: GENERAL
What to provide in the exam Facilitating digital exams
The candidate should provide the examiner with the All grades
following — (as a hard copy for face-to-face exams or If preferred, a teacher or caregiver can assist the
uploaded to the submission platform with the exam candidate and facilitate the smooth flow of the exam,
video for digital exams): by inviting the candidate to undertake each task.
◗ Copies of the texts (not handwritten) of prepared For example, the teacher/caregiver can say: ‘Are you
performance pieces set out in the original published ready to perform your task 1 piece?’, or ‘And now can
format. Where a piece has been edited for the you perform your task 2 piece’. Where a continuous
candidate’s performance, the edits should be clearly performance is required for the exam, the facilitator
marked in the text provided. can say: ‘Are you ready to perform your performance
◗ An outline for any original scenes or devised pieces; programme?’
to include context, environment, emotion, plot The teacher/caregiver can either be in view of the
(as required) camera when they provide the facilitating instructions,
◗ For Plays in Production exams: a programme providing or they can stay off-camera throughout.
details of what is being performed, who is in the cast
and the roles they are playing — including details of Duration of pieces and performance programmes
those performing backstage roles. Where a candidate Where more than one performance piece is required
has produced a visual for the performance, eg a in the exam, candidates may combine shorter and
poster, an image of this should be included either longer pieces to fit the time allowed. Candidates should
in the programme or as a separate upload. ensure that their performances are of sufficient length
◗ For Acting (Group) exams: a list of who is in the group to give them the best opportunity to demonstrate the
and the roles they are playing. skills required.
Pair digital exams Prompting/accuracy to the text
For a pair exam, the candidates are required to It should not be necessary to prompt during exams.
provide the following information on the online If prompts are necessary marks awarded will reflect
submission form: the accuracy of the performance.
◗ Candidate name: the full name of each candidate. Dress code, costume and staging devices
◗ Identification label: This is a label that the candidate There is no set dress code for Trinity drama exams.
must wear. The label should have the letter A on it for Candidates should wear comfortable clothing that allows
candidate 1, and the letter B on it for candidate 2. The them to move in the appropriate way for their chosen
letter should be large enough to be clearly seen on pieces. Except for the Plays in Production (pathway
the video. 1) exams, there is no requirement to use costumes,
◗ Role(s): the name of the role(s) each candidate scenery, lighting, props or other staging devices and
is performing. candidates will not receive marks for their use. If
candidates do wish to make use of them, they should
Candidate Identification ensure that their use does not cause the exam
Role(s)
name label to overrun.
Angela Taylor A Juliet in Romeo
Who is permitted in the exam room
and Juliet
in face-to-face exams
Antigone in
Usually only the examiner and candidate(s) should be
Antigone
in the exam room during an exam. If the performance
Jessie Harper B Nurse in Romeo requires an additional performer, or technology to be
and Juliet operated, then another person is permitted in the room
for that purpose and should leave after the task (or
Ismene in
programme for continuous performance programmes)
Antigone
is complete (this should not be the teacher). Teachers
should not be in the room during the exam and should
not attempt to take responsibility for any setting up or
clearing away of materials, props or set — this should be
the responsibility of the candidate(s).
97 Section 15: Exam guidance: Performance tasks
Use of microphones range of vocal and physical skills required at the grade
In the exams, the candidates’ own ability to perform the candidate is being assessed for.
audibly and clearly is assessed. For this reason, external
microphones must not be used. Editing material and multi-role playing
Extracts may be edited, for example to remove
Role gender subsidiary characters, but the overarching structure,
Candidates can perform roles of any gender. sense and dramatic development must remain clear.
Candidates taking solo exams should avoid playing
Audiences a single character in a scene in which dramatic
For Acting (Group), and Plays in Production exams, development depends largely on verbal interaction
the attendance of an audience is possible. However, with one or more other characters who remain — in
an audience’s presence must not cause the exam the context of a solo performance — invisible and
programme to overrun. In face-to-face exams, the inaudible. In solo performances, candidates should also
examiner should be informed in advance of the exam not attempt to play multiple characters within a scene
day if there is to be an audience. If the exam is to take unless this is specifically related to either the style or
place at a public centre, the possibility of an audience content of the play eg Zach Davis’ This’ll Only Take a
attending should be discussed with the Trinity Second, written for one performer, in which Miranda
representative in advance in case there are logistical recounts the events of her life through a series of
reasons why an audience should not be present. For imagined interactions with other characters. Candidates
exams presented to an audience, the examiner should taking Pair exams should only play one character for
be provided with: each duologue task to sustain the same relationship
◗ A performance programme, which should include with the other character throughout the scene.
the order of items, the names of the candidates to be
Selecting material
examined and details, if appropriate, of any performed
items not to be examined PLEASE NOTE: In alignment with Trinity’s policies on
Safeguarding, and Equality, Diversity and Inclusion,
◗ A centrally positioned table so that the examiner
candidates must not use material in their performance
can easily observe all that is presented and can write
tasks that supports discrimination or extremism, or
comfortably
could be perceived as an example of hate speech.
◗ Sufficient light with which to see to write notes (if the
light spillage from the performance area is insufficient, The candidate’s age, level of maturity and capabilities
a reading lamp should be provided) should be considered carefully when selecting the material.
◗ A room or private area so the examiner can complete Initial–Grade 3
the exam report forms following the performance. The length and complexity of the material should be
sufficient to allow candidates to show their ability to
EXAM GUIDANCE: PERFORMANCE TASKS establish and sustain their performance and interpretation.
The purpose of these tasks is to encourage candidates The content of the material should offer candidates the
to develop their performance skills alongside building opportunity to explore emotions, moods and atmosphere
an awareness and understanding of different styles of outside their immediate experience, eg from other periods
theatre. Candidates develop their skills in being able to: or cultures. The material should contain a variety of
expressive vocabulary and meaning, as well as offering
◗ Memorise and perform material
some opportunity for interpretative choices.
◗ Adopt and sustain a role
Grades 4–5
◗ Understand and interpret a text
The length and complexity of the material should be
◗ Bring a text to life, integrating physical and vocal skills
substantial enough to convey some development,
to enhance performance and communicate meaning to
both in terms of authors’ intentions and candidates’
the audience.
interpretation and performance. The material should
Published and unpublished material be sufficiently complex to provide some internal
contrast and range, for example in terms of theme,
Unless otherwise stated, all performance pieces should
character, situation or mood, and provide opportunity for
be taken from published works (not self-published). This
candidates to begin to explore more universal themes,
means that the work has been through a peer check/
eg family, survival, peer pressure, justice. The material
publishing house approval process. At Grades 7 and
should contain a stylistic variety of language and literary
8 (solo and pair), the candidates can present a piece
form and include subtleties of vocabulary and meaning
of unpublished work. This acknowledges the wealth
to provide the opportunity for a variety of approaches
of material that is available, often in digital form, that
and interpretative choices.
may not have been through this approval process.
This can be a piece of the candidate’s own writing or Grades 6–8
from someone else. When selecting a piece, candidates The length and complexity of the material should be
should keep in mind that it should present opportunities sufficient to enable variety and range of presentation to
for different interpretations, and for displaying the be demonstrated and sustained. It should be drawn from
98 Section 15: Exam guidance: Performance tasks
authors past and present, and from different periods Continuous programmes
and cultures that provide opportunity for engagement Grade 8
with different genres and styles, contrast of themes,
Candidates at this advanced level are putting together
settings, characters and mood. The material should
a programme of pieces, and so effectively creating
enable the candidate to engage with complex emotions,
ONE performance comprised of different components.
universal themes and require analysis and reflection in
The way in which the pieces are linked is entirely up to
the preparation of performance, presenting challenge in
the candidates. For example, a few sentences of original
terms of physical and vocal requirements.
text might be used to address any linked themes of the
For examples of suitable material at each level, see pieces chosen, or the characters’ connections in some
Trinity’s online anthology — trinitycollege.com/anthology way. Any stage business should be included in this
linking. Alternatively, the candidates could remain ‘in
Prose and play extracts character’ throughout the performance and link each
Where candidates are required to perform ‘an extract piece with a continuous monologue, in character. We are
from a play’, at Intermediate (Grades 4–5) and Advanced inviting candidates to think more imaginatively than ‘and
(Grades 6–8) levels this must be a speech/extract from a for my next piece’ and to think about the performance
longer work rather than from a book of speeches, so the as a whole, sustaining their performance throughout.
candidates can demonstrate understanding of the context Please note any linking material will not be marked by
of the extract in performance and in the discussion. the examiner.
Play extracts must be from works written for the theatre DIGITAL EXAMS: FILMING ADDITIONAL
and not for film or television. PERFORMERS AND PAIR EXAMS
In Acting (Solo) exams where an additional performer
Drama periods
is taking part, or in Acting (Pair) exams, two video
When we refer to drama periods, we refer to an interval recording options are available: candidates can
of time in the past that is meaningful because of its perform together in the same location (eg a school,
overall characteristics and context. Therefore, when studio or public centre); or candidates can use a
candidates are asked to perform works taken from video-conferencing (VC) application (eg Teams or
different periods, they are expected to take a piece Zoom), to record themselves performing together.
from a particular period of time that is considered to be However, due to timing difficulties caused by differing
a movement such as Caroline, Realism, Greek Theatre or internet connections, a VC application can only be used
Modern Indian. Candidates should familiarise themselves to record a submission if there is no music involved
with the features of the play that make it characteristic in the performance. Additionally, if candidates intend
of the period in which it was written, and its context. to sing together (without music) watch the video in
advance of submitting it for assessment to check there
Delivery of poetry/verse
is no detrimental effect to the performance. For Acting
A number of styles may be adopted for the effective (Group) and Plays in Production exams, all candidates
delivery of poetry and verse and there are no set rules. should be filmed performing together in the same
The delivery is both a vocal and a physical engagement physical location.
with an imagined audience. The performance may
be enhanced by some relaxed and contained body For VC recording, it is not necessary for both performers
movement, gestures and facial expressions that stem to attempt to create the perception that they are facing
organically from the context. each other during the performance. They can instead
look at the audience (camera). Both candidates should
Delivery of monologues/play extracts ensure that they can be clearly seen by the camera. This
includes ensuring that each candidate can be seen from
Monologues and extracts from plays should be
head down to at least knee level to enable assessment
performed as though on stage, particularly in terms
of the candidates’ use of body and space to create
of focus, sightlines, positioning, movement and
character and support the narrative.
engagement with an imagined audience.
The VC format Zoom focuses equally on both candidates
Mime for the duration of the performance. Therefore, both
Mime is an effective way of encouraging students to candidates need to be actively engaged throughout the
develop their acting skills in terms of body language piece; being clearly attentive, listening and responding
(posture, movements, gestures, etc) and for them to the offer from the other candidate and ensuring
to gain a greater awareness of its importance as a that performance energy has a physical root as well as
form of communication. It tests candidates’ ability to vocal. Think carefully about the staging of the piece and
produce a performance that demonstrates a thoughtful where possible choose scenes that can be adapted to a
interpretation, purposeful use of body and space, a VC format, eg scenes that don’t require a lot of physical
sense of spontaneity and conscious awareness of interaction. The following table acts as visual guidance
audience. Mimes can be delivered in silence or to music/ on the formats of filming permitted for the exams
soundscape. Further guidance on mime can be found at available in these syllabus specifications:
trinitycollege.com/drama-resources
99 Section 16: Exam guidance: Character development tasks
VIDEO RECORDING OPTION character, wrapping a very large present, or tidying

up before visitors arrive to build confidence in their
Perform together imaginative skills. Encourage them to think of their
Perform together
in the same
using VC own ideas rather than enforcing a scenario — this will
Exam type location (school,
application (eg give them greater ownership of the performance.
studio or public
Zoom or Teams) Work as an ’outside’ eye to help candidates with
centre)
structure and to communicate with the audience
Acting (Solo) both audibly and visually.
(where an
additional √ √ Example — Grades 2–3 (Solo)
performer The candidate has played Veruca Salt from Charlie
is taking part) and The Chocolate Factory, in which she describes
demanding that her father buy up all the chocolate
Acting (Pair) √ √
bars to win her a Golden Ticket.
Acting (Group) √ X
To create a scene following this one, we could see Veruca
Plays in at home after her father has given her the winning ticket,
Production
√ X
Veruca suddenly ‘sweetness and light’, and planning how
she is going to show off her trophy to her friends.
EXAM GUIDANCE: CHARACTER DEVELOPMENT Example — Grade 3 (Pair)
TASKS
The candidates have performed The BFG by Roald
The candidate performs an original scene (or scenes Dahl, where the BFG introduces Sophie to his favourite
— dependent on the grade) or reworking using their (disgusting) food.
character from their performance piece (see each
grade for specific requirements). To create a scene before or following this one, Sophie
could introduce the BFG to some of her favourite foods
Grades 2–8 (Solo) | Grades 3–8 (Pair)
or bake him a cake.
The aim of the task is for candidates to further
demonstrate their understanding of their performed The examiner will be looking for the candidates’ ability
pieces; candidates are asked to use their own to sustain their original character and use their own
imagination and consider how their character would imagination while sharing the information with an
react or behave in different situations and, through audience. Words should be used and there should be
this process, gain deeper insights into character and some structure to help with character development.
narrative. There should be evidence of creative and imaginative
choices; spontaneity; free-flowing dialogue; how the
No script is required for these tasks, but a brief outline candidate inhabits the character and how voice, body
should be provided for the examiner, describing the and space are used to create the environment.
scene. Digital candidates should include this with their
documentation when uploading videos. Grades 4–6 (Solo and Pair)
For solo exams two original scenes are required for
Task requirements by grade and example scenes
Grades 4, 5 and 6 (Solo), one of which is own choice.
Grades 2–3 (Solo) | Grade 3 (Pair) For Grades 4, 5 and 6 (Pair) exams one original scene is
required. At Grade 4 the candidate can choose to show
A situation that takes place either immediately before, both characters they performed in the Performance
or immediately after the piece performed. tasks (one character in each scene) OR perform two
The task is designed to explore the candidate’s scenes using the same character. At Grades 5 and 6 the
understanding of the character; to give the character candidate must use a different character for each scene.
a life beyond the words in the scripted text of task 1. At Grade 4 one of the scenes must show the character(s)
It is designed to assess creative exploration and the working with an object or objects.
candidate’s imaginative connection to the chosen
character. Candidates should be encouraged to think of At Grade 5 one of the scenes must show the character(s)
a range of ideas for this task and explore them through in a different environment to the original scene.
improvisation rather than write a scene and then learn At Grade 6 one of the scenes should show the
it. Preparation and repetition will produce greater character(s) exploring a theme from the published piece.
confidence and fluency, but memorisation will not
be tested. Grade 4 (Solo and Pair)
To help develop these skills during lessons or rehearsals The original scene for Grade 4 (Pair) and one of the
you could encourage candidates to explore ‘in the original scenes for Grade 4 (Solo) must show the
moment’; stillness is often as interesting as action. characters from the Performance tasks working with an
Work with candidates on making a cup of tea in object(s) that is relevant to them. Choose a real object
not a mimed one, something that the character would
use or find, and use it as a catalyst for exploring and The task is designed to explore the candidate’s
discovering in relation to the character. For example, the understanding of the character, giving the character
character may use a paint-brush to create an imaginary a life beyond the words of the published extract and
work of art, or be searching for a piece of jewellery encouraging the candidate to make imaginative choices.
which has gone missing and they want to find. Candidates choose a different environment and use it
as a stimulus to explore how the character behaves.
Example — Grade 4 (Solo) — Own choice original scene For example, the character may find themselves in a
The published piece was a speech from Eclipse by museum, or a noisy workshop/factory. The examiner
Simon Armitage (‘When she left us for good I was nine will be looking for the candidate’s ability to sustain
or 10’). The candidate could rework the scene as the their original character, absorbing themselves in a new
police officer who is interviewing Tulip, asking about her imagined situation and environment. Words should
background and relationships with Klondike and Lucy — be used, and some structure will help with character
exploring the speech from someone else’s perspective. development, but memorisation will not be tested,
therefore a full script need not be supplied. Examiners
Further prompt ideas for creating an original scene:
are looking for evidence of creative and imaginative
◗ A walk in the park choices; free-flowing dialogue; how the candidate
◗ Forgotten time inhabits the character and how voice, body and space
◗ Running late. are used to create the environment.
Examples — Grade 4 (Solo) — The character working Example — Grade 5 (Solo) — own choice
with an object A speech from Romeo and Juliet (‘But soft what light’)
The candidate has played Lucy in Invisible Friends by the candidate could re-work the speech in modern
Alan Ayckbourn: using the prop of a stethoscope, Lucy language and as if Romeo is looking at Juliet in a busy
remembers the time when she was ill and first invented Starbucks.
her invisible friend. She demonstrates what happened Further prompt ideas for creating an original scene:
to her by doing a full investigation into her imaginary
◗ New friends
friend Zara.
◗ Time heals
The candidate has played Bilbo Baggins in a theatrical
◗ Opposites attract.
adaptation of The Hobbit (adapted from JRR Tolkien):
using the prop of a duster, Bilbo is expecting visitors Example — Grade 5 (Solo) — character in a different
and is cleaning his house, taking great pride in polishing environment
some antiques, and carefully making his home look
The candidate performed the role of Grand High Witch in
welcoming. Perhaps he is startled by a mouse or loud
The Witches by Roald Dahl: the Grand High Witch’s cat is
noise and accidentally breaks something precious.
unwell and so she has taken it to the vet. She is sitting in
Example — Grade 4 (Pair) — Original Scene — the waiting room with other pet owners.
The characters working with an object The candidate performed the role of Christopher in
The candidates presented the scene from Oliver Twist The Curious Incident of the Dog in the Night-time by
between Oliver and the Artful Dodger when they first Simon Stephens (based on the novel by Mark Haddon):
meet. Using the props of a handkerchief and a wallet Christopher is in a souvenir shop on holiday, choosing a
the candidates could explore the characters’ different present for his mother.
responses to finding them, eg the Artful Dodger could
start to show Oliver how to pickpocket. Example — Grade 5 (Pair) — characters in a
different environment:
To help develop these skills during lessons or rehearsals
The candidates performed a duologue between Kevin
you should bring small objects into the rehearsal room
and Rock from The Boy Who Fell into a Book by Alan
and asking candidates to interact as their character. This
Ayckbourn: the original scene could imagine that the
will help build imaginative and creative skills. Encourage
characters have been chased into a set of tunnels
the candidates to use their own ideas, rather than
underground where they are trapped in near darkness
suggesting a scenario, to give them greater ownership
and looking for a way out.
of the performance. Work as an ’outside’ eye to help
the candidate with structure and staging to ensure Encourage candidates to explore ‘in the moment’ —
everything is clear for the audience. remember stillness is often as compelling as action. Help
candidates to develop their powers of observation —
Grade 5 (Solo and Pair) what colour was it, how did it feel, was it cold etc? Using
The original scene for Grade 5 (Pair) and one of the all five senses to respond to different environments will
original scenes for Grade 5 (Solo) must show the help build confidence in improvisation. Encourage the
characters in a different environment to that shown in candidate to use their own ideas rather than suggesting
the performance piece. This gives more focus to the skill a scenario — this will give them greater ownership
of creative exploration and allows the candidate to use of the performance. Work as an ’outside’ eye to help
their own imagination and consider how their character the candidate with structure and staging to ensure
would react or behave in different environments. everything is clear for the audience.
The examiner will be looking for the candidates’ ability to original scene could explore the theme of identity and
sustain their original character, absorbing themselves in involve Antipholus and Dromio attempting to change
a new imagined situation. Dialogue should be used, and Dromio’s appearance in order to get out of the wedding.
some structure will help with character development, but
The examiner will be looking for the candidates’ ability to
memorisation will not be tested, therefore a full script
sustain their original character while adding complexity,
need not be supplied. Examiners are looking for evidence
absorbing themselves in a new imagined situation.
of creative and imaginative dramatic choices; free-
Dialogue should be used, and some structure will help
flowing dialogue rather than a prepared script; clarity
with character development, but memorisation will not
of setting; a willingness to discover further dimensions
be tested, therefore a full script need not be supplied.
to the character ‘in the moment’.
Examiners are looking for evidence of creative and
imaginative dramatic choices; free-flowing dialogue
Grade 6
rather than a prepared script; clarity of setting; a
The original scene for Grade 6 (Pair) and one of the willingness to discover further dimensions to the
original scenes for Grade 6 (Solo) must show the character ‘in the moment’.
characters exploring a theme from the published piece.
The focus of the other original scene in Grade 6 (Solo) is Grade 7
the candidate’s own choice.
At Grade 7 (Solo and Pair) candidates are asked to
Example — Grade 6 (Solo) — own choice perform one original scene showing their character
The published piece was a speech from The Country exploring a theme from the piece AND conveying
Wife by William Wycherley — Marjorie Pinchwife — ‘Mr an emotion that is different to the one seen in the
Horner — So, I am glad he has told me his name; Dear performance piece. The task is designed to explore the
Mr Horner’. The candidate could present a scene with candidate’s in-depth understanding of the character,
Marjorie writing an email rather than a letter and telling adding further dimensions beyond the words of the
the opposite to what is in the original text, that she really original performance piece.
doesn’t like him, and she isn’t the fool everyone takes Candidates should consider the themes of the original
her for. and create a scenario which allows their character to
Further prompt ideas for creating an original scene: respond with a different emotion. Encourage candidates
to identify and explore a theme through a different
◗ Too many cooks
emotional response to the original writing. Help
◗ The grass is always greener candidates to add complexity to their characterisation
◗ Sly as a fox. and develop their emotional response by side-coaching
with questions — sometimes stillness can be as effective
For the original scene in Grade 6 (Pair) and the second as action. Encourage the candidate to use their own
original scene for Grade 6 (Solo) candidates show the ideas rather than suggesting a scenario to give them
characters exploring a theme from the published piece. greater ownership of the performance. Work as an
Consider the themes of the original (eg perhaps loss, ’outside’ eye to help the candidate with structure and
friendship, longing, jealousy, etc) and allow the character staging to ensure everything is clear for the audience.
to talk more openly about their feelings, perhaps while
undertaking a mundane activity to give some context. Example — Grade 7 (Solo) — the character exploring
a theme from the published text and conveying a
Example — Grade 6 (Solo) — the character exploring a different emotion
theme from the published piece
The candidate performed the role of Proteus (Act 2
The candidate performed the title role in King Henry V
Scene 4) in The Two Gentlemen of Verona by William
by William Shakespeare: using the theme of remorse
Shakespeare. The play explores themes of love,
and guilt, Henry talking in modern-day language to a
friendship and infidelity. At the beginning of the play
therapist about his relationship with his father.
Proteus is in love with Julia. However once he moves
The candidate performed the role of Aunty in Paradise away to Milan to join his best friend Valentine, he
by Kae Tempest: using the theme of nature and our bond becomes besotted with Silvia, forgetting instantly about
with the environment, Aunty takes some children on a Julia. Rather than the infidelity and obsession evident in
walk through the forest, teaching them about the the original monologue, the new self-written scene could
natural world. explore other themes from the play, namely loyalty and
friendship and Proteus could explore his inner conflict
Example — Grade 6 (Pair) — the characters exploring and potential consequences.
a theme from the published piece
The candidate performed the role of Blanche in A
The candidates performed a scene from The Comedy
Streetcar Named Desire by Tennessee Williams: in the
of Errors by William Shakespeare between Antipholus
original monologue Blanche shows regret for lost love
and Dromio of Syracuse. The published scene explores
and remorse for her role in her husband’s suicide,
Dromio’s confusion about meeting a servant who expects
exploring death and suffering. Instead, the candidate
him to marry her, in a case of mistaken identity. The
could explore the theme of madness and show either
her rage and fury, or a scene suggesting emotional Example — Grade 8 (Solo) — the character shown in
disconnection as a result of trauma. a new context
The candidate performed the role of Clytemnestra in
Example — Grade 7 (Pair) — the characters exploring a Agamemnon by Aeschylus: in the original scene the
theme and a different emotion character is in front of the altar where she has dumped
The candidates performed the roles of Sally and her husband’s body and is addressing the Chorus. A
Elizabeth in The Welkin by Lucy Kirkwood: the original new context could place Clytemnestra at a fairground,
scene is set in an anteroom of a courthouse ahead of enjoying the various rides or side-shows as she talks to
Sally’s hanging, and the characters are experiencing a friend about what she has done.
fear and anger. Exploring the theme of mother/daughter The candidate performed the role of Chris Keller in
relationships the characters could explore a different All My Sons by Arthur Miller: in the original monologue
rapport and emotions. Chris is outside his parents' house. A new context could
The candidates performed the roles of Dr Stockman and set this in a very confined indoor space, where the
Hostad in An Enemy of the People by Henrik Ibsen: the characters need to be very quiet, such as a cinema
original scene shows the two men in Stockman’s home, or library.
Hovstad a radical journalist determined to challenge
Example — Grade 8 (Pair) — the characters shown in
corruption and Stockman more reasoning and hesitant
a new context
to make waves. Exploring the theme of public opinion
a new scene could show Dr Stockman excited at the The candidates performed the roles of Ben and Gus in
potential to improve the health of the local community The Dumb Waiter by Harold Pinter: the original is set in
and Hovstad agreeing to write an article in support of a basement room with two hit-men awaiting instructions
it, revealing how the characters relate to one another in for an assignment. A new context could have much
this situation and their different emotions. younger characters, sitting in a dressing room waiting
to go onstage for the first time, giving the characters
The examiner will be looking for an understanding of the new objectives.
themes in the original text, and the candidates’ ability
to sustain their character whilst adding new dimensions, The candidates performed the roles of Vi and Mary in
absorbing themselves in new circumstances. Dialogue The Memory of Water by Shelagh Stevenson: the original
should be used and some structure will help with scene is set in a bedroom, with Mary talking to the ghost
character development, but memorisation will not be of her mother Vi, who has recently died. In a different
tested, therefore a full script need not be supplied. context Vi could be alive and Mary and Vi could be
Examiners are looking for evidence of: creative and talking via video-conferencing about planning a
imaginative dramatic choices; free-flowing dialogue family celebration.
rather than a prepared script; clarity of setting; a Candidates should explore the text in fresh ways to the
willingness to discover more depth to the character prepared monologue/duologue and be courageous in
‘in the moment’. their choices. Encourage the candidate to use their own
ideas rather than suggesting a scenario — this will give
Grade 8 them greater ownership of the performance. Work as an
Grade 8 (Solo and Pair) candidates are asked to perform ’outside’ eye and ear, to help the candidate explore freely
a modification showing their character(s) from one of while ensuring everything is clear for the audience.
their performance pieces in a new context. The task is The examiner will be looking for the candidate’s ability to
designed to explore the candidate’s understanding of the sustain their original character while exploring the text
character, and their ability to sustain characterisation in in new circumstances to see what new dimensions are
different circumstances. Consider how context affects revealed. The original text should be used for this task,
the character and choose something that contrasts with but the candidates should announce the new context.
the original. This might, for example, include a change of Examiners are looking for evidence of: depth, maturity
interpretation using one of the following: The genre/style and fearlessness of approach; a thoughtful response;
(Brechtian instead of restoration comedy; physicality and working freely with a sense of the unexpected; clarity
movement [eg enhancing the characters’ physicality or and understanding of the original text; a naturalness
minimising exploring stillness]). and a sense of being ‘in the moment’; how the candidate
Using the original speech, create this new environment sustains the character in this new context and the effect
or set of circumstances and see what it reveals about on text.
the character and the text. For example, if the original
context is a bedroom, consider placing it into a
hospital ward.
103 Section 17: 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 ◗ Stage floors, rehearsal spaces, studios, etc should be
reflection section 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
VOICE AND BODY of any set and/or furniture.
◗ Ensure that the body and voice are properly warmed ◗ Dance floors should always be sprung, and dancers
up before the performance should not be required to work on, for example,
◗ Performers should not undertake anything that is concrete rehearsal floors as this can cause injury.
beyond their physical or vocal capabilities Dance floors should be regularly checked and properly
maintained.
COSTUME, MAKE-UP, PROPS ◗ All passageways should be clear and clean, with all
◗ Any costumes should be tailored to the age and size cables marked or covered and taped. All backstage
of the performer and should not hinder movement areas and passageways should be lit adequately.
unreasonably. All costumes should be either flame ◗ All possible steps should be taken to keep
resistant or treated with a flame retardant. temperatures reasonably cool in hot weather
◗ Attention should be paid to hygiene issues when using and reasonably warm in cold weather and to
make-up, for example by cleaning applicators. Make ensure draughts are kept to a minimum. Rest and
sure any make-up artist or designer is aware of any rehearsal areas should be at an acceptable ambient
allergy/skin conditions the performer has and, when temperature.
performers apply their own make-up, the performer ◗ Routes from backstage to the stage or set should be
should check the ingredients of the products. rehearsed so that performers know the safe route
◗ The age, size and physical fitness of the individual and are aware of any technical obstacles, and areas
should be taken into account when hand props are of reduced lighting and masking (curtains, boards,
constructed and used. Props should be checked for flats, etc). Performers should take note of any changes
rough edges, chips, loose material or other potential in the set including changes to the floor surface and
hazards before being used in order to prevent injury. to the location of electric cables.
◗ Performers should be given detailed handling FIRE

instructions about the props and given time to
◗ Fire drills should be routinely scheduled, especially
familiarise themselves with their use.
when someone is new to the environment.
◗ Real weapons must not be used in the exams. Prop
◗ Candidates should ensure they know the emergency
weapons should only be given to performers once it
drills, escape routes and assembly points.
has been determined that they are knowledgeable
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.
◗ The storage and use of weapons must fully comply
with safety and police regulations.
104 Section 18: 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 inadequate or to be guilty of malpractice, either in terms
any 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 should
from trinitycollege.com/drama-csn. For enquiries please refer to trinitycollege.com/results-enquiry for full
contact [email protected] 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
105 Section 19: Acting resources
Acting resources
A wide range of resources to support teaching and learning is available at trinitycollege.com/drama-resources
Resources are available to support teaching and learning, including advice and content on:
◗ Preparing for your exam
◗ Performance technique
◗ 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 [email protected],
or find the contact details of your local representative at trinitycollege.com/worldwide
Facebook X YouTube
/TrinityCollegeLondon /TrinityC_L /TrinityVideoChannel

Acting Syllabus Specifications

Uploaded by

Copyright:

Available Formats

Acting Syllabus Specifications

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Acting Syllabus Specifications

Uploaded by

Copyright:

Available Formats

ACTING

Charity number England & Wales: 1014792

HOW TO ENTER FOR THE ACTING EXAMS

ABOUT TRINITY COLLEGE LONDON

WHY CHOOSE TRINITY?

Employability and learning skills

SKILLS MEANING HOW TRINITY ACTING EXAMS SUPPORT THIS

Recognition and progression

Grade 6 Grade 5: TCL Level 2 Certificate in Graded

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

Introduction to exam tasks

LEARNING OUTCOMES, ASSESSMENT CRITERIA AND ATTAINMENT DESCRIPTORS

ORDER OF EXAM TASKS

WHAT TO PROVIDE IN THE EXAM

ACTING (GROUP) & PLAYS IN PRODUCTION

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Task 1: Performance ◗ The monologue can come from a

Task 2: Performance ◗ For full details on how to prepare for this

Task 3: Reflection ◗ For full details on how to prepare for this

◗ Perform audibly, clearly and accurately

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Task 1: Performance ◗ The monologue can come from a published

Task 2: Performance ◗ For full details on how to prepare for this

Task 3: Reflection ◗ For full details on how to prepare for this

◗ Perform audibly, clearly and accurately

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Task 1: Performance ◗ The monologue can come from a

Task 2: Performance ◗ For full details on how to prepare for this

Task 4: Reflection ◗ For full details on how to prepare for this

◗ Perform audibly, clearly and accurately

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Task 1: Performance ◗ The monologue can come from a

Task 2: Performance ◗ For full details on how to prepare for this

Task 4: Reflection ◗ For full details on how to prepare for this

◗ Perform audibly, clearly and accurately

◗ Demonstrate a confident performance, communicating meaning and mood, with an Performance

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Tasks 1–2: Performance ◗ The contrast must be in at least one of

Task 5: Reflection ◗ For full details on how to prepare for this

◗ Demonstrate and communicate understanding of the material, technique and connection

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Tasks 1–2: Performance ◗ The contrast must be in at least one of

Task 5: Reflection ◗ For full details on how to prepare for this

◗ Integrate vocal and physical performance skills to deliver an imaginative and

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Tasks 1–2: Performance ◗ The extracts must contrast in language

Task 5: Reflection ◗ For full details on how to prepare for this

◗ Demonstrate clear and creative choices of interpretation

◗ Demonstrate a confident, sustained and accurate performance Performance

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Tasks 1–3: Performance ◗ Two of the plays must have been

Task 5: Reflection ◗ For full details on how to prepare for this

EXAM REQUIREMENTS FURTHER INFORMATION MARKS

Tasks 1–3: Performance ◗ The pieces should contrast in at least