exemplar candidate work drama and theatre
TRANSCRIPT
H459For first teaching in 2016
DRAMA AND THEATRE
QualificationAccredited
Exemplar Candidate Work
A LEVEL
Part 2H459/11/12/13/14 Summer 2018 examination seriesVersion 1
www.ocr.org.uk/drama
Exemplar Candidate Work
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A Level Drama and Theatre
© OCR 2018
ContentsIntroduction 3
Exemplar 3 4
Exemplar Candidate Work
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A Level Drama and Theatre
© OCR 2018
IntroductionThese exemplar answers have been chosen from the summer 2018 examination series.
OCR is open to a wide variety of approaches and all answers are considered on their merits. These exemplars, therefore, should not be seen as the only way to answer questions but do illustrate how the mark scheme has been applied.
Please always refer to the specification https://www.ocr.org.uk/Images/242650-specification-accredited-a-level-gce-drama-and-theatre-h459.pdf for full details of the assessment for this qualification. These exemplar answers should also be read in conjunction with the sample assessment materials and the June 2018 Examiners’ report or Report to Centres available from Interchange https://interchange.ocr.org.uk/Home.mvc/Index
The question paper, mark scheme and any resource booklet(s) will be available on the OCR website from summer 2019. Until then, they are available on OCR Interchange (school exams officers will have a login for this and are able to set up teachers with specific logins – see the following link for further information http://www.ocr.org.uk/administration/support-and-tools/interchange/managing-user-accounts/).
It is important to note that approaches to question setting and marking will remain consistent. At the same time OCR reviews all its qualifications annually and may make small adjustments to improve the performance of its assessments. We will let you know of any substantive changes.
Exemplar Candidate Work
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A Level Drama and Theatre
© OCR 2018
Exemplar 3 120 marks
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A Level Drama and Theatre
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A Level Drama and Theatre
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A Level Drama and Theatre
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A Level Drama and Theatre
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A Level Drama and Theatre
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A Level Drama and Theatre
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Magazine covers depicting athletic bare chested male models
Image of page 37 of Steven Berkoff's play: East
Image of page 45 of Steven Berkoff's play: East
Exemplar Candidate Work
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A Level Drama and Theatre
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Images from Benny Benassi - Satisfaction official music video
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A Level Drama and Theatre
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A Level Drama and Theatre
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Image of page 37 of Steven Berkoff's play: East
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A Level Drama and Theatre
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Image of YouTube video - Mila Cuda & Jessica Romoff - "Exes"
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Image of YouTube video Millstone - Documentary about eating disorders in men - 2015
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Exemplar Candidate Work
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A Level Drama and Theatre
© OCR 2018
Image of YouTube video Millstone - Documentary about eating disorders in men - 2015
Click here
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A Level Drama and Theatre
© OCR 2018
Images from Google search 'quotes about opression of women' and 'quotes about opression of men'
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A Level Drama and Theatre
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Poem about a 'sad looking man' Poem 'A man in his life' by Yehuda Amichari
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A Level Drama and Theatre
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Image of Diner Scene from Barry Jenkins' 'Moonlight'
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Examiners' CommentaryResearch Report AO1 30/30
Portfolio AO1 20/20
Analysis and Evaluation AO4 30/30
Artistic Intention AO2 10/10
Devised Performance 30/30
Total for unit 120/120
Research ReportThis candidate has chosen to explore Stanislavski and Berkoff with Pinter’s The Homecoming. The candidate starts with an exploration of the extract. For Section 1, candidates need to explore their practitioner first experiencing a range of exercises prior to the work on text and evidencing this within the Research Report. In the case of Stanislavski, the chosen practitioner here, the candidate would need to explore exercises from the System designed to develop the actor before those dedicated to working on a role.
The candidate’s evaluation and analysis of the challenges of experiencing a character truthfully are accomplished with the candidate evidencing the struggle with text and subtext and the realisation of how the system can be used. The lessons learnt and the skills developed are evident within the final performance in Section 3, evidencing how this candidate has progressed through the component.
The candidate moves onto experimenting with Berkoff exploring the character’s Mie, elements of mime with text and the grotesque. The candidate gives a personal account of the exercises explored and the revelations that have come from them. There is accomplished evidence of an experiential approach and exercises are successfully linked back to Berkoff’s own exploration of text.
The candidate evidences further work on Stanislavski and experimenting using Active Analysis. The candidate explored Stanislavski’s later work, which is an expectation at A Level, and the evidencing of the practical exploration and analysis and evaluation is at the top of Band 5 for this part of the report.
The candidate concludes with reflections on both practitioners and how they can effectively be used. It is clear from this research report that the candidate has explored both practitioners in detail and has thoroughly experienced their work with text. A real sense of enjoyment comes across from having explored two iconic practitioners and having put them in the context of others such as Brecht and Artaud.
PortfolioThe portfolio follows on from the Research Report offering a personal insight into the highs and lows of the devising process. The structure, use of images, photos, subheadings, flow diagrams, colour etc. are all seen as good practice and successfully communicate the candidate’s journey.
For Analysis and Evaluation, the candidate is accomplished, with the candidate reflecting on how the skills and exercises experienced in Section 1 can be used to guide the group through the devising process.
Throughout the Portfolio, there is highly developed evidence of an experiential approach and how the candidate experiments with ideas and practices.
The candidate shows how they experimented, made mistakes, learnt from them and used that to create their own style of theatre.
The portfolio is a strong band 5 and shows the willingness to experiment and use practitioners to inspire the creation of theatre that is at the heart of this component.
PerformanceIn the Performance, there is evidence of both practitioners and an exciting blend of ensemble work, comedy, thought provoking monologues and physical theatre. There is a real sense of those on stage enjoying the process and ‘going for it’ which supported by the process undergone in Section 1 and 2 creating a performance that is unique and thoughtful.
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