syllabus of drama & communication examinations … · from ‘declamation and deportment’, to...

ROYAL IRISH ACADEMY OF MUSIC

Ceol-Acadamh Ríoga na hÉireann

SYLLABUS

OF

DRAMA & COMMUNICATION

EXAMINATIONS

Effective from 2019

36/38 Westland Row, Dublin 2

Tel: +353-1-6325300 Fax: +353-1-6622798

E-mail: [email protected] Website: http://www.riam.ie

Shakespeare’s Advice to Actors

Speak the speech, I pray you, as I pronounc’d it to you, tripplingly on the tongue; but ifyou mouth it, as many of our players do, I had as lief the town-crier spoke my lines. Nordo not saw the air too much with your hand, thus, but use all gently; for in the verytorrent, tempest, and, as I may say, whirlwind of your passion, you must acquire andbeget a temperance that may give it smoothness. O, it offends me to the soul to hear arobustious periwig pated fellow tear a passion to tatters, to very rags, to split the ears ofthe groundlings, who, for the most part, are capable of nothing but inexplicable dumbshows and noise. I would have such a fellow whipp’d for o’erdoing Termagant; it out-herods Herod. Pray you, avoid it.

Be not too tame neither, but let your own discretion be your tutor. Suit the action to theword, the word to the action; with this special observance, that you o’er-step not themodesty of nature; for anything so o’erdone is from the purpose of playing, whose end,both at the first and now, was and is to hold, as ‘twere, the mirror up to nature; to showvirtue her own feature, scorn her own image, and the very age and body of the time hisform and pressure. Now, this overdone or come tardy off, though it make the unskilfullaugh, cannot but make the judicious grieve; the censure of the which one must, in yourallowance, o’weigh a whole theatre of others. O, there be players that I have seen play –and heard others praise, and that highly – not to speak it profanely, that neither havingthe’ accent of Christians, not the gait of Christian, pagan, nor man, have so strutted andbellowed that I have thought some of Nature’s journeymen had made men, and not madethem well, they imitated humanity so abominably.

And let those that play your clowns speak no more than is set down for them; for therebe of them that will themselves laugh, to set on some quantity of barren spectators willthemselves laugh, to set on some quantity of barren spectators to laugh too, though in themeantime some necessary question of the play be then to be considered. That’s villainous,and shows a most pitiful ambition in the fool that uses it.

(Hamlet Act iii Scene ii)

Foreword

Dear Colleagues, The 2019 RIAM Drama and Communications syllabus is unchanged from the Drama and Speech syllabus of 2015-2018, which had been extensively revised. This particular syllabus offers a wide range of both drama and communications assessments, which prompted the change of title. New examinations for our younger students, found in the Speech and Drama section, (called the Early Learning Grade) have proven to be popular. The RIAM is one of Europe’s oldest academies. Established in 1848, the academy has been engaged in examining spoken and dramatic endeavour since 1890. A lot has changed since then. From ‘Declamation and Deportment’, to ‘Elocution’, and now ‘Speech and Drama’, we are conscious of the evolving nature of teaching, its challenges and rewards. In the Academy we are professional and student focused. Our highly qualified and experienced examiners engage in a positive and respectful manner. The work of both teacher and student is valued, and endeavour is rewarded. Our ‘High Achievers Award’ recognises the talent, dedication and hard work of students participating in our examination system. RIAM examiners nominate outstanding students of the Local Centre Examination System for a high achiever award, with award ceremonies taking place in regional centres. A selection of High Achievers from each region will then perform in concert at each centre in the Autumn. From these regional awards ceremonies, a selection of students will be chosen to perform at our annual Gala Concert in the RIAM. The RIAM has a national and international reputation. You and your students have helped us achieve this. We would like to thank you for your engagement with the Academy, and look forward to providing any assistance you may require. Best wishes, Brendan Breslin Head of RIAM Connect

RIAM Drama & Communication Exam Syllabus 2019

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TABLE OF CONTENTS

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

Guidance for Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Recital Certificate Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Speech and Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Reading Prose and Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Solo Verse Speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Creative Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Solo Acting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Duologue Acting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Group Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Stage School Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Choral Verse Speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Public Speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Oral Communication and Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Interview Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

English as a Second Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Bilingual Speech and Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Deaslabhra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Cór-Reachtaireacht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Óráidaíocht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Theory Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Suggested Reading List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Compilers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137


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GUIDANCE FOR TEACHERS

Candidates are advised to view each grade in Speech & Drama as a necessarylearning curve. We would suggest that the earlier grades from Kindergartenup to Grade 2 or 3 would be suitable for Primary School students and fromGrade 3 or 4 to Grade 8 suitable for Secondary School students or above.

From Grade 2 candidates will be asked to choose two performance set pieces– one from list A (Verse Speaking) and one from list B (Prose/Drama).

The use of the RIAM First Anthology of Poetry is no longer an option as analternative to the set pieces. Verse Speaking

Candidates should speak with understanding of the poet’s thoughts andintentions, preserve shape and form with good use of pause, display arhythmical flow, and deliver a well-modulated performance using a varietyof tone, pace and volume.

Prose

Candidates should give life to the words in a colourful interpretation withgood awareness of mood, style, narrative and direct speech. Passage shouldbe shaped with careful use of pause and shared with a sense ofcommunication.

Candidates may sit or stand for prose delivery – all attempts to interpret andmove the prose as a dramatic solo to be avoided. Prose selections to beintroduced giving a very brief outline of setting and context.

When candidates choose a particular book for reading in Grades 1-4, thebook should be read in full so that the candidates will be able to discuss itwith the Examiner.

Solo Drama Scene

Candidates should show an imaginative response to the text, anunderstanding of character, situation and period displaying spontaneity and

Guidance for Teachers 2019

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truth in performance. Candidates should read the play in full and be able todiscuss their choice with the Examiner.

Drama selections to be introduced giving a very brief outline of character,setting and context.

Mime

Mimes must have structure and storyline, good precision in gesture,demonstrate an awareness of size, shape and weight, atmosphere andfluidity of movement with good use of space. Candidates should aim tosustain concentration and focus throughout. Mime is the art of silence – anymouthing of words must be avoided.

The performer should create the world of the mime without aid of music

(except in ‘Creative Performance’ examinations). Minimal props egchair/table are permitted.

Two candidates, who have entered for the same grade in the sameexamination session, are given the choice to present a mime as a Duo. Theremust be a sense of balance between the two candidates in performance andability. They will be marked separately.

As candidates progress through the grades, the subject matter and structureof the mime should reflect the necessary challenge.

Reading Aloud

Candidates to speak with clarity and projection, observe pause and phrasing,show an appreciation of the style of the passage and read with fluency andexpression. Candidates should strive to communicate with audience throughconfident eye contact. Posture and position of book must be given carefulconsideration so as to give the reader greater eye span and not mask the face.

Chosen Author/Theoretical Requirements/Discussion

When discussing background to chosen author, candidates are advised thatthe literary background is of far greater importance than dealing exclusivelywith biographical details. Students need to make reference other literary


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works of the chosen author with the Examiner and mention specific poems,plays or novels and offer an opinion as to the merit of such work.

Candidates should also be prepared to discuss the performance pieces indepth with the Examiner and to go into greater detail regarding theirpreparation as they progress to the Senior Grades.

Solo & Duologue Acting Examinations

A high standard of performance is required for Solo/Duologue Actingexaminations. Own choice selections should be from published plays andmust not be taken from the current or previous Syllabus. Please give carefulconsideration to choice of material ensuring it is suitable to the age andcapabilities of the candidates.

In duologue performances, candidates should strive for a sense of teamworkin the playing and a balance in performance. A sound background to theselected pieces is essential.

Candidates for Grades 3 to 4 should have a clear understanding of characterand plot and display an ability to discuss it with the examiner. Candidatesfor Grades 5 to 8 should read plays in full as this will form a basis fordiscussion with the examiner. In addition to Shakespeare, candidates forGrades 5-8 will be given an opportunity to explore drama from the classicaltheatre traditions of Ireland, England, Europe, Russia and America. ForGrades 6, 7 and 8 in both Solo and Duologue Acting examinations candidateswill be required to present an improvisation as opposed to a mime.

Candidates required to set up the scene – chairs and a small table will beavailable. Practice shirt may be worn and the use of hand props permitted.

Definition of Play Periods for examination purposes:

1. A ‘Modern’ play refers to a play published after 1950.2. A ‘Contemporary’ play refers to a play set in the present.3. A ‘Period’ play is one which is set in a period outside the modern and calls for an awareness of costume, movement and gesture.

Recital Certificate Programme 2019

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Stage School Performance ( Solo and Group Examinations)

Candidates will be required to:

1. Introduce the selections to the Examiner.

2. Speak and sing from memory.

3. Provide and operate a recorded accompaniment for examination.

4. Use the performance space with imagination and creativity.

5. Show an understanding of the song and monologue in relation tocharacter and mood.

6. Create a sense of performance.

7. Engage with the audience.

8. Wear suitable clothing and footwear for flexibility of movement.

9. Not exceed the allocated time.


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RECITAL CERTIFICATE PROGRAMME

The Recital Programme is designed to give Speech & Drama students anopportunity to display their varied talents in a programme to include versespeaking, drama, prose and mime and calls for a high standard ofperformance.

A Recital Programme is primarily to entertain an audience with a diverserange of selections which will highlight the student’s abilities in all areas ofSpeech & Drama. Students are required to show a keen sense ofperformance, and an imaginative response to the material selected. Chosenpieces must display balance in performance and be suitable to the age of thecandidate and level of the Recital Programme. The Programme shouldillustrate a creative staging and use of chairs or small props will bepermitted. Performers are required to create the world of the mime without

the use of music.

Programme should be thematic with a brief introduction and conclusion andan appropriate linking script between each piece. Each performer will berequired to present the programme as a continuous recital. The linking scriptshould tie the recital together and give flow to the performance. VerseSpeaking, Prose/Drama and Mime may be performed in any order (seeexample of a themed programme page 9).

Time limits for Recital Programmes must be strictly observed. Candidateswill be penalised for performing a programme which is shorter than theminimum permitted length and they may be asked to discontinue aperformance that exceeds the maximum permitted time.

The Recital programme can be taken at three levels: Junior, Intermediate andAdvanced. The Pass Mark is 70.


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Each candidate will receive a written report as an assessment of theirperformance and medals will be awarded as follows:

• Candidates who receive an overall mark between 70-79 will beawarded a Bronze Medal

• Candidates who receive an overall mark between 80-89 will beawarded a Silver Medal

• Candidates who receive an overall mark of 90 or above will beawarded a Gold Medal

1. Programme items may be performed in any order and should bethematic. The Recital may also be performed in Irish or bilingually,in which case the Exams Office should be informed in advance.

2. Only published plays to be used for Drama Selections andnovels/stories of a literary merit for Prose. Selections must not betaken from current syllabus.

3. All selections – including Mime – must reflect the challenge of theRecital level.


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JUNIOR RECITAL PROGRAMME

Candidates to perform:1. A Poem2. A Drama extract from a Published Play OR a Prose extract3. A Mime

Programme to be performed as a continuous recital, linked appropriatelyand based on theme of own choice.

Please note if candidates choose a Prose selection – it must not bedramatised.

Marks will be awarded as follows:1. Poem – 20 marks2. Drama OR Prose – 20 marks3. Mime – 20 marks4. Choice of Programme, Linking

Script & Overall Impression – 40 marks

Suitable for candidates from 12 years – time limit ten minutes strictly.


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INTERMEDIATE RECITAL PROGRAMME

Candidates to perform:1. A poem2. A Prose extract3. A Speech from a Published Play4. A Mime

Programme to be performed as a continuous recital, linked appropriatelyand based on a theme of own choice. Marks will be awarded as follows:

(a) Poem – 20 marks(b) Prose Extract – 20 marks(c) Speech from Published Play – 20 marks(d) Mime – 10 marks(e) Choice of Programme, Linking Script &

Overall Impression – 30 marks

Suitable for candidates aged from 15 years – time limit fifteen minutesstrictly.

SENIOR RECITAL PROGRAMME

Candidates to perform:1. A Poem2. A Prose Extract3. A Speech from Shakespeare Play and Contemporary Play4. A Mime

Programme to be performed as a continuous recital, linked appropriatelyand based on a theme of own choice.


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Marks will be awarded as follows:(a) Poem – 20 marks(b) Prose Extract – 20 marks(c) Shakespeare Speech and Contemporary

Speech – 30 marks(d) Mime – 10 marks(e) Choice of Programme, Linking Script &

Overall Impression – 20 marks

Suitable for students of 17 years plus – time limit twenty-five minutes.

An Example of a Themed Programme

Title: Magic

(i) Poem – ‘Finding Magic’ by Eric Finney

(ii) Drama – An extract from ‘Beauty and the Beast’ by NicholasStuart Grey. In this scene, Beauty persuades the Beast togive her the magic ring to carry her back home on the windto visit her father and sisters.

(iii) Mime – The Apprentice Magician – an amusing mimewhere the student magician is not quite up to the task ofmaking magic.

This programme would be suitable for a Junior Recital Theme.

Speech and Drama 2019

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SPEECH AND DRAMA

Early Learning

Section A — Poetry 50 Section B — Conversation 50

Kindergarten to Primary Grades

Section A — Poetry 30 Section B — Prose 30Section C — Mime 20 Section D — Conversation 20

Grades 1 - 8: 20 marks in each section (A, B, C, D, E)

All verse speaking, prose and drama selections must be spoken frommemory.

• Candidates must bring reading matter to examination whererequired.

• Copies of pieces must be presented to the Examiner on theexamination day. Photocopies of the original text breach copyrightregulations and are not acceptable.

• No marks will be awarded for incorrect texts presented atexamination.

• Candidates are required to strictly adhere to time limits especiallyin junior grades where stories and mimes should be no longer thanone minute’s duration.

• A proper dress code is required for all examination candidates.

Marking Scheme

Distinction – 90% or aboveHonours – 80% - 89%Merit – 70% - 79%Pass – 60% - 69%Unsuccessful – below 60%


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EARLY LEARNING

Section A: Poetry

This is an own choice selection of either a nursery-rhyme or a short poemwhich engages the student.

Section B: Conversation

To present a picture of what occurs in the poem or nursey-rhyme and discussthis with the examiner.

KINDERGARTEN GRADE

Section A: Verse Speaking

Candidates to speak one of the following poems:The Postman by Alice Todd (Book of a 1000 Poems) Pub: EvansBreakfast by P H Kilby (Puffin Fantastic First Poems) Pub:EvansMice by Rose Fyleman (Book of a 1000 Poems) Pub:EvansNew Shoes by Ffrida Wolfe (Read Me First) Pub: MacMillanDens by Stanly Cook (Puffin Fantastic First Poems) Pub: PuffinNight Sounds by Berlie Doherty (Puffin Fantastic First )Pub: PuffinSamantha is Sobbing by Gareth Owen (Read Me First) Pub: PuffinWho’s In? by Elizabeth Fleming (Puffin Fantastic First) Pub: PuffinThe Wind by Dorothy Gradon (Book of a 1000 Poems) Pub: EvansFive Little Owls anon (Puffin Fantastic First Poems) Pub: Puffin

Section B: Prose

Storytelling in candidate's own words — own choice — not more than oneminute's duration.

Section C: Mime

Theme: own choice — time limit one minute.

Section D: Conversation

Discussion on work presented, to test understanding and developcommunication and language skills.


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PRELIMINARY GRADE


Candidates to speak one of the following poems:Green School by Marian Swinger (Read me at School) Pub: MacMillanThere are Big Waves by Eleanor Farjeon (Puffin Fantastic First Poems) Pub:PuffinLittle Old Lady by Rodney Bennett (Book of a 1000 Poems) Pub: EvansThe Last Dragon by Judith Nicholls (Read Me First) Pub: MacMillan Mrs. Mackenzie by Gillian Floyd (Read Me at School) Pub: MacMillanThe Swing by Robert Louis Stephenson (Read Me at School) Pub: MacMillanMoving Away by Peter Dixon (Read Me First) Pub: MacMillanBedtime by Eleanor Farjeon (Puffin Fantastic First Poems) Pub: PuffinThe Magic Piper by E L Marsh (Book of 1000 Poems) Pub: EvansPrayer of the Butterfly by Carmen Bernos de Gasztold (Read Me First) Pub:MacMillan

Section B: Prose

Storytelling in candidates own words – own choice – not more than oneminute’s duration.

Section C: Mime

Theme: own choice – time limit one minute.

Section D: Conversation

Discussion on work presented to show understanding and to developcommunication and language skills.


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PRIMARY GRADE


Candidates to speak one of the following:Spells by John Foster (Works 3) Pub: MacMillanHello Mrs Morley by Jan Dean (Read Me & Laugh) Pub: MacMillanMouse Laughing by Mary Green (Works 2) Pub: MacMillanSt Jerome and his Lion anon (Read Me 2) Pub: MacMillanThe Day that Summer Died by Vernon Scannell (Read Me First) Pub:MacMillanStop Calling Me, Snow by Eric Finney (Read me at School)Pub: MacMillanThe School Nature Table by Marian Swinger (Read me at School) Pub:MacMillanThe Farmer and the Queen by Shel Silverstein (Read Me First) Pub: MacMillanOverheard on a Saltmarsh by Harold Munro ( Book of a 1000 Poems) Pub:EvansIt wasn’t me’ by Steve Turner (Read Me First) Pub: MacMillan

Section B: Prose

Storytelling in candidate’s own words – own choice – not more than oneminute’s duration.

Section C: Mime


Section D: Conversation: Discussion on work presented, to testunderstanding and develop communication and language skills.


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GRADE 1


Candidates to speak one of the following:The Story of Flying Robert by Heinrich Hoffman (Read Me First) Pub:MacMillanGranny, Granny, Please comb my hair by Grace Nichols (Kingfisher Book ofChildren’s Poetry chosen by Michael Rosen) Pub: KingfisherSilver by Walter de la Mare (Book of a Thousand Poems) Pub: EvansWaking Up by Eleanor Farjeon (Kingfisher Poems) Pub: Evans Book ofChildren’s Poems Pub: KingfisherThe Piper by Seamus O’Sullivan (Book of a Thousand Poems) Pub: EvansThank You Letter by Eric Finney (Works 2) Pub: MacMillanTale of a Dog and a Bee anon (Book of a Thousand Poems) Pub: EvansDate with Spring by John Agard (Read Me 2) Pub: MacMillanMr Bags by Michael Rosen (Read Me 2) Pub: MacMillanJack Frost by Cecily E Pike (Book of a Thousand Poems) Pub: Evans

Section B: Prose

Storytelling in candidate’s own words – own choice – not more than oneminute’s duration.

Section C: Mime


Section D: Reading

To read aloud a passage, from one prepared chapter of a book from SchoolEnglish Syllabus or from a book of comparable standard. Passage will beselected by the Examiner.

Section E: Conversation and Theory

To discuss the selections spoken and to have a knowledge andunderstanding of the Use of Pause in Prose.


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GRADE 2


Candidates to speak one of the following:Dad’s Hiding in the Shed by John Foster (Read me & Laugh) Pub: MacMillanTown Dog by David Orme (Read Me 2) Pub: MacMillanToothpaste by Michael Rosen (Kingfisher Book of Children’s Poetry chosenby Michael Rosen) Pub: KingfisherDriving Home by Gerard Benson (Read Me 2) Pub: Mac MillanSmile by Matthew Sweeney (Read Me & Laugh) Pub: MacMillanEvery Night Mr Miller Dreams by Bernard Young (Read Me at School) Pub:MacMillanSt Francis and the Birds by Seamus Heaney (Death of a Naturalist) Pub: FaberNot a Nightingale by Jennifer Curry (Read Me at School) Pub: MacMillanTee Vee by Eve Merriam (Kingfisher Book of Children’s Poetry, chosen byMichael Rosen) Pub: KingfisherDo Your Own Thing by Sue Smith (Read Me At School) Pub: MacMillan

Section B: Prose or Drama

Candidates to perform one of the following prose or drama selections:

THE VELVETEEN RABBIT by Margery Williams from ‘What is REAL’? askedthe rabbit one day when they were lying side by side near the nursery fender….’ to‘but once you are REAL you can’t become unreal again. It lasts for always’. Pub:Egmont Books Ltd

JAMES AND THE GIANT PEACH by Roald Dahl. Chapter 37 from ‘Ahoythere! Shouted the Chief of Police. Come out and show yourself’ to ‘I told you theycame from Mars’. Pub: Puffin

ALICE’S ADVENTURES IN WONDERLAND by Lewis Carroll Chapter 7from ‘There was a table set out under a tree in front of the house’ to ‘You shouldlearn not to make personal remarks’ Alice said with some severity: ‘it’s very rude’.Pub: Penguin Classics


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THE SELFISH GIANT by Oscar Wilde from ‘Every afternoon, as they werecoming from school’ to ‘He was a very selfish Giant’ Pub: Hodder Children’sBooks

THE WITCHES by Roald Dahl – play adapted by David Wood Act 2 (Boy)from ‘Bruno! Bruno Jenkins!’ to ‘Come on.’ (Omit other characters) Pub: SamuelFrench

THE BORROWERS by Mary Norton – Audition Speeches for 6-16 year oldsselected by Jean Marlow (Arietty) from ‘Why did you tell me this? Now?Tonight?’ to ‘Eggletina had yellow boots with jet buttons and Eggletina did get out– just once’. Pub: A & C Black

FANTASTIC MR FOX by Roald Dahl adapted by Sally Reid Scene 6 (Mr Fox)from ‘We go this way, Badger, old chap’ to ‘ I adore smoked ham, don’t you,Badger?’ omit other characters. Pub: Puffin

HANS, THE WITCH AND THE GOBBIN by Alan Cullen Act 2 Scene 1(Daisy) from ‘Interesting. Very, very interesting’ to ‘That means I’ll have to collectsome more. Double botheration!’ Pub: Samuel French. (This extract is alsoavailable in Solo Scenes for Young Players chosen by Anne Harvey)

Section C: Mime

Theme – own choice – time limit one minute.

Section D: Reading

To read aloud a passage selected by the Examiner from two preparedchapters of a book from the School English Syllabus or an own choice bookof comparable standard.


To answer questions on the selections spoken, on Phrasing and the Use ofPause in Prose.


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GRADE 3


Candidates to speak one of the following:The Hurt Boy & the Bird by John Agard (Read Me 2) Pub: MacMillanThe Soldiers Came by John Agard (Works 2) Pub: MacMillanLiteracy Hour by Clare Bevan (Read Me & Laugh) Pub: MacMillanStopping by Woods on a Snowy Evening by Robert Frost (Works 7) Pub:MacMillanSt Brigid and the Baker by Tony Mitton (Ring of Words) Pub: Faber & FaberThe Sand Artist by James Kirkup (Works 2) Pub: MacMillanRemembering Snow by Brian Patten (Read Me At School) Pub: MacMillanBird Table Blues by Clare Bevan (Read Me & Laugh) Pub: MacMillanMr Mizen by John Rice (Works 2) Pub: MacMillanWhat Has Happened to Lulu? By Charles Causley (Kingfisher Book ofChildren’s Poetry chosen by Michael Rosen) Pub: Kingfisher


Candidates to perform one of the following prose or drama extracts:

HARRY POTTER & THE GOBLET OF FIRE by J K Rowling Chapter 16 from‘And the Goblet of Fire turned red once more; sparks showered out of it…’ to ‘ Andthen Dumbledore cleared his throat, and read out – Harry Potter’ Pub:Bloomsbury

THE LION, THE WITCH AND THE WARDROBE by C S Lewis Chapter 4from ‘But what are you? said the Queen again’ to ‘I will put my mantel round youand we will talk’. Pub: Puffin

THE WAR HORSE by Michael Morpurgo Chapter 17 from ‘David wasstanding now by my head’ to ‘and there was no doubt about it, he was my Albert’.Pub:Egmont

UNDER THE HAWTHORN TREE by Marita Conlon-McKenna Chapter 2from ‘They pushed in the door’ to ‘I’ll just sit and mind my darling girl for a littlewhile yet’ Pub: O’Brien


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WHISTLE DOWN THE WIND by Mary Haley Bell (Swallow) from ‘Can youkeep a secret?’ to ‘And….if the grown ups try to take him away again, we’ll defendHim…….hundreds of us’ The Methuen Audition Book for Young Actors editedby Anne Harvey (Pub: Methuen)

MARILOU MEETS THE DRAGON by David Kurani (Malsorehead) from‘Grovel!.....And stay that way until I tell you to get up’ to ‘Now go find me somechildren!’ (Solo Scenes for Young Players chosen by Anne Harvey) Pub:Samuel French

THE HEARTLESS PRINCESS by Franklyn Black Scene 2 (Duchess Potasia)from ‘Ahhh! Good morning, my dears!’ to ‘ I wonder if they’ll be happy for everafterwards – oh, ho, ho, ho, ha, ha, ha’ Pub: Samuel French

THE SNOW QUEEN Adapted by Jean Marlow (Kay) from ‘Gerda! Come andsee! It’s starting to snow again’ to ‘And I’m going to go tobogganing with the otherchildren in the square!’ (Audition Speeches for 6-16 year olds Jean Marlow)Pub: A & C Black

Section C: Mime


Section D: Prepared Reading

To read aloud a passage selected by the Examiner from three preparedchapters of a book from the School English Syllabus or from own choice bookof comparable standard.


To discuss the selections, to answer questions on the use of the SuspensivePause in Verse Speaking, Phrasing and the Pauses in Prose.


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GRADE 4


Candidates to speak one of the following:Not Waving but Drowning by Stevie Smith (The Ring of Words edited byRoger McGough) Pub: Faber & Faber An Owl Flew into my Bedroom Once by Jan Dean (Read Me 2) Pub: MacMillanThe Daffodils by William Wordsworth (Collected Poems of WilliamWordsworth) Pub: Wordsworth EditionsTimothy Winters by Charles Causley (Read Me 2) Pub: MacMillanThe Diver by Ian Serraillier (The Kingfisher Book of Chidren’s Poetry) Pub:KingfisherIt Was Long Ago by Eleanor Farjeon (Ring of Words) Pub: Faber & FaberThe Lake Isle of Inisfree by W B Yeats (Collected Poems of W B Yeats) Pub:Wordsworth EditionsThe Photograph by Trevor Parsons (Read Me at School) Pub: MacMillanHunter Trials by John Betjeman (Read Me 2) Pub: MacMillanA Boy by Matthew Sweeney (Ring of Words) Pub: Faber & Faber



THE BOY IN THE STRIPED PYJAMAS by John Boyne Chapter 15 from‘Shmuel opened his mouth and closed it’ to ‘I’ve never seen him before in my life. Idon’t know him’. Pub: David Fickling Books

THE HAPPY PRINCE by Oscar Wilde from ‘Swallow, Swallow. Little Swallow’said the Prince, far away across the city, I see a young man in a garret’ to ‘now I canfinish my play, and he looked quite happy’. Pub: Hodder Children’s Books

GOOD NIGHT MR TOM by Michelle Majorian Chapter 12 The Show MustGo On from ‘Willie crept nervously on stage with the prompt book in his hand andwas joined by the others’ to ‘ You’re beginning to get the idea, William.’ Pub: Puffin

IRELAND’S MASTER STORYTELLER – The Collected Stories of EamonKelly ‘Doing the Rounds’ from ‘After the funeral of the farmer’s wife, Molly went


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to the house and she got the shawl’ to ‘……it reminded me of my little goat that diedlast week’ Pub: Marino Books

THE POWER OF THE DOG by Ellen Dryden (Lisa) from ‘Nah! She doesn’t likeschools’ to ‘and I’ve got no right to criticize them’. Audition Pieces for 6-16selected by Jean Marlow. Pub: A & C Black

DREAMS OF ANNE FRANK by Bernard Kops from ‘Morning star, eveningstar, yellow star’ to ‘I shall confide my secrets. Only to you’ Pub: The MethuenAudition Book of young Actors edited by Anne Harvey – Methuen

BRIGHTON BEACH MEMOIRS by Neil Simon Act 1 (Nora) from ‘Do youhave to stare at me? Can’t I have any privacy?........’ to ‘Is it a pact?’ Pub: SamuelFrench (omit Laurie’s lines)

THE PIED PIPER by Adrian Mitchell from ‘Good morning! Good grief! Wehaven’t met, have we?’ to ‘It’s a deal’. Audition Pieces for 6-16 year oldsselected by Jean Marlow (first edition). Pub: A & C Black

Section C: Mime

Theme – own choice – time limit two minutes.

Section D: Prepared Reading

To read aloud a passage selected by the Examiner from four preparedchapters from chosen novel. Novel to be of similar standard to those listedin Section B.


To discuss the selections spoken, to answer questions on the Means ofAchieving Emphasis (including Inflection), the Articulative Organs, theClassification of Vowel sounds and the organs used in their formation andall subjects dealt with in previous grades.


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GRADE 5


Candidates to speak one of the following:The Way Through the Woods by Rudyard Kipling (Works 7) Pub: Mac MillanThe Cat and the Moon by W B Yeats (Collected Poems of W B Yeats) Pub:PenguinHide and Seek by Vernon Scannell (Ring of Words) Works 7 Pub: MacMillanThe Kitten in the Falling Snow by James Kirkup (Read Me 2) Pub: MacMillanMeg Merrilies by John Keats (Read Me 7) Pub: MacMillanStop All the Clocks, Cut off the Telephone by W H Auden (Rattle Bag) Pub: Faber& Faber.In Memory of my Mother by Patrick Kavanagh (Collected Poems of PatrickKavanagh) Pub: PenguinI see you Dancing, Father by Brendan Kennelly (A Time for Voices – SelectedPoems 1960-1990) Pub: Bloodaxe Books LtdAdlestrop by Edward Thomas (Works 7) Pub: MacMillanWarning by Jenny Joseph (Nation’s Favourite 20th Century Poems) Pub: BBCBooks



WATERSHIP DOWN by Richard Adams from Part IV ‘Hazel-Rah’ -Epilogue. ‘One chilly, blustery, morning in March, I cannot tell exactly how manysprings later….’ to ‘and together they slipped away, running easily down throughthe wood, where the first primroses were beginning to bloom’. Pub: Puffin

BOY – TALES OF CHILDHOOD by Roald Dahl Chapter ‘The Matron’ from‘Once, after ‘lights out’ the Matron would prowl the corridor like a panther’ to‘Nobody stepped forward’. Pub: Puffin

THE KITE RUNNER by Khaled Hosseini Chapter 6 from ‘Every winter,districts in Kabul held a kite fighting tournament’ to ‘greeted instead by the specterof yet another long school year’ Pub: Bloomsbury


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JOHNNY AND THE DEAD by Terry Pratchett Chapter 6 from ‘The dead triednot to meet his gaze’ to ‘they were just there’ Pub: Random House

A MIDSUMMER NIGHT’S DREAM by William Shakespeare (Puck) Act 3Scene 2 from ‘My mistress with a monster is in love….’ to ‘Titania woke andstraightway loved an ass’ (The Oxford Shakespeare) Pub: OUP

LOVERS by Brian Friel Episode 2 (Joe) from ‘Mag? You asleep, Mag?’ to ‘ ButI’ll try to be good to you; honest to God, I’ll try’ Pub: The Gallery Press

EDUCATING RITA by Willy Russell Scene 7 (Rita) from ‘But I don’t wannabe charmng and delightful.’ to ‘And that’s why I’m staying.’ (Omit Frank) Pub:Methuen Modern Plays

JOYRIDERS by Christina Reid Act 2 Sc 4 (Sandra) from ‘The one an’ only timeI ever wore a white lace frock Arthur…’ to ‘Somewhere over the rainbow, bluebirdsdie…..’ Pub: Heinemann

AFTER JULIET by Sharmon MacDonald (Rosaline) from ‘Your spirits hauntme, Juliet.’ to ‘That’s that bit done.’ (Audition Speeches for Women edited byJean Marlowe) Pub: A & C Black

Section C: Mime

Theme – own choice – time limit two minutes.

Section D: Reading

To read aloud a passage of prose or verse at sight.


To discuss the selections spoken and the full text and literary background ofONE of the authors. To answer questions on Breath Control, Relaxation &Posture, and all subjects dealt with in previous grades.


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GRADE 6


Candidates to speak one of the following:In Memory of Brother Michael by Patrick Kavanagh (Collected Poems of PatrickKavanagh) Pub: PenguinEvening: Ponte Al Mare, Pisa by Percy Bysshe Shelley (Works 7) Pub:MacMillan; The Road Not Taken by Robert Frost (The Nation’s Favourite Poems) Pub: BBCBooksOn Giving a Poetry Recital to an Empty Hall by Paul Durcan (Cries of an IrishCaveman – New Poems) Pub: HarvillA Call by Seamus Heaney (The Spirit Level) Pub: Faber & FaberThe White Birds by W B Yeats Collected Poems of W B Yeats Pub: PenguinFor Heidi with Blue Hair by Fleur Adcock (Poems 1960-2000) Pub: BloodaxeBooksHow to get on in Society by John Betjeman (The Nation’s Favourite ComicPoems edited by Griff Rhys Jones) Pub: BBC BooksDark School by Carol Ann Duffy (Slow Time – 100 Poems to Take You ThereEdited by Niall MacMonagle) Pub: MarinoWalking Away by Cecil Day Lewis (Poem for the Day One) Pub: Chatto &Windus



THE MASTER by Bryan MacMahon Chapter 3 from ‘So, I said to the circus lad,be here tomorrow at noon on the dot’ to ‘Let in the elephant’ Pub: Poolbeg

THE STORY OF LUCY GAULT by William Trevor Chapter 7 from ‘The brassband played in the wide piazza of the Cital Alta……..’ to ‘dispelling the worst thatmight have been’. Pub: Penguin

READING IN THE DARK by Seamus Deane Chapter 1 from ‘On the stairs,there was a clear, plain silence’ to ‘All imagination. There’s nothing there.’ Pub:Vintage


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BROOKLYN by Colm Toibín Part 1 from ‘Over the next two days Miss Kellytook Eilis through every item in the shop’ to ‘Now, that’s one of the things thatMary is good at, God help her’ Pub: Penguin

THE PLAYBOY OF THE WESTERN WORLD by J M Synge (Christy) Act 2from ‘Half a hundred beyond. Ten there.……’ to ‘I’d best go to the room maybe tillI’m dressed again’. Pub: Nick Hern Books

AN IDEAL HUSBAND by Oscar Wilde (Mabel) from ‘Well, Tommie hasproposed to me again……’ to ‘and it should always be done in a manner thatattracts some attention’ Pub: Oxford Paperbacks

THE GLASS MENAGERIE by Tennesse Williams Scene 7 (Jim) from ‘Youknow what I judge to be the trouble with you?’ to ‘Think of yourself as superior insome way’ Pub: Penguin Modern Classics

THE MAI by Marina Carr Act 1 (Millie) from ‘when I was eleven the Mai sentme to the Butcher’s…’ to ‘You’re Dad’ll come back and we will have the best of lives’(Marina Carr Plays 1) Pub: Faber & Faber

THE TEMPEST by William Shakespeare Act 3 Scene 1 (Miranda) from ‘Alas,now, pray you……..’ to ‘You may deny me; but I’ll be your servant/Whether youwill or no’. The Oxford Shakespeare Pub: OUP

FANNY’S FIRST PLAY by George Bernard Shaw from ‘I’m not hardened,mother... ‘ to ‘if they’d fought as we two fought we’d have beaten them.’ (AuditionSpeeches for Young Actors 16 plus by Jean Marlowe) Pub: A & C Black

Section C: Mime

Theme: own choice - time limit two minutes.

Section D: Reading

To read aloud a passage of prose, verse or drama at sight chosen by theexaminer.


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Section E: Chosen Author, Theory and Conversation

To discuss selections, literary background to chosen author, to answerquestions on relaxation and posture, resonance and consonant sounds andthe organs used in their formation, in addition to all subjects dealt with inprevious grades.

GRADE 7

Section A: Verse SpeakingCandidates to speak one of the following sonnets:Canal Bank Walk by Patrick Kavanagh (Collected Poems of Patrick Kavanagh)Pub: PenguinA Drink of Water by Seamus Heaney (Faber Book of Contemporary IrishPoetry) Pub: FaberMy Mistress’ Eyes are nothing like the Sun (The Oxford Shakespeare) Pub: OUPOn His Diseased Wife by John Milton (The Sonnets of John Milton) Pub:General Books CLLPrayer by Carol Ann Duffy (Nation’s Favourite Twentieth Century Poems)Pub: BBC BooksThe World is Too Much With Us by William Wordsworth (The CollectedPoems of William Wordsworth) Pub: Wordsworth Poetry Library Ozymandias by Percy Bysshe Shelly (The Works 7) Pub: MacMillanIniskeen Road: July Evening by Patrick Kavanagh ( The Collected Poems ofPatrick Kavanagh) Pub: PenguinBright Star by John Keats (John Keats: The Complete Poems) Pub: PenguinRemember by Christina G Rosetti (The Nation’s Favourite Poems of Loveedited by Daisy Goodwin) Pub: BBC Books

Section A: Prose or DramaCandidates to perform one of the following prose or drama selections:

NOTWITHSTANDING by Louis de Bernières, Obadiah Oak, Mrs Griffiths& the Carol Singers from ‘Mrs Griffiths sits in her wooden chair and thinks aboutwhat she should say to the children’ to ‘Let’s go and do the Armstrongs.’ Pub:Harvil Secker


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MY OEDIPUS COMPLEX by Frank O’Connor – Modern Classic from ‘In theafternoon at Mother’s request, Father took me for a walk’ to ‘I began to think thatGod wasn’t quite what he was cracked up to be’ Pub: Penguin

FLUSH – A Biography by Virginia Woolfe – Chapter ‘The Hooded Man’ from ‘It was half past two; and as the single stroke died away, a rap resoundedboldly on the front door’ to ‘Smartly the door banged behind him. He was gone’ Pub:Vintage Lives

CIDER WITH ROSIE by Laurie Lee – Chapter ‘Village School’ from ‘themorning came, without any warning, when my sisters surrounded me….’ to ‘I satthere all day but never got it. I ain’t goin’ back there again!’ Pub: Vintage Classics

JULIUS CAESAR by William Shakespeare Act 3 Scene 1 (Anthony) from ‘Opardon me, thou bleeding piece of earth’ to ‘That this foul deed shall smell above theearth/With carrion men, groaning for burial’. The Oxford Shakespeare Pub: OUP

A VIEW FROM THE BRIDGE by Arthur Miller Act 2. (Catherine) from ‘ it’sonly that I…’ to ‘teach me, Rodolpho, hold me’ (omit Rodolpho’s lines) Pub:Penguin Modern Classics

AS YOU LIKE IT by William Shakespeare Act 3 Scene 2 (Rosalind) from‘There is a man that haunts the forest…..’ to ‘Yet I profess curing it by counsel’(Omit other character) Pub: The Oxford Shakespeare Pub: OUP

SIVE by John B Keane Act 1 Scene 3 (Mena) from ‘Your father was never afather’ to ‘Be sure to think of what I said’ (Three Plays Sive, The Field, BigMaggie – New Revised Texts) Pub: Mercier Press

BRIGHTON BEACH MEMOIRS by Neil Simon Act 1 (Stan) from ‘I got firedtoday’ to ‘I can consider myself fired’ (omit Eugene’s lines) Pub: Samuel French.

A CRUCIAL WEEK IN THE LIFE OF A GROCER’S ASSISTANT by TomMurphy (John Joe) from ‘And how are you now, John Joe?’ to ‘I’m very happynow.’ (Tom Murphy Plays Vol 4) Pub: Methuen Drama


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THE CRUCIBLE by Arthur Miller (Mary Warren) from ‘I never knew it before.’to ‘She never knew no commandments, and they had her in a flat lie!’ (Miller Plays1) Pub: Methuen Drama

Section C: MimeCandidates to perform own choice – time limit three minutes

Section D: Sight ReadingCandidates to read a piece of verse, drama or prose at sight selected by theexaminer.

Section E: Chosen Author, Theory and DiscussionTo discuss literary background to chosen author, the structure and speakingof sonnet forms giving examples of each type, to discuss all aspects ofmodulation, the neutral vowel, and all subjects dealt with in previous grades.

GRADE 8


Candidates to speak one of the following poems:Snow in the Suburbs by Thomas Hardy (Works 7) Pub: MacMillan My Father Perceived as a Vision of St Francis by Paula Meehan (Slow Time – 100Poems to take you there) Edited by Niall MacMonagle Pub:Marino.Dulce Et Decorum Est by Wilfred Owen (Works 3) Pub: MacMillanOut, Out! By Robert Frost (The Poetry of Robert Frost) Pub: VintageBroken Dreams by W B Yeats (Collected Poems of W B Yeats) Pub:Wordsworth’s Edition LtdThe Butts by Seamus Heaney (Human Chain) Pub: Faber Slow Movement by Louis McNiece (Faber Contemporary Irish Poetry) Pub:FaberIdentification by Roger McGough (Kingfisher Book of Children’s Poetrychosen by Michael Rosen) Pub: KingfisherSt Kevin and the Blackbird by Seamus Heaney (The Spirit Level) Pub: FaberNocturne by Eavan Boland (New Collected Poems) Pub: Carcanet Press


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Section B: Prose and Drama

Candidates to perform one of the following Prose or Drama Selections:

SENSE AND SENSIBILITY by Jane Austin Chapter 28 from ‘At last he turnedround again and regarded them both’ to ‘This is not a place for explanations. Waitonly till to-morrow’. Pub: Penguin

GHOST LIGHT by Joseph O’Connor Chapter 10 ‘Approaching Bloomsbury’from ‘Are your parents living, Miss Allgood?’ to ‘Yes. That is your principaltalent’. Pub: Harvill Secker

THE SAILOR IN THE WARDROBE by Hugo Hamilton Chapter 12 from ‘It’sstill your move,’ my father reminds me‘ to ‘She puts her arm around him but hewon’t be moved’ Pub: Fourth Estate

THE FIRST CONFESSION by Frank O’Connor (My Oedipus Complex andother Stories) from ‘Bless me Father, for I have sinned, this is my first confession’to ‘I started to make my examination of conscience and barring the one bad businessof my grandmother it didn’t seem so bad’ Pub: Penguin

THE WINTER’S TALE by William Shakespeare Act 3 Scene 2 (Hermione)from ‘since what I am to say…..’ to ‘cry fie upon my grave’ The OxfordShakespeare Pub: OUP

MACBETH by William Shakespeare Act 2 Scene 1 from ‘Is this a dagger whichI see before me?’ to ‘ That summons thee to heaven, or to hell.’ The OxfordShakespeare Pub: OUP

PHILADELPHIA HERE I COME by Brian Friel (Gar Private) Episode 3 Part1 from ‘Where you’re curled up in your wee cot, Screwballs, do you dream?’ to ‘It’sall because my true love is far, far away.’ Pub: Faber & Faber

THE WEIR by Conor McPherson (Valerie) ‘But, and then one morning….’ to‘she still needs me’ Audition Speeches for Women chosen by Jean Marlow 2nd

Edition Pub: A & C Black


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THE SANCTUARY LAMP by Tom Murphy (Maudie) from ‘Do you know -hospitals?’ to ‘And she said yes.’ Pub: Gallery Press

THREE PLAYS AFTER – THE YALTA GAME by Brian Friel (Anna) from ‘Ibegan to fill my weeks with small delights…’ to ‘you can’t stay! For God’s sake, go!’(omit Gurov’s lines) Pub: The Gallery Press

THE WEXFORD TRILOGY – BELFRY by Billy Roche Act 2 (Dominic) from‘Yeah, I miss them all right, Artie’ to ‘I’ll tell you one thing, Artie, you’re all right’Pub: Nick Hern Books

Section C: Mime

Own choice – not to exceed three minutes.

Section D: Sight-Reading

Candidates will be given a piece of verse, prose or drama to read at sight.

Section E: Chosen Author, Theory and Discussion

Converse with examiner on the literary background of chosen author, themain forms of English verse including blank verse in structure and deliveryand to give examples of each kind. Discuss characterisation and how toapproach character development. To discuss metre and rhythm, the use ofpause in verse and explain such terms as assonance, alliteration,personification, metaphor, imagery etc. and all subjects dealt with inprevious grades.


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SENIOR CERTIFICATE

Practical Examination

Candidates to perform a poem, a prose extract AND a drama excerpt fromthe following list of authors:

Poetry

Louis MacNeice, Seamus Heaney, Eavan Boland, Robert Frost, Ted Hughesand Carol Ann Duffy.

Prose

James Joyce, William Trevor, Hugo Hamilton, Sebastian Barry, VirginiaWoolfe and Alice Munro.

Drama

Oscar Wilde, Arthur Miller, Neil Simon, John B Keane, Brian Friel and Marina Carr.

Selections must not be taken from current or previous Speech & DramaSyllabus. Mime solo must be of Senior Certificate standard.

Time limit for the three pieces – 20 minutes

Mime

Own Choice – time limit three minutes.

Sight-Reading

To read aloud a passage of Verse and Prose/Drama at sight.

Discussion

To discuss the selections, including full texts and literary background ofthe authors.


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Senior Certificate – Written Paper

The time allowed for the written examination is two hours. Candidateswill be required to answer questions on the following:

1. An in-depth knowledge of all theory from previous grades

2. The classification of Vowel and Consonant Sounds including theNeutral Vowel

3. The speaking of Verse and Prose selections in form, structure andartistry

4. The development of Character for Performance

5. The value of Mime and Improvisation

6. Research on chosen Poet, Author and Playwright

7. Knowledge of at least TWO contrasting Plays by Shakespeare

Reading Prose and Poetry 201933

READING PROSE AND POETRY

Please see Guidance for Teachers for prose delivery (page 1).

GRADE 1

Set Authors: A A Milne, Allan Ahlberg, Roald Dahl, Antonio Barber, Julia Golding, Kaye Unmansky and LucyM Boston

Candidates: Marks

1. To read aloud a prepared passage of approximately 50two hundred words, selected from a book by a set author.

2. To prepare a different chapter from the same book. 30The examiner will select a passage to be read from this chapter.

3. A discussion on the book presented, the selections 20read and the students observations about same.


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GRADE 2

Set Authors: Martin Waddell, Enid Blyton, Michael Morpurgo,Cathy Hopkins, Joan Lingard, Judy Blume, Charles Butler, Janet Ahlberg and Noel Streatfield

Candidates: Marks

1. To read aloud a prepared passage of approximately 50two hundred and fifty words, selected from a bookby a set author.

2. To prepare two contrasting chapters from the same 30book. The examiner will select a passage to be read.

3. A discussion on the book presented, the selections 20read and the students observations about same.

GRADE 3

Set Authors: Kate Thompson, Geraldine McCaughren, Siobhan Parkinson, Lynne Reid Banks, Meg Cabot, LouisaMay Alcott, Michelle Magorian, Oisin McGannand Philip Pullman

Candidates: Marks

1. To read aloud a prepared passage which will be 50selected by the examiner from a prepared chapterfrom the set novel. The time limit is two minutes.


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2. To prepare three chapters from a book by an author 30who is not on the set list. The examiner will select apassage to read.

3. A discussion on the chosen book, and the full story 20of same.

GRADE 4

Set Authors: Marita Conlon McKenna, Eoin Colfer, Sue Townsend, Louis Sachar, C.S. Louis, MichaelScott, Philip Reeve, Anne Fine and MorrisGleitzman

Candidates: Marks

1. To prepare two readings from two contrasting 50 chapters in the set novel. The time limit is twominutes for each reading.

2. To prepare a contrasting book from which the 30 examiner will select passages to be read. The bookmust not be from an author on the set list.

3. To discuss both books with the examiner and the 20similarities/differences between both novels.


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GRADE 5

Set Authors: John Boyne, Meg Rossoff, Helen Dunmore, DavidAlmond, Mark Twain, Oscar Wilde, Anthony Horowitz and Mildred D Taylor

Candidates: Marks

1. To read aloud a poem of own choice, not on the 30current syllabus – time limit three minutes.

2. To present a book by a set author and to read aloud 30one prepared passage – time limit three minutes – and one passage selected by the examiner.

3. To explain the context of both passages. 20

4. To discuss the selections and to show an 20 understanding of the delivery of prose and versepieces.

GRADE 6

Set Authors: Russell Hoban, Tim Bowler, Alexander McCall Smith,J D Salinger, Irène Nemirovsky, Seamus Deane,J R R Tolkien and F Scott Fitzgerald

Candidates: Marks

1. To read aloud a prepared poem or scripture extract 30of own choice – time limit three minutes.

2. To present a book by a set author. The examiner will 30select two passages to be read.


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4. To discuss the content and delivery of selections. 20

GRADE 7

Set Authors: Charles Dickens, John Irving, Colm Toibín,Patrick McCabe, Harper Lee, John McGahern,Garrison Keillor, Annie Proulx, John Steinbeckand Jack Kerouac

Candidates: Marks

1. To read aloud two prepared poems or scripture 30extracts of own choice – time limit six minutes.

2. To present a book by a set author. The examiner 30will select two passages to be read.


4. To discuss the chosen book, and show knowledge 20of other works by the same author.


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GRADE 8

Set Authors: James Joyce, Jane Austin, William Trevor,Niall Williams, Virginia Woolf, Maya Angelou,Joseph O’Connor, Carol Shields, Brian Keenan and Toni Morrison.

Candidates: Marks

1. To read aloud a poem of candidate’s choice of a 20standard comparable with the grade and not onthe current or previous syllabus – time limit threeminutes.

2. To read a passage from Scripture – own choice – 20 time limit four minutes.

3. To present a book by a set author. The examiner will 20select two passages to be read.

4. To give a résumé and appreciation of the selected 20book – time limit three minutes.

5. To discuss the chosen book, and compare it with other 20books by the same author.

Solo Verse Speaking 2019

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SOLO VERSE SPEAKING

Selections must not be taken from the current or previous Speech & DramaSyllabus. Please see Guidance for Teachers for verse speaking delivery (page 1).

Grade 3

Set Poets: Roger McGough, Richard Edwards, James Reeves,Charles Causley and James Kirkup

Candidates:

1. To perform any poem by set poets listed above. 40 marks

2. To perform a contrasting poem of own choice. 40 marks

3. To discuss the selections. 20 marks

Grade 4

Set Poets: Elisabeth Jennings, Ted Hughes, Vernon Scannell, Ogden Nash and Wendy Cope.

Candidates:


2. To perform a contrasting poem of own choice. 40 marks

3. To discuss the selections. 20 marks


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Grade 5

Set Poets: Wilfred Owen, Seigfried Sassoon, John Clare, JohnBetjeman and Carol Ann Duffy.

Candidates:


2. To perform a Lyric of own choice. 30 marks 3. To read at sight a piece of verse chosen by the examiner. 20 marks

4. To discuss the selections and the speaking of lyrics. 20 marks

Grade 6

Set Poets: Robert Frost, Patrick Kavanagh, Paul Durcan, FleurAdcock and Stevie Smith.

Candidates:


2. To perform a Ballad of own choice. 30 marks 3. To read at sight a passage of verse chosen by the 20 marks

examiner.

4. To discuss the selections, and the structure and 20 marksspeaking of ballads.

Solo Verse Speaking 2019

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Grade 7

Set Poets: Eavan Boland, Paula Meehan, Brendan Kennelly,Seamus Heaney and Louis MacNiece

Candidates:1. To perform any poem by set poets listed above. 30 marks

2. To perform a Shakespearean Sonnet and a 30 marksPetrarchan Sonnet.

3. To read at sight a piece of verse chosen by the 20 marks

examiner.

4. To discuss the selections, to show an awareness of 20 marksother works by chosen poet and the structure andspeaking of sonnet forms.

Grade 8

Set Poets: John Milton, William Wordsworth, JohnKeats, Percy B Shelley and W B Yeats.

Candidates:1. To perform any poem by a set poet listed above 30 marks

– time limit 3 minutes.

2. To perform an extract from a Blank Verse poem 30 marks(not a sonnet) of Milton or Wordsworth– time limit 3 minutes.

3. To read at sight two passages of verse chosen by 20 marksthe examiner.

4. To discuss the selections, the structure and 20 marksspeaking of Blank Verse and to show an awarenessof other works by chosen poet.


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Senior Certificate – Verse Speaking Performance

Candidates will be required to present their programme as a continuousrecital, with a brief introduction, and linking script between the selections.The programme should show variety, be spoken from memory and includethe following:

1. A lyric 15 marks2. A Ballad 15 marks3. A Sonnet 15 marks4. A free verse poem 15 marks5. Own choice 15 marks

Time limit for Recital – twenty-five minutes.

In addition, candidates will be required:

1. To read at sight two passages of verse chosen by the 10 marks examiner.

2. To discuss the selections spoken, the structure of each 15 markstype of verse, background to the chosen poets and other examples of their work.

Creative Performance 2019

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CREATIVE PERFORMANCE

The Creative Performance Syllabus is designed to provide students with aprogramme to release creativity and stimulate an imaginative response to thework presented.

Choice of Poem:

In the Introductory and Preparatory grades, candidates are required tochoose a poem which has potential for dramatisation through movement andgesture.

In the more advanced grades, candidates are required to choose a suitablestory type poem which stimulates the creation of a dramatic character orscene for use in their prepared improvisation.

Mime – with Sound Effects/Music:

Candidates are required to perform a mime based on a stimulating soundeffect or a series of sound effects OR a piece of music. Students must provideand operate the recorded accompaniment.

Improvisation:

The improvisation should be original, have dialogue and play as a wellconstructed scene. Candidates must show an ability to create and sustain afictional situation with imagination and flair. Candidates must take to theexamination, the poem on which the prepared improvisation is based.

Marking Scheme (Introductory, Preparatory & Junior Grades):

1. Poem/Improvisation 302. Mime 303. Artistic Impression/Creativity 204. Discussion on Programme 20

Marking Scheme (Intermediate, Transition & Senior Grades):

1. Prepared Improvisation 302. Mime 303. Unprepared Improvisation 204. Discussion on Programme 20


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Introductory Grade

Section A: Poetry

Candidates to perform a poem of own choice – appropriate fordramatisation – using movement and gesture in an artistic way – timelimit two minutes.

Section B: Mime to Sound Effects

Candidates to present a mime on a theme of own choice stimulated by theuse of appropriate sound effect – time limit two minutes.

Section C: Discussion

Candidates to discuss the work presented to test understanding and theprocess of preparation and presentation.

Preparatory Grade

Section A: Poetry

Candidates to perform a poem of own choice appropriate fordramatisation using movement and gesture in an artistic way – time limittwo minutes.


Candidates to present a mime on a theme of own choice stimulated byusing appropriate sound effects – time limit two minutes.


Discussion on the work presented to test understanding, appreciation andthe process of preparing the presentation.


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Junior Grade

Section A: Improvisation

Candidates to create a prepared story or drama scene around one of thefollowing titles:

(a) The Noise in the Night(b) A Sticky Situation(c) A Bit of Magic(d) The Creepy Crawley(e) A Mouse in the class room(f) The Nightmare


Present a mime of own choice stimulated by appropriate sound effects ormusic. The theme and mood of the mime must contrast with theimprovisation presented.


Discussion on the work presented to test understanding, appreciation andthe process of preparation and presentation.

Intermediate Grade

Section A: Prepared Improvisation

Candidates to present a prepared story or drama scene using a portableprop which must be integral to the storyline eg hat, telephone, stick,newspaper, etc – time limit three minutes

Section B: Mime to Sound Effects/Music

Candidates to present a mime of own choice stimulated by appropriatesound effects or music. The theme and mood of the mime should be incontrast to the prepared improvisation. – time limit two minutes


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Section C: Unprepared Improvisation

Candidates will be given a ‘situation’ by the examiner ten minutes beforethe examination begins and will be required to perform a shortimprovisation to illustrate a dramatised reaction – time limit two minutes.(Please see below for examples.)

Section D: Discussion

Discuss the work presented to test understanding, appreciation and theprocess of preparation and presentation.

Examples of ‘situations’

(a) You have just been told that you won the Lotto(b) You are locked inside a bathroom and you can’t open the

door(c) You look in the mirror and realise your attempt at

hairdressing has been a disaster(d) Someone opened the gate and all the cows have got out(e) While emptying the fish bowl water the goldfish slip down

the sink

Candidates may perform the ‘situation’ as if ‘thinking aloud’ or talking to‘unseen’ characters.


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Transition Grade


Students to present a prepared improvisation based on a poem that tells ahumorous story – time limit three minutes.

Section B: Mime to Sound Effects/Music

Candidates to present a mime of own choice stimulated by usingappropriate sound effects or music. The theme of the mood and mood ofthe mime should contrast with the improvisation presented.

Subject matter and structure must reflect the challenge of the grade.


Candidates will be given a ‘situation’ (see below) by the Examiner andthey will have to create an improvised performance around it. Candidatesshould have a particular character in mind – time limit two minutes.


Discuss the work presented and the process used to create theperformance.

A typical situation could be:

(a) You arrive home very late at night and you discover you haveno key

(b) You are tidying your room when you find a box with a mostsurprising content e.g a lot of cash/a gun/a blackmail letteretc.

(c) You are happily watching TV at home when you hear a verystrange noise at the front door

(d) You are preparing to go out to a very special event (concert,match etc.) and you cannot find your ticket

(e) You come home from school and confide to a friend of abullying situation that occurred.


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Senior Grade


To perform a prepared improvisation focussing on a particular charactervery different from your own in a stressful situation – time limit threeminutes.

Section B: Mime

Candidates to present a mime of own choice stimulated by appropriatesound effects or music.

Subject matter and content must reflect the challenge of the grade.


Candidates to perform an Improvisation based on the character portrayedin Section A using a prop provided by the Examiner eg purse, letter, scarf,glasses, newspaper, keys etc. which will have a resonance for the characterand be central to the performance – time limit two minutes.


Candidates to discuss the work presented and the methods employed inthe process. To discuss the value of mime as a performance skill anddisplay a knowledge of the contribution made by Stanislavsky in thedevelopment of character.

Solo Acting 2019

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SOLO ACTING

GRADE 3

Marks1. To perform a drama extract of your choice – 50

time limit three minutes

2. To perform a prepared mime on any theme of 30your choice – time limit two minutes

3. To discuss the selections 20

Own Choice selection should be introduced before the performancegiving a brief outline of the character, setting and context.

GRADE 4

Marks1. To perform a drama extract of your choice – 50


2. To perform a prepared mime on any theme of your 30 choice – time limit two minutes


Own choice selection should be introduced before the performancegiving a brief outline of the character, setting and context.


50

GRADE 5

Marks1. To perform an extract from the Irish Classical Theatre 40

genre from the plays of ONE of the following playwrights:Oscar Wilde, J M Synge, W B Yeats or Sean O’Casey –time limit three minutes

2. To perform a speech from any Modern play – 20


3. To perform a prepared mime on any theme of your 20 choice – time limit two minutes

4. To discuss the selections, the full texts and yourpreparation for performance 20

Selections should be introduced before the performance giving a briefoutline of the character, setting and context.

GRADE 6

1. To perform an extract from an American Classical 40 Theatre genre from one of the following playwrights: Eugene O’Neill, Thornton Wilder, Arthur Miller orTenessee Williams – time limit three minutes

2. To perform an extract from a Shakespeare play of your 30choice – time limit three minutes

3. To perform a Prepared Improvisation on any theme of 10your choice – time limit two minutes

Solo Acting 2019

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4. To discuss the selections, full texts, your preparation 20for performance and literary background to chosenauthor from Section 1

Selections should be introduced before the performance giving a briefoutline of the character, setting and context.

GRADE 7

1. To perform an extract from the English Restoration 40and late 18th Century genre from one of the following playwrights:William Wycherley, William Congreve, Richard Brinsley Sheridan or Oliver Goldsmith – time limit three minutes

2. To perform an extract from a Contemporary play of 20your choice – time limit three minutes

3. To perform a Prepared Improvisation – time limit two 20minutes

4. To discuss the selections, full texts, your preparation 20for performance and literary background to chosenauthor in Section 1

Selections should be introduced before the performance giving a briefoutline of character, situation and context.


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GRADE 8

1. To perform an extract from the European & Russian 40Classical Theatre genre from one of the following playwrights: Jean Anouilh, August Strindberg, HenrikIbsen or Anton Chekhov – time limit three minutes

2. To perform an extract from a Contemporary Irish 20Playwright of your choice – time limit three minutes

3. To perform an Improvisation on a theme chosen 20from a list of four given ten minutes before theexamination – time limit two minutes

4. To discuss the selections, full texts, your preparation 20for performance and literary background to chosenauthor in Section 1

Selections should be introduced before the performance giving a briefoutline of character, situation and context.

Solo Acting 2019

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SENIOR CERTIFICATE

Performance only

Guidelines and definition of play periods are in accordance with those setout for Solo/Duologue examinations.

Candidates are required to perform the following:Marks

1. Shakespeare scene – own choice – time limit four 20minutes

2. A scene from a Contemporary Irish Playwright – 20own choice – time limit four minutes

3. A scene from a period drama from any English or 20 European Playwright – own choice – time limit fourminutes

4. To perform an Improvisation on a theme chosen 20from a list of three given by the examiner in theroom – time limit three minutes

5. To read at sight a passage of Prose and Verse 10 chosen by the examiner

6. (a) To discuss the plays in detail, your approach 20to characterisation and Stanislavsky’s contributionto modern theatre

(b) Period Drama on film and television

(c) A recent visit to a professional theatre


54

DUOLOGUE ACTING

GRADE 3

Marks

1. To perform a duologue from any published play of 50own choice – time limit five minutes

2. To perform a duologue mime on any theme of own 30

choice – time limit two minutes


GRADE 4

1. To perform a duologue from any published play of 50own choice – time limit five minutes

2. To perform a duologue mime on any theme of own 30

choice – time limit two minutes


Duologue Acting 2019

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GRADE 5

1. To perform a duologue from the Irish Classical 40Theatre genre from the plays of ONE of the following playwrights: Oscar Wilde, J M Synge, W B Yeats or Sean O’Casey –time limit five minutes

2. To perform a duologue from any Modern play – time 20

limit two minutes

3. To perform a duologue mime on any theme of own 20 choice – time limit two minutes

4. To discuss the selections, full texts and preparation 20for performance

GRADE 6

1. To perform a duologue from the American Classical 40Theatre genre from the plays of ONE of the followingplaywrights: Eugene O’Neill, Thornton Wilder, Arthur Miller andTenessee Williams – time limit five minutes

2. To perform a duologue from a Shakespeare play of 20

your own choice – time limit five minutes

3. To perform a Prepared Improvisation for two on any 20 theme of own choice – time limit three minutes

4. To discuss the selections, full texts and preparation 20for performance


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GRADE 7

1. To perform a duologue from the English Restoration 40and late Eighteenth Century Theatre genre from aplay by ONE of the following playwrights: William Wycherley, William Congreve, RichardBrinsley Sheridan and Oliver Goldsmith – time limit five minutes

2. To perform a duologue from a Contemporary play of 20

your own choice – time limit five minutes

3. To perform a Prepared Improvisation for two on a 20 theme of own choice – time limit three minutes

4. To discuss the selections, full texts and preparation for 20performance

GRADE 8

1. To perform a duologue from the European and 40Russian Classical Theatre genre from a play byONE of the following playwrights: Jean Anouilh, August Strinberg, Henrik Ibsen and Anton Chekhov –time limit five minutes

2. To perform a duologue from a Contemporary 20

Playwright of your own choice – time limit fiveminutes

3. To perform an Improvisation for two on a theme 20 chosen from a list of four given ten minutes before the examination – time limit three minutes

4. To discuss the selections, full texts and preparation for 20performance

Duologue Acting 2019

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SENIOR CERTIFICATE (Performance only)

1. A Shakespeare scene for two characters of own 20choice – time limit four minutes

2. A scene for two characters from a Contemporary 20

Irish Playwright of your own choice – time limitfour minutes

3. A scene for two characters from a Period Drama 20from any English or European Playwright of yourown choice – time limit four minutes

4. To perform a duologue Improvisation on a theme 10chosen from a list of three given by the Examinerin the room – time limit three minutes

5. To read at sight a short scene for two chosen by the 10Examiner

6. (a) To discuss the plays in detail, the roles adopted 20and the demands of playing as a team(b) To discuss a recent professional theatrical presentation attended by both students.


58

GROUP DRAMA

Guidelines:

1. Each group to consist of a minimum of five and a maximum oftwelve members.

2. All members of the group will take part in all of the requiredsections.

3. A competent standard of performance is required and the groupshould display a sense of unity and teamwork – whetherspeaking or listening.

4. Group will be accessed as a whole but the examiner may referto individual performances.

5. Practise skirt and/or leotards may be worn with a suggestion of

costume eg hat, shawl, stick, etc.

6. Basic furniture – table and chairs – and small hand propspermitted.

7. A typed script of the play and a synopsis of the mime must beprovided for the examiner.

Marking Scheme: 50 marks for each element

Group Drama 2019

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INTRODUCTORY GRADE

(For students from 6-8 years – time limit fifteen minutes)

Group to perform two pieces:

1. A dramatisation of a fairy-story of your choice.

2. A group mime – own choice – based on a piece of music.

PREPARATORY GRADE

(For students from 8-10 years – time limit fifteen minutes)


1. A dramatisation of a well-known Fairy Tale of your choice.


JUNIOR GRADE

(For students 10 years and over)


1. A dramatisation of a suitable poem of your choice – ie a poemthat tells a story.



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INTERMEDIATE GRADE

(For students of 12 years and over – time limit twenty minutes)


1. Students to perform a scene adapted from any published playor novel.

2. A group mime or improvisation – own choice – accompaniedby a suitable piece of music.

TRANSITION GRADE

(For students of 14 years and over – time limit twenty minutes)


1. Students to perform a scene from any published play ofchoice or an original drama – scene may be adapted to suit theneeds of the group.

2. A Group Mime or improvisation which is fully developedand structured. The theme presented should be in contrast topreceding performance.

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SENIOR GRADE

(For students of 17 years and over – time limit thirty minutes)


1. Group to perform short one act published play of choice –scene may be adapted to suit the needs of the group OR anoriginal drama penned by the group.

2. A Group Mime or improvisation which is fully developedand structured. The theme presented should be in contrast topreceding performance.


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Solo Stage School Performance

Junior Grade

(Suggested age group 10-12 years)

Marks

1. A performance of a popular song or song from a musical, 40film or animated film with movement and gesture – time limit up to three minutes.

2. A solo dramatisation of a popular monologue – time limit 40up to three minutes

3. Discussion with examiner to show understanding of 20 performance pieces and display communication skills.


Intermediate Grade

(Suggested age group 12-14 years)

1. A performance of a popular song or a song from a musical, 40film, or animated film with movement and gesture.

2. A solo dramatisation of a popular monologue. 40

3. Discussion with examiner to show understanding of 20performance pieces and to display communication skills.

Stage School Performance 2019

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Senior Grade

(Suggested age group 14 years plus)

1. A performance of a popular song or a song from a musical, 40film or animated film with movement and gesture.

2. A solo dramatisation of a popular monologue. 403. Discuss with examiners the selections, the preparation and 20

any relevant background to performance pieces.


64

Stage School Performance

Group Examinations

Three Group Examinations are offered to suit the following age groups:

(a) Junior Grade – up to 12 years(b) Intermediate Grade – 12-14 years(c) Senior Grade – 14 years plus

Group to consist of not less than 20 and not more than 40 members and willbe required to present an extract from a musical, school show OR originalwork incorporating singing, dancing and acting. Group may perform incostume. Extracts may be edited to suit the particular needs of the group –time limit up to fifteen minutes.

Guidelines:

1. Group to elect a member to introduce the presentation to theExaminer. Provide and operate the recorded accompaniment.

2. Speak and sing from memory.3. Show a sense of teamwork in performance4. Display variety in performance skills.5. Connect vocally and physically with the material presented.6. Use the performance space with imagination and creativity. 7. Engage with audience.8. Wear suitable clothing and footwear for flexibility of movement.9. Do not exceed allotted time.

Allocation of Marks

Choice and Interpretation of Material – 25 marks

Sense of Teamwork – 25 marks

Performance Skills – 50 marks

Choral Verse Speaking 2019

65

CHORAL VERSE SPEAKING

Groups should comprise of ten to thirty members. Choirs are requiredto perform three pieces – one from the Set Piece List and two pieces ofown choice which should display a variety of styles.

Groups should strive to produce a colourful and controlled vocalorchestration with good modulation and a sense of teamwork. Physicalgrouping must be given careful consideration ensuring all members areclearly visible and arrangements are visually pleasing.

Gesture should be used to the minimum and not diminish the verseshape and form or the quality of the speaking.

Teachers are requested not to use selections from the previous

Syllabus or RIAM First Anthology of Poetry when choosing choice

pieces.

Marking as follows:

1. Test Piece 40 marks2. Choice Piece 1 20 marks3. Choice Piece 2 20 marks4. Teamwork & Overall Impression 20 marks


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KINDERGARTEN GROUP

(Suitable for First and Second Primary Classes)

A – Perform one of the following test pieces:

1. Whisky Frisky Anon. (Read Me 2) Pub: MacMillan2. Christmas Stocking by Eleanor Farjeon (Works 3) Pub: MacMillan3. Ducks Ditty by Kenneth Graham (100 Best Poems for Children)

Pub: Puffin4. Vespers by A. A. Milne (When we are very Young & Now we are

Six) Pub: Heineman Young Books5. J is for Jazz-Man by Eleanor Farjeon (Works 2) Pub: MacMillan6. What a Racket! By Trevor Harvey (Read Me Out Loud) Pub:

MacMillan

B – Perform two contrasting choice pieces

PRELIMINARY GROUP

(Suitable for Third & Fourth Primary Classes)


1. It’s Raining on the Trip by Paul Cookson (Read Me At School) Pub:MacMillan

2. Sneezles by A. A. Milne (When We are very Young & Now We areSix) Pub: Heineman Young Books

3. Spaghetti! Spaghetti! By Jack Prelutsky (Puffin Book of FantasticFirst Poems) Pub: Puffin

4. From a Railway Carriage by Robert Louis Stephenson (Read Me OutLoud) Pub: MacMillan

5. Before the Days of Noah by Peter Dixon (Read Me First) Pub:MacMillan

6. Skippets, the Bad One by Christine E. Bradley (Book of a ThousandPoems) Pub: Evans

B – Perform two contrasting choice pieces.

Choral Verse Speaking 2019

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JUNIOR GROUP

(Suitable for Fifth & Sixth Primary Classes)


1. The Old Wife and the Ghost by James Reeves (Read Me 2) Pub:MacMillan

2. The Grateful Dragon by Raymond Wilson (100 Best Poems forChildren) Pub: Puffin

3. The Ghost Teacher by Allan Ahlberg (Heard It in the Playground)Pub: Puffin

4. Tiananman by James Fenton (One Hundred Years of Poetry forChildren) Pub: Oxford University Press

5. Jim by Hilaire Belloc (Cautionary Tales for Children) Pub:Harcourt Brace International

6. The Visitor by Ian Serraillier (100 Best Poems for children) Pub:Puffin


INTERMEDIATE GROUP

(Suitable for Secondary School Students)


1. A Smuggler’s Song by Rudyard Kipling (Works 7) Pub: MacMillan2. Three Wise Old Women by Elizabeth T Corbett (Oxford Book of

Story Poems) Pub: OUP3. From The Pied Piper of Hamelin by Robert Browning (100 Best

Poems for Children) from ‘ Into the street the Piper stept’ to‘Wherein all plunged and perished!’ Pub: Puffin

4. Song of the Jellicles by T S Eliot (Old Possum’s Book of PracticalCats) Pub: Puffin

5. The Stolen Child by W B Yeats (Collected Poems of W B Yeats) Pub: Wordsworth’s Edition Ltd.

6. The Owl and the Pussy-Cat by Edward Lear (100 Best Poems forChildren Pub: Puffin



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SENIOR GROUP

(Suitable for Secondary Schools)

A – To perform one of the following set pieces:

1. From The Highwayman by Alfred Noyes (Read Me 2) Pub:MacMillan

2. Icarus Allsorts by Roger McGough (The Mersey Sound – AdrianHenry, Roger McGough and Brian Patten) Pub: Penguin

3. Night Mail by W H Auden (Works 5) Pub: MacMillan4. The Listeners by Walter de la Mare (100 Best Poems for Children)

Pub: Puffin5. Macavity: The Mystery Cat by T.S. Eliott (Old Possum’s Book of

Practical Cats) Pub: Puffin6. The Fairies by William Allingham (100 Best Poems for Children)

Pub: Puffin

B – To perform two contrasting pieces.

Public Speaking 2019

69

PUBLIC SPEAKING

Please read the following guidelines before preparing for each grade:

Candidates should communicate with audience through use of eye contact,clarity of speech, sense of spontaneity and having a specific audience inmind. Notes may be used but should not hinder vocal or visualcommunication, hence cards are most suitable. Visual aids are required forgrade 4. However, they may be used where appropriate for all grades, butextra marks will not be awarded.

Communication skills are also important for the reading sections so that themeaning is clear and mood of the passage conveyed. Candidates shouldstrive for variety in performance with consideration given to the use ofpause, and correct phrasing. Once again effective use of eye contact isparamount.

Marks

Grade 1

(For students of 10 years and over)

Candidates:a) To give a prepared talk on any hobby, occupation or place of

interest – time limit three minutes. 50

(b) To read a passage chosen by the Examiner from a book of thecandidate's choice (passage will be taken from prepared chapterselected by candidate). 30

(c) Conversation with Examiner on points of interest arising from (a)and (b) and to answer questions on pause in prose. 20


70

Grade 2


Marks

Candidates:(a) To give a prepared talk on a favourite book, radio, or

television programme – time limit three minutes. 50

(b) To read a passage chosen by the Examiner from a bookof candidate’s choice (passage will be taken from twoprepared chapters selected by the candidate). 30

(c) Conversation with the Examiner on points of interestarising from (a) and (b) and to answer questions onphrasing and theory of previous grade. 20

Grade 3


Candidates:(a) To deliver a prepared talk on a particular hobby or give an

explanation as to how a certain object works (diagrams or other visual aids to be used where necessary) - time limitthree minutes. 50

(b) To read a passage chosen by the Examiner from a bookof the candidate's choice (passage to be taken from threeprepared chapters). 30

(c) Conversation with Examiner on matters of interest arisingfrom (a) and (b) and to answer questions on the use of pauseand emphasis, and theory of previous grades. 20


71

Grade 4


Candidates:(a) To give a prepared talk on an historical episode using maps

or any other visual aids – time limit four minutes. 50

(b) To read a passage of prose chosen by the Examiner from anybook of the candidate’s choice on the School English Syllabus. 30

(c) Conversation with the examiner on matters arising from (a)and (b) and discussion showing a basic knowledge of how thevoice works and on relaxation, deportment, and posture. Aknowledge of the background of the author of chosen book isalso expected, and theory of previous grades. 20

Grade 5

For students of 14 years and over

Candidates:(a) To give a prepared talk on a subject of the candidate’s choice –

time limit five minutes. 30

(b) To read at sight a passage of prose chosen by the Examiner. 30

(c) To give an oral précis of the passage – time limit one minute. 20

(d) To discuss matters arising from (a) and (b) and to answerquestions on breath control and theory from all previous grades. 20


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Grade 6



time limit six minutes. 30

(b) To give a speech introducing a speaker, proposinga vote of thanks, appealing for funds or selling a product or service – time limit four minutes. 30

(c) To read at sight a passage of prose chosen by the Examiner. 20

(d) Discussion with Examiner on (a), (b) and (c) above. To show a knowledge of vowel sounds, resonance and theoryfrom all previous grades. 20

Grade 7


Candidates: (a) To give a prepared talk on a subject of the candidate’s choice –

time limit seven minutes. 30

(b) To give a talk on a subject of current interest chosen by the candidate from a list of three subjects. These will be given fifteenminutes before the examination. When the subject is selectedfurther consultation with the teacher is not permitted. Time limit for talk two minutes. 30

(c) To read at sight a passage of prose chosen by the Examiner.20


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(d) Discussion with Examiner on (a), (b), and (c) above. Definition and importance of vowel and consonant sounds. Theory from all previous grades. 20

Grade 8



time limit eight minutes. 30

(b) To give a talk on a subject chosen by the candidate from a listof three subjects given fifteen minutes before the examination. Consultation with teacher is not permitted. Time limit for talk is four minutes. 30

(c) To read at sight two passages of prose chosen by the Examiner. 20

(d) Discussion with Examiner on (a), (b) and (c) above.Questions on chairmanship and conduct of meetings. Detailed knowledge of the theory of the previous grades. 20


74

Senior Certificate

For students over 17 years


time limit ten minutes. 20

(b) To give a social talk introducing, welcoming or thanking a speaker – time limit three minutes. 20

(c) To give an impromptu talk on a subject chosen by the candidate from a list of three given in the room – time limit fortalk is two minutes. 20

(d) (i) To read at sight a passage of prose chosen by the examiner(ii) to give an oral précis of the passage. 20

(e) Discussion on (a), (b), (c) and (d) above and all theory from previous grades. Show knowledge of various kinds of visualaids and their use in Public Speaking and in making presentations. 20

Oral Communication & Performance 2019

75

ORAL COMMUNICATION AND PERFORMANCE

Please read the following guidelines before preparing for each grade:

Candidates should communicate with audience through use of eye contact,clarity of speech, sense of spontaneity and when delivering a talk, have aspecific audience in mind. Notes on cards may be used for talks but shouldnot hinder vocal or visual communication.

In reading sections, candidates should ensure that meaning is clear andmood of the passage conveyed. They should strive for variety in delivery,suitable use of pause and correct phrasing, while bearing in mind theimportance of eye contact.

Poetry where set, should be performed reflecting the poet’s thoughts andmood, balance meaning with rhythm, so that neither is dominant.

Marks — All grades: 20 marks in each section

JUNIOR GRADE


Candidates:1 To read aloud a prepared passage of approximately 200 words from a

novel on their English programme.

2 To read at sight a passage chosen by the Examiner from the same book.

3 To perform from memory a poem or a prose extract from their Englishprogramme – time limit three minutes.

4 To give a prepared talk on a character in history – time limit threeminutes.

5 To discuss the work presented.


76

INTERMEDIATE GRADE

(For students in Transition Year)

Candidates:

1 To read aloud a prepared passage of approximately 250 words from anovel on their English programme (the entire novel to be prepared fordiscussion).

2 To prepare and deliver a summary of the chosen novel in a structuredstyle. Notes if used should be on cards – time limit three minutes.

3 To choose and prepare a poem by one of the following poets: EavanBoland, Seamus Heaney, Patrick Kavanagh or W B Yeats and to read italoud, conveying the poet’s mood, the meaning and a sense ofperformance, using eye contact.

4 To give a talk in a formal style on a subject of current interest, or aproject recently undertaken, or work experience – time limit fourminutes.

5 To discuss all work presented.

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77

SENIOR GRADE


Candidates:

1 To read a passage chosen by the Examiner from a book of candidate’schoice (the entire novel to be prepared for discussion).

2 To read at sight a passage of prose chosen by the Examiner.

3 To give a talk in a formal style on the author of the prepared book,showing knowledge of his/her other works – time limit four minutes.

4 To give a talk in a formal style for a sporting, cultural, or social occasion– time limit four minutes.

5 To discuss all work presented.

ADVANCED GRADE

(Suitable for Adults)

Candidates:

1 To give a prepared talk on a subject of own choice - time limit fiveminutes.

2 To give a social talk introducing, welcoming or thanking a speaker –time limit three minutes.

3 To choose a book that candidate has read and enjoyed and review it –time limit three minutes.

4 To read a prepared section of chosen book (approximately 250 words)as if to a group.

5 To discuss preparation and work presented.


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INTERVIEW TECHNIQUES

INTERMEDIATE GRADE

Marks

Candidates:

1 Candidates to present the Examiner with a Curriculum Vitae anda covering letter (see below) and discuss same as in an interviewsituation. 20

2 To give an oral presentation of not more than three minutesduration on one of the following topics:

• The value of Work Experience• A career I would like to explore• A course of study I would like to pursue 20

3 To prepare a passage of factual prose of the candidate’s ownchoice taken from a newspaper eg an item of current affairs inthe area of arts, sports, political or environmental issues – andread it aloud as if to a group of colleagues at a meeting. 20

4 To discuss all of the above with the Examiner. 20

5 Overall impression. 20

Curriculum Vitae should be typed on one side only and strictly confined to one A4size page – with layout and headings as per given example on page 80.

Interview Techniques 2019

79

ADVANCED GRADE

Candidates:

1 Candidates to bring to the Examination a Curriculum Vitaeand a covering letter (see below) which will form a basis of discussion in which the candidate will be seeking a part-timejob and the Examiner will assume the role of potential employer. 20

2 Candidates to give an oral presentation on some aspect of aChoice of Career/School Project/Vocational Training in whichthe candidate has an interest or experience. 20

3 To read aloud a passage of factual prose, chosen by the Examiner, from a newspaper article or journal. Candidates willbe given a little time to look over the reading beforehand. 20

4 To discuss your involvement in a recent practical initiative egMini Companies, Young Scientist, Behind the Scenes in SchoolProduction, Young Entrepreneurs etc. 20

5 To discuss all of the above with the Examiner. 10

6 Overall impression. 10

Curriculum Vitae should be typed on one side only and strictly confined to one A4size page – with layout and headings as per given examples on page 80.


80

SAMPLE COVERING LETTER

Bohermore

Midleton

Co Cork

14th April 2014

Ms Geraldine Lucey

The Chantry

Main Street

Midleton

Co Cork

Dear Ms Lucey

I wish to apply for the position of part-time kitchen porter as advertised in the MunsterExpress on Tuesday 8th April 2014.

Last year I spent my summer holidays working in Sean’s Bar and Restaurant, Ballycotton, asa waiter and it was there that my interest in food and food preparation came about. I wasfascinated by the work of the Head Chef and I would really like to move into the kitchenwhere I know I would enjoy working. My hours are more flexible this year because I am nowin Transition Year at St Colman’s College.

I enclose details of my education and a reference from my school Principal Mr John Twomey.

Yours sincerely

______________

Conor O’Sullivan

Enc 1

Interview Techniques 2019

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CURRICULUM VITAE

Name: Conor O’SullivanAddress: Bohermore

MidletonCo Cork

Date of Birth: 23 August 1995Telephone No: (021) 4333333

EDUCATION:

Primary Education:2000 – 2007 St Michael’s National School

MidletonCo Cork

Secondary Education:2007 – Present St. Colman’s College

MidletonCo Cork

EXAMINATION(S):Date: 2010 Junior Certificate:Results: Irish (O) C

English (H) BMathematics (H) CFrench (O) CScience (H) CHome Economics (H) AMusic (H) B

ACHIEVEMENTS:

Leadership & Initiative: I have been appointed one of five Meitheal Leaders for 2010-2012.Music: I hold Grade 4 Clarinet with the Royal Irish Academy of Music.Sport: I qualifiedwith Swim Ireland as a Swimming Life Saving Coach in 2011.

SPECIAL INTERESTS:

Enterprise & Development: In 2009 I entered the BT Young Scientist Competition with a watersaving device for domestic use. I hope to develop this product further with the help of myTechnical Drawing Teacher.

REFEREE(S):

Mr John Twomey, Principal, St Colman’s School, Midleton, Co Cork.


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ENGLISH AS A SECOND LANGUAGE

Marks for all grades – 20 marks in all sections

1. Candidates should aim for clarity of speech and thought.2. Show an awareness of pause and phrasing in order to make sense

of the words and to create interest in the speaking.3. Engage with the material and use appropriate eye contact.4. Be open to discussion with the Examiner on all grade

requirements.5. Display a confidence in the speaking of the language.

PRELIMINARY GRADE

Candidates will be required:1. To read a passage of prose in English – own composition – such as

a letter which the candidate might write to a friend or familymember or a description of how to operate any kitchen gadget –time limit one minute.

2. To read a short passage from a book they have read and enjoyed – time limit two minutes.

3. To give concise directions to a specific place or landmark in thelocality (candidate’s own choice) – time limit two minutes.

4. To hold a conversation with the Examiner on any topic of thecandidate’s choice.

5. To prepare one of the following topics to discuss with theExaminer during the examination:

a) The experience of living in Irelandb) A film or show the candidate has seen recentlyc) A recent visit to any place of interest

English as a Second Language

83

INTERMEDIATE GRADE

Candidates will be required:

– To read a passage of prose selected by the candidate from a bookof own choice – time limit – two minutes.

– To discuss the meaning of the words and phrases in the prosepassage.

– To prepare one of the following topics for discussion with theExaminer:

o Cultural difference between Ireland and candidate’scountry of origin

o The experience of travelo The pleasure of reading

– To discuss with the Examiner an issue of current interest in themedia chosen by the candidate.

– To discuss with the Examiner the vocabulary used in the preparedwork.


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SENIOR GRADE

Candidates will be required:

1. To give an informal talk, as if to a group of friends of thecandidate’s own age about any aspect of life in Ireland which is ofparticular interest – time limit – three minutes.

2. To read an extract from a newspaper article (chosen by theExaminer) containing factual information.

3. To give a summary of the passage read in the candidate’s ownwords – time limit – one minute.

4. To prepare TWO of the following topics for discussion with theExaminer:

(i) Ireland as a multi-cultural society (ii) The value of English as a Second Language (iii) Climate Change (iv) Third Level Education (v) The Facebook, Twitter & iPhone Generation

5. To discuss with the Examiner the experience of learning alanguage in Ireland.

ENGAGING THROUGH IRISH


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DEASLABHRA AGUS DRÁMAÍOCHT DHÁ-THEANGACH

BILINGUAL SPEECH AND DRAMA

Kindergarten to Primary Grades:

Section A — Poetry 30 Section B — Prose 30Section C — Mime 20 Section D — Conversation 20

Grades 1 - 8: 20 marks in each section (A, B, C, D, E)

Please see Guidance for Teachers (page 1).

NAÍONÁIN

A: Filíocht

Dán amháin as an liosta thíos:Scríbhneoir gan ainm An Ghaoth (Futa Fada)Art O’Sullivan Prionsa na bhFrog (Futa Fada)Vivian Uibh Eachach Gearóid Gabhar (RIAM Anthology)Gabriel Fitzmaurice Nach Iontach mar Atá (Cló Iar-Chonnachta)Gabriel Rosenstock Ar Strae (Cló Iar-Chonnachta)

Nó do rogha dáin, ar an gcaighdeán céanna, ón leabhar Gugalaí Gug

B: ProseStorytelling in candidate's own words — own choice — not more than oneminute's duration.

C: MímDo rogha ábhar gan dul thar nóiméad amháin.

D: Comhrá/ConversationSimple questions in Irish or English on the work presented.

Bilingual Speech and Drama 2019

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RÉAMHGHRÁD

A: FilíochtDán amháin as an liosta thíos:Éamonn Ó Ríordán Seilide (Cló Iar-Chonnachta)Scríbhneoir gan ainm Mo Dheirfiúirín Bheag (An Gúm)Gabriel Rosenstock An Béar Bán (Cló Iar-Chonnachta)Gabriel Fitzmaurice Tinn (RIAM Anthology)Róisín Ní Ríordán An Bus (An Gúm)

Nó do rogha dáin, ar an gcaighdeán céanna, ón leabhar Bun Na Spéire, Cló Iar-Chonnachta




BUNGHRÁD

A: FilíochtDán amháin as an liosta thíos:Scríbhneoir gan ainm Is Maith Liom gach Dath(RIAM Anthology)Scríbhneoir gan ainm Luch Chliste (RIAM Anthology)Scríbhneoir gan ainm An dTiocfaidh tú Liom? (An Gúm)Breandán Ó Conaire Caitlín (RIAM Anthology) Jeff Mac An Bhaird An Siopa (RIAM Anthology)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Deirdre Brennan


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GRÁD 1A: FilíochtDán amháin as an liosta thíos:Ní fios cé cum Ag Ní (RIAM Anthology) E Ó Tuathail Iascaireacht (RIAM Anthology)Deirdre de Buitléir Cé hÍad (RIAM Anthology)Pádraig Mac Concoille An Dall (RIAM Anthology)Scríbhneoir gan ainm Síofra Sióg (Cló Iar-Chonnachta)Máire Áine Nic Ghearailt Neadacha (Cló Iar-Chonnachta)Nó do rogha dáin, ar an gcaighdeán céanna, ó Deirdre de Buitléir Deaslabhra B: ProseStorytelling in candidate's own words — own choice — not more than oneminute's duration.


D: ReadingTo read aloud a passage in Irish which will be selected by the Examiner froma prepared chapter or lesson from any book chosen by the candidate fromhis/her School Syllabus, or from a book of comparable standard.

E: Comhrá/Conversation and TheorySimple questions in Irish or English on the work presented and on the use ofpause in prose.


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GRÁD 2

A: Filíocht

Dán amháin as an liosta thíos:Brendán de Bhal Is fuath liom na hÉadaí (Carroll Educational Co)

seoGabriel Rosenstock Plandaí Bialainne (Cló Ceilteach) Gabriel Rosenstock Teilifís (Cló Iar-Chonnachta)Con Ó Tuama An Geansaí Glas (Carroll Educational Co)Seán Ó Dúróis Meán Oíche (Carroll Educational Co)Éamonn Ó Ríordáin Liathróid i bPáirc an (Carroll Educational Co)

Chrócaigh Nó do rogha dáin, ar an gcaighdeán céanna, ó Daithí Ó Diollúin

B: Prose/Drama

Candidates to speak one of the following prose excerpts or to perform aspeech (edited if necessary) from any play of their own choice (time limitthree minutes).

THE VELVETEEN RABBIT by Margery Williams from ‘What is REAL’? askedthe rabbit one day when they were lying side by side near the nursery fender….’ to‘but once you are REAL you can’t become unreal again. It lasts for always’. Pub:Egmont Books Ltd

JAMES AND THE GIANT PEACH by Roald Dahl. Chapter 37 from ‘Ahoythere! Shouted the Chief of Police. Come out and show yourself’ to ‘I told you theycame from Mars’. Pub: Puffin

ALICE’S ADVENTURES IN WONDERLAND by Lewis Carroll Chapter 7from ‘There was a table set out under a tree in front of the house’ to ‘You shouldlearn not to make personal remarks’ Alice said with some severity: ‘it’s very rude’.Pub: Penguin Classics

THE SELFISH GIANT by Oscar Wilde from ‘Every afternoon, as they werecoming from school’ to ‘He was a very selfish Giant’ Pub: Hodder Children’sBooks


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THE WITCHES by Roald Dahl – play adapted by David Wood Act 2 (Boy)from ‘Bruno! Bruno Jenkins!’ to ‘Come on.’ (Omit other characters) Pub: SamuelFrench

THE BORROWERS by Mary Norton – Audition Speeches for 6-16 year oldsselected by Jean Marlow (Arietty) from ‘Why did you tell me this? Now?Tonight?’ to ‘Eggletina had yellow boots with jet buttons and Eggletina did get out– just once’. Pub: A & C Black

FANTASTIC MR FOX by Roald Dahl adapted by Sally Reid Scene 6 (Mr Fox)from ‘We go this way, Badger, old chap’ to ‘ I adore smoked ham, don’t you,Badger?’ omit other characters. Pub: Puffin

HANS, THE WITCH AND THE GOBBIN by Alan Cullen Act 2 Scene 1(Daisy) from ‘Interesting. Very, very interesting’ to ‘That means I’ll have to collectsome more. Double botheration!’ Pub: Samuel French. (This extract is alsoavailable in Solo Scenes for Young Players chosen by Anne Harvey)

C: Mím

Do rogha ábhar gan dul thar nóiméad amháin.

D: Reading

To read aloud a passage in Irish which will be selected by the Examiner fromtwo prepared chapters or lessons from any book chosen by the candidatefrom his/her School Syllabus, or from a book of comparable standard.

E: Comhrá/Conversation and Theory

Simple questions in Irish or English on the work presented, and on phrasing,in addition to the subject dealt with in the previous grade.


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GRÁD 3

A: Filíocht

Dán amháin as an liosta thíos:Dominic Ó Braonáin Faigh dom Subh Oráistí (An Chomhlacht

Oideachais)Dónall Ó Colchúin An Teilifís Thaibhsiúil (Cló Ceilteach)Deaglan Collinge Seomraí na Ríomhairí (Gill and MacMillan)Seán Ó Ríordáin Spideoigín (Cló Ceilteach) Daithí Ó Diollúin Clapsolas sa Bhaile

Mhór (Cló Ceilteach) Gabriel Rosenstock Folúsghlantóir (Cló Ceilteach)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Mícheal Ó hUanacháin B: Prose/Drama


HARRY POTTER & THE GOBLET OF FIRE by J K Rowling Chapter 16 from‘And the Goblet of Fire turned red once more; sparks showered out of it…’ to ‘ Andthen Dumbledore cleared his throat, and read out – Harry Potter’ Pub:Bloomsbury

THE LION, THE WITCH AND THE WARDROBE by C. S. Lewis Chapter 4from ‘But what are you? said the Queen again’ to ‘I will put my mantel round youand we will talk’. Pub: Puffin

THE WAR HORSE by Michael Morpurgo Chapter 17 from ‘David wasstanding now by my head’ to ‘and there was no doubt about it, he was my Albert’.Pub:Egmont

UNDER THE HAWTHORN TREE by Marita Conlon-McKenna Chapter 2from ‘They pushed in the door’ to ‘I’ll just sit and mind my darling girl for a littlewhile yet’ Pub: O’Brien


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WHISTLE DOWN THE WIND by Mary Haley Bell (Swallow) from ‘Can youkeep a secret?’ to ‘And….if the grown ups try to take him away again, we’ll defendHim…….hundreds of us’ The Methuen Audition Book for Young Actors editedby Anne Harvey (Pub: Methuen)

MARILOU MEETS THE DRAGON by David Kurani (Malsorehead) from‘Grovel!.....And stay that way until I tell you to get up’ to ‘Now go find me somechildren!’ (Solo Scenes for Young Players chosen by Anne Harvey) Pub:Samuel French

THE HEARTLESS PRINCESS by Franklyn Black Scene 2 (Duchess Potasia)from ‘Ahhh! Good morning, my dears!’ to ‘ I wonder if they’ll be happy for everafterwards – oh, ho, ho, ho, ha, ha, ha’ Pub: Samuel French

THE SNOW QUEEN Adapted by Jean Marlow (Kay) from ‘Gerda! Come andsee! It’s starting to snow again’ to ‘And I’m going to go tobogganing with the otherchildren in the square!’ (Audition Speeches for 6-16 year olds Jean Marlow)Pub: A & C Black


D: ReadingTo read aloud a passage in Irish which will be selected by the Examiner fromthree prepared chapters or lessons from any book chosen by the candidatefrom his/her School Syllabus, or from a book of comparable standard.

E: Comhrá/Conversation and TheoryQuestions in Irish or English on the work presented and on the use of pausein prose and verse, in addition to subjects dealt with in previous grades.


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GRÁD 4A: FilíochtDán amháin as an liosta thíos:Máire Nic Gearailt Cluiche Ceannais i (Cló Ceilteach)

bPáirc an ChrócaighÁine Ní Ghlinn Ardán a hAon (An Gúm) Mícheál Ó hUanacháin Dilemma (Coiscéim)Louis de Paor Cartaí Poist (Gill and MacMillan) Seán Ó Ríordáin An Dall sa Stiúideo (RIAM Anthology)Nuala Ní Dhomhnaill Máthair (RIAM Anthology)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Louis de Paor

B: Prose/Drama


THE BOY IN THE STRIPED PYJAMAS by John Boyne Chapter 15 from‘Shmuel opened his mouth and closed it’ to ‘I’ve never seen him before in my life. Idon’t know him’. Pub: David Fickling Books

THE HAPPY PRINCE by Oscar Wilde from ‘Swallow, Swallow. Little Swallow’said the Prince, far away across the city, I see a young man in a garret’ to ‘now I canfinish my play, and he looked quite happy’. Pub: Hodder Children’s Books

GOOD NIGHT MR TOM by Michelle Majorian Chapter 12 The Show MustGo On from ‘Willie crept nervously on stage with the prompt book in his hand andwas joined by the others’ to ‘ You’re beginning to get the idea, William.’ Pub: Puffin

IRELAND’S MASTER STORYTELLER – The Collected Stories of EamonKelly ‘Doing the Rounds’ from ‘After the funeral of the farmer’s wife, Molly wentto the house and she got the shawl’ to ‘……it reminded me of my little goat that diedlast week’ Pub: Marino Books


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THE POWER OF THE DOG by Ellen Dryden (Lisa) from ‘Nah! She doesn’t likeschools’ to ‘and I’ve got no right to criticize them’. Audition Pieces for 6-16selected by Jean Marlow. Pub: A & C BlackDREAMS OF ANNE FRANK by Bernard Kops from ‘Morning star, eveningstar, yellow star’ to ‘I shall confide my secrets. Only to you’ Pub: The MethuenAudition Book of young Actors edited by Anne Harvey – Methuen

BRIGHTON BEACH MEMOIRS by Neil Simon Act 1 (Nora) from ‘Do youhave to stare at me? Can’t I have any privacy?........’ to ‘Is it a pact?’ Pub: SamuelFrench (omit Laurie’s lines)

THE PIED PIPER by Adrian Mitchell from ‘Good morning! Good grief! Wehaven’t met, have we?’ to ‘It’s a deal’. Audition Pieces for 6-16 year oldsselected by Jean Marlow (first edition). Pub: A & C Black

C: Mím


D: Reading

To read aloud a passage in Irish which will be selected by the Examiner fromfour prepared chapters or lessons from any book chosen by the candidatefrom his/her School Syllabus, or from a book of comparable standard.


Questions in Irish or English on the work presented, on the various means ofachieving emphasis, on the classification of vowel sounds and on the specificorgans of speech used in their formation, in addition to subjects dealt within previous grades.


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GRÁD 5

Suggested age 13 years or over

In sections A and B, the candidate must offer two pieces, one of which willbehis/her own choice, as follows:

Own Choice: Filíocht Set Piece: Filíochtor

Set Piece: Prose/Drama Own Choice: Prose/Drama

In selecting drama, popular monologues are not acceptable from Grade 5 upwards;choose only from published plays.

A: Filíocht

Dán amháin as an liosta thíos:Mícheál Ó Ruairc Bliúanna Thráthnóna (RIAM Anthology)

dé hAoine S E Ó Cearbhaill Maidin Shamhraidh i (RIAM Anthology)

Nua Eabhrac Gabriel Rosenstock Uaireanta is Fear Bréige (any published edition)

Mé Mícheál Ó Ruairc Dia-Chéille (RIAM Anthology)Dónall O Colchúin Lá le Stiofáin (Gill and MacMillan)Déaglan Collinge Réiteóg Mharfach (Gill and MacMillan)Nó do rogha dáin, ar an gcaighdeán céanna, ó Séamus Ó Neill

B: Prose/Drama

Candidates to perform any one of the following:

WATERSHIP DOWN by Richard Adams from Part IV ‘Hazel-Rah’ - Epilogue‘One chilly, blustery, morning in March, I cannot tell exactly how many springslater….’ to ‘and together they slipped away, running easily down through the wood,where the first primroses were beginning to bloom’. Pub: Puffin


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BOY – TALES OF CHILDHOOD by Roald Dahl Chapter ‘The Matron’ from‘Once, after ‘lights out’ the Matron would prowl the corridor like a panther’ to‘Nobody stepped forward’. Pub: Puffin

THE KITE RUNNER by Khaled Hosseini Chapter 6 from ‘Every winter,districts in Kabul held a kite fighting tournament’ to ‘greeted instead by the specterof yet another long school year’ Pub: Bloomsbury

JOHNNY AND THE DEAD by Terry Pratchett (Chapter 6) from ‘The deadtried not to meet his gaze’ to ‘they were just there’ Pub: Random House

A MIDSUMMER NIGHT’S DREAM by William Shakespeare (Puck) Act 3Scene 2 from ‘My mistress with a monster is in love….’ to ‘Titania woke andstraightway loved an ass’ (The Oxford Shakespeare) Pub: OUP

LOVERS by Brian Friel Episode 2 (Joe) from ‘Mag? You asleep, Mag?’ to ‘ ButI’ll try to be good to you; honest to God, I’ll try’ Pub: The Gallery Press

EDUCATING RITA by Willy Russell Scene 7 (Rita) from ‘But I don’t wannabe charmng and delightful.’ to ‘And that’s why I’m staying.’ (Omit Frank) Pub:Methuen Modern Plays

JOYRIDERS by Christina Reid Act 2 Sc 4 (Sandra) from ‘The one an’ only timeI ever wore a white lace frock Arthur…’ to ‘Somewhere over the rainbow, bluebirdsdie…..’ Pub: Heinemann

C: Mím

Do rogha ábhar gan dul thar dhá nóiméad.

D: Reading

To read aloud at sight in Irish a passage of prose or verse.


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To discuss in Irish or English the selections spoken, including the full text andthe background of ONE of the authors. To answer questions onbreath-control, relaxation, posture and the subjects dealt with in previousgrades.

GRÁD 6

Suggested age 14 or over

In sections A and B, the candidate must offer two pieces, one of which willbe his/her own choice, as follows:


Set Piece: Prose/Drama Own Choice: Prose/DramaIn selecting drama, popular monologues are not acceptable: choose only from published plays.

A: Filíocht

Dán amháin as an liosta thíos:Biddy Jenkinson Éiceolaí (RIAM Anthology)Mícheál Ó hUanacháin Gan Tideal (Coiscéim)Colm Breathnach Stiurthóir Cóir (Coiscéim)Conleth Ellis Sa Stáisiún (Coiscéim) Rita Kelly Dán Grá (Arlen House)Seán Hutton Sráid Uí Chonaill I (RIAM Anthology)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Áine Ní Ghlinn


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B: Prose/Drama


THE MASTER by Bryan MacMahon Chapter 3 from ‘So, I said to the circus lad,be here tomorrow at noon on the dot’ to ‘Let in the elephant’ Pub: Poolbeg

THE STORY OF LUCY GAULT by William Trevor Chapter 7 from ‘The brassband played in the wide piazza of the Cital Alta……..’ to ‘dispelling the worst thatmight have been’. Pub: Penguin

READING IN THE DARK by Seamus Deane Chapter 1 from ‘On the stairs,there was a clear, plain silence’ to ‘All imagination. There’s nothing there.’ Pub:Vintage

BROOKLYN by Colm Toibín Part 1 from ‘Over the next two days Miss Kellytook Eilis through every item in the shop’ to ‘Now, that’s one of the things thatMary is good at, God help her’ Pub: Penguin

THE PLAYBOY OF THE WESTERN WORLD by J M Synge (Christy) Act 2from ‘Half a hundred beyond. Ten there.……’ to ‘I’d best go to the room maybe tillI’m dressed again’. Pub: Nick Hern Books

AN IDEAL HUSBAND by Oscar Wilde (Mabel) from ‘Well, Tommie hasproposed to me again……’ to ‘and it should always be done in a manner thatattracts some attention’ Pub: Oxford Paperbacks

THE GLASS MENAGERIE by Tennesse Williams Scene 7 (Jim) from ‘Youknow what I judge to be the trouble with you?’ to ‘Think of yourself as superior insome way’ Pub: Penguin Modern Classics

THE MAI by Marina Carr Act 1 (Millie) from ‘when I was eleven the Mai sentme to the Butcher’s…’ to ‘You’re Dad’ll come back and we will have the best of lives’(Marina Carr Plays 1) Pub: Faber & Faber


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THE TEMPEST by William Shakespeare Act 3 Scene 1 (Miranda) from ‘Alas,now, pray you……..’ to ‘You may deny me; but I’ll be your servant/Whether youwill or no’. The Oxford Shakespeare Pub: OUP

FANNY’S FIRST PLAY by George Bernard Shaw from ‘I’m not hardened,mother... ‘ to ‘if they’d fought as we two fought we’d have beaten them.’ (AuditionSpeeches for Young Actors 16 plus by Jean Marlowe) Pub: A & C Black

C: Mím


D: Reading

To read aloud at sight in Irish a passage of prose, verse or drama.


To discuss in Irish or English the selections spoken, including the full text andthe background of ONE of the authors. To answer questions on resonance,and on the classification of consonant sounds and the organs used in theirformation, in addition to subjects dealt with in previous grades.

GRÁD 7

Suggested age 15 year or over




In selecting drama, popular monologues are not acceptable: choose only frompublished plays.


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A: Filíocht

Dán amháin as an liosta thíos:Biddy Jenkinson Aubade (RIAM Anthology)Nuala Ní Dhomhnaill Leaba Shíoda (Coiscéim)Pearse Hutchinson Litir Folamh (Coiscéim)Dolores Stuart Prométheus sa Bhearna (Arlen House)S E Ó Cearbhaill Ellis Island (RIAM Anthology)Deirdre Brennan Sealbhóirí (Coiscéim) Nó do rogha dáin, ar an gcaighdeán céanna, ó Nuala Ní Dhomhnaill

B: Prose/Drama


NOTWITHSTANDING by Louis de Bernières, Obadiah Oak, Mrs Griffiths& the Carol Singers from ‘Mrs Griffiths sits in her wooden chair and thinks aboutwhat she should say to the children’ to ‘Let’s go and do the Armstrongs.’ Pub:Harvil Secker

MY OEDIPUS COMPLEX by Frank O’Connor – Modern Classic from ‘In theafternoon at Mother’s request, Father took me for a walk’ to ‘I began to think thatGod wasn’t quite what he was cracked up to be’ Pub: Penguin

FLUSH – A Biography by Virginia Woolfe – Chapter ‘The Hooded Man’ from ‘It was half past two; and as the single stroke died away, a rap resoundedboldly on the front door’ to ‘Smartly the door banged behind him. He was gone’ Pub:Vintage Lives

CIDER WITH ROSIE by Laurie Lee – Chapter ‘Village School’ from ‘themorning came, without any warning, when my sisters surrounded me….’ to ‘I satthere all day but never got it. I ain’t goin’ back there again!’ Pub: Vintage Classics

JULIUS CAESAR by William Shakespeare Act 3 Scene 1 (Anthony) from ‘Opardon me, thou bleeding piece of earth’ to ‘That this foul deed shall smell above theearth/With carrion men, groaning for burial’. The Oxford Shakespeare Pub: OUP


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A VIEW FROM THE BRIDGE by Arthur Miller Act 2. (Catherine) from ‘ it’sonly that I…’ to ‘teach me, Rodolpho, hold me’ (omit Rodolpho’s lines) Pub:Penguin Modern Classics

AS YOU LIKE IT by William Shakespeare Act 3 Scene 2 (Rosalind) from‘There is a man that haunts the forest…..’ to ‘Yet I profess curing it by counsel’(Omit other character) Pub: The Oxford Shakespeare Pub: OUP

SIVE by John B Keane Act 1 Scene 3 (Mena) from ‘Your father was never afather’ to ‘Be sure to think of what I said’ (Three Plays Sive, The Field, BigMaggie – New Revised Texts) Pub: Mercier Press

BRIGHTON BEACH MEMOIRS by Neil Simon Act 1 (Stan) from ‘I got firedtoday’ to ‘I can consider myself fired’ (omit Eugene’s lines) Pub: Samuel French.

A CRUCIAL WEEK IN THE LIFE OF A GROCER’S ASSISTANT by TomMurphy (John Joe) from ‘And how are you now, John Joe?’ to ‘I’m very happynow.’ (Tom Murphy Plays Vol 4) Pub: Methuen Drama

THE CRUCIBLE by Arthur Miller (Mary Warren) from ‘I never knew it before.’to ‘She never knew no commandments, and they had her in a flat lie!’ (Miller Plays1) Pub: Methuen Drama

C: Mím


D: Reading



To discuss in Irish or English the selections spoken, including the full textand the background of ONE of the authors. To answer questions onmodulation, on the different types of Irish poetry (dán grá, amhrán grá,aisling) and on subjects dealt within previous grades.


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GRÁD 8





In selecting drama, popular monologues are not acceptable: choose only frompublished plays.

A: Filíocht

Dán amháin as an liosta thíos:Caitlín Maude Concerto (Coiscéim)Celia de Fréine Morning Ireland (Arlen House)Séan Ó Curraoin An Portán (Coiscéim)Seán Ó Leochain An Carbadóir (Coiscéim)Bríd Ní Mhóráin Ag dul ón tobar arís (Cló Iar-Chonnachta)Mícheál Davitt An Scathán (Cló Iar-Chonnachta)

Nó do rogha dáin, ar an gcaighdeán céanna, ó M F Ó Conchúir

B: Prose/Drama


SENSE AND SENSIBILITY by Jane Austin Chapter 28 from ‘At last he turnedround again and regarded them both’ to ‘This is not a place for explanations. Waitonly till to-morrow’. Pub: Penguin


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GHOST LIGHT by Joseph O’Connor Chapter 10 ‘Approaching Bloomsbury’from ‘Are your parents living, Miss Allgood?’ to ‘Yes. That is your principaltalent’. Pub: Harvill Secker

THE SAILOR IN THE WARDROBE by Hugo Hamilton Chapter 12 from ‘It’sstill your move,’ my father reminds me‘ to ‘She puts her arm around him but hewon’t be moved’ Pub: Fourth Estate

THE FIRST CONFESSION by Frank O’Connor (My Oedipus Complex andother Stories) from ‘Bless me Father, for I have sinned, this is my first confession’to ‘I started to make my examination of conscience and barring the one bad businessof my grandmother it didn’t seem so bad’ Pub: Penguin

THE WINTER’S TALE by William Shakespeare Act 3 Scene 2 (Hermione)from ‘since what I am to say…..’ to ‘cry fie upon my grave’ The OxfordShakespeare Pub: OUP

MACBETH by William Shakespeare Act 2 Scene 1 from ‘Is this a dagger whichI see before me?’ to ‘ That summons thee to heaven, or to hell.’ The OxfordShakespeare Pub: OUP

PHILADELPHIA HERE I COME by Brian Friel (Gar Private) Episode 3 Part1 from ‘Where you’re curled up in your wee cot, Screwballs, do you dream?’ to ‘It’sall because my true love is far, far away.’ Pub: Faber & Faber

THE WEIR by Conor McPherson (Valerie) ‘But, and then one morning….’ to‘she still needs me’ Audition Speeches for Women chosen by Jean Marlow 2nd

Edition Pub: A & C Black

THE SANCTUARY LAMP by Tom Murphy (Maudie) from ‘Do you know -hospitals?’ to ‘And she said yes.’ Pub: Gallery Press

THREE PLAYS AFTER – THE YALTA GAME by Brian Friel (Anna) from ‘Ibegan to fill my weeks with small delights…’ to ‘you can’t stay! For God’s sake, go!’(omit Gurov’s lines) Pub: The Gallery Press


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THE WEXFORD TRILOGY – BELFRY by Billy Roche Act 2 (Dominic) from‘Yeah, I miss them all right, Artie’ to ‘I’ll tell you one thing, Artie, you’re all right’Pub: Nick Hern Books

C: Mím

Do rogha ábhar gan dul thar trí nóiméad.

D: Reading



To discuss in Irish or English the selections spoken, including the full text andthe background of ONE of the authors. To answer questions on the Irishshort story, on the art of speaking verse and on the creation of character indrama, in addition to the subjects dealt with in previous grades. To discussthe creation of character.

SENIOR CERTIFICATE BILINGUAL - PRACTICAL


Candidates to perform a poem, a prose extract AND a drama extract from theset list of authors. Pieces presented may NOT be selected from previousgrades.

Marks Filíocht Nuala Ní Dhomhnaill, Michael Davitt,

Biddy Jenkinson, Deirdre Brennan, Seán Ó Ríordáin and Tomás Mac Siomóin 20

Prose James Joyce, William Trevor, Hugo Hamilton, Sebastian Barry, Virginia Woolfe and Alice Munro

20Drama Oscar Wilde, Arthur Miller, Neil Simon, John B.

Keane, Brian Friel and Marina Carr 20

Total time limit for the three pieces — twenty minutes


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Mím

Do rogha ábhar gan dul thar trí nóiméad 15

Sight-reading

To read aloud at sight in Irish a passage of verse ANDa passage of prose or drama. 15

Comhrá/Conversation

To discuss in Irish or English the selections, the full texts and the background of the authors. 10

SENIOR CERTIFICATE BILINGUAL


Written Paper

The examination will require the following:

1 Detailed knowledge of the theory of all previous grades

2 Understanding of delivery and performance of verse, prose,drama and mime

3 Research on one of the set authors for this grade(candidate's choice). The paper will include a question relevant to this.

At least two questions must be answered in Irish.


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DEASLABHRA

Grád na Naíonáin, Réamhghrád, Bunghrád

Aonad A — Filíocht 30 Aonad B — Prós/Scéal 30Aonad C — Mím 20 Aonad D — Comhrá 20

Grád 1 - Grád 8: 20 marc i ngach aonad (A, B, C, D, E)

Ní foláir do na hiarrthóirí na sliochtanna, idir phrós, dráma agus filíocht, aaithris de glanmheabhair. Ní féidir sliocht roghnaithe na n-iarrthóirí aroghnú as grád ar bith eile ar an siollabas.

• Ba chóir go mbeadh ábhar léitheoireachta ag an iarrthóir,más gá.

• Ní mór do na hiarrthóirí cóipeanna dá rogha dréachtaí athabhairt don scrúdaitheoir ar lá an scrúdaithe.

• Dícháilfear aon iarrthóir a úsaideann fótochóipeanna.• Glacfar le mím beirte ó iarrthóirí atá ar chomhghrád.

NAÍONÁIN

Aonad A: Filíocht

Dán amháin as an liosta thíos:Scríbhneoir gan ainm An Ghaoth (Futa Fada)Art O’Sullivan Prionsa na bhFrog (Futa Fada)Vivian Uibh Eachach Gearóid Gabhar (RIAM Anthology)Gabriel Fitzmaurice Nach Iontach mar Atá (Cló Iar-Chonnachta)Gabriel Rosenstock Ar Strae (Cló Iar-Chonnachta)

Nó do rogha dáin, ar an gcaighdeán céanna, ón leabhar Gugalai Gug

Aonad B: Scéal

Scéal gairid gan dul thar nóiméad amháin.

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Aonad C: Mím


Aonad D: Comhrá

Ceisteanna simplí faoi shaol an pháiste agus ábhair a bhaineann leis.

RÉAMHGHRÁD

Aonad A: Filíocht

Dán amháin as an liosta thíos:Éamonn Ó Ríordán Seilide (Cló Iar-Chonnachta)Scríbhneoir gan ainm Mo Dheirfiúirín Bheag (An Gúm)Gabriel Rosenstock An Béar Bán (Cló Iar-Chonnachta)Gabriel Fitzmaurice Tinn (RIAM Anthology)Róisín Ní Ríordán An Bus (An Gúm)

Nó do rogha dáin, ar an gcaighdeán céanna, ón Leabhar Bun Na Speire, Cló Iar-Chonnachta

Aonad B: Scéal


Aonad C: Mím


Aonad D: Comhrá

Ceisteanna simplí faoin rogha dáin agus faoi bheatha an pháiste.


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BUNGHRÁD

Aonad A: Filíocht

Dán amháin as an liosta thíos:Scríbhneoir gan ainm Is Maith Liom gach Dath (RIAM Anthology)Scríbhneoir gan ainm Luch Chliste (RIAM Anthology)Scríbhneoir gan ainm An dTiocfaidh tú Liom? (An Gúm)Breandán Ó Conaire Caitlín (RIAM Anthology) Jeff Mac An Bhaird An Siopa (RIAM Anthology)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Deirdre Brennan

Aonad B: Scéal


Aonad C: Mím


Aonad D: Comhrá

Ceisteanna simplí faoin rogha dáin agus faoi bheatha an pháiste.

GRÁD 1

Aonad A: Filíocht

Dán amháin as an liosta thíos:Ní fios cé cum Ag Ní (RIAM Anthology) E Ó Tuathail Iascaireacht (RIAM Anthology)Deirdre de Buitléir Cé hÍad (RIAM Anthology)Pádraig Mac Concoille An Dall (RIAM Anthology)Scríbhneoir gan ainm Síofra Sióg (Cló Iar-Chonnachta)Máire Áine Nic Neadacha (Cló Iar-Chonnachta)Ghearailt

Nó do rogha dáin, ar an gcaighdeán céanna, ó Deirdre de Buitléir Deaslabhra

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Aonad B: Scéal

Scéal gairid gan dul thar dhá nóiméad.

Aonad C: Mím


Aonad D: Léitheoireacht

Alt as do rogha ceacht ón leabhar scoile.

Aonad E: Comhrá agus Teoiric

Ceisteanna simplí faoin rogha dáin agus faoin luas léitheoireachta agus anúsáid a bhaintear as moilliú sa phrós.

GRÁD 2

Aonad A: Filíocht

Dán amháin as an liosta thíos:Brendán de Bhal Is fuath liom na hÉadaí (Carroll Educational Co)

seoGabriel Rosenstock Plandaí Bialainne (Cló Ceilteach) Gabriel Rosenstock Teilifís (Cló Iar-Chonnachta)Con Ó Tuama An Geansaí Glas (Carroll Educational Co)Seán Ó Dúróis Meán Oíche (Carroll Educational Co)Éamonn Ó Ríordáin Liathróid i bPáirc an (Carroll Educational Co)

Chrócaigh

Nó do rogha dáin, ar an gcaighdeán céanna, ó Daithí Ó Diollúin

Aonad B: Prós / Drámaíocht

Sliocht as leabhar ar rogha an iarrthóra a chur le dráma. Ba chóir go mbeadhcaighdeán an tsleachta oiriúnach don ghrád.

nó

Do rogha de na sleachta luaite a aithris:


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Máirtín ‘Bhrostaigh sé anuas de.....madraSiobhán Ní Shúilleabháin bocht a mharú.’ lth 47(Cló Iar-Chonnachta Teo)

An Turas Scoile ‘Bhí Senor Ramones.....ar fad.’ Bob Eymon lth 38/39(An Gúm)

An Turas Scoile ‘Isteach sa halla.....ró láidir.’ Bob Eymon lth 15/16 (An Gúm)

Na Saoithe Anoir ‘Oíche anfhuar.....tsráidbhaile.’ Michael Mullen lth 12(Coiscéim)

Aonad C: Mím



Roghnaigh dhá chaibidil ó leabhar ar chaighdeán do chúrsa scoile agusroghnóidh an scrúdaitheoir sliocht duit le h-aithris.


Ceisteanna simplí faoin rogha dáin agus faoi bhundifríochtaí na n-gutaí fadaagus gearra sa Ghaeilge chomh maith le leagan amach sliocht próis ó thaobhráiteachais de. Táthair ag súil to bhfuil tuiscint ag an iarrthóir ar obair nangrádanna go dtí seo.

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GRÁD 3

Aonad A: Filíocht

Dán amháin as an liosta thíos:Dominic Ó Braonáin Faigh dom Subh Oráistí (An Chomhlacht

Oideachais)Dónall Ó Colchúin An Teilifís Thaibhsiúil (Cló Ceilteach)Deaglan Collinge Seomraí na Ríomhairí (Gill and MacMillan)Seán Ó Ríordáin Spideoigín (Cló Ceilteach) Daithí Ó Diollúin Clapsolas sa Bhaile Mhór (Cló Ceilteach) Gabriel Rosenstock Folúsghlantóir (Cló Ceilteach)Nó do rogha dáin, ar an gcaighdeán céanna, ó Mícheal Ó hUanacháin

Aonad B: Prós/Drámaíocht

Sliocht as leabhar ar rogha an iarrathóra a chur le dráma. Ba chóir go mbeadhcaighdeán an tsleachta oiriúnach don ghrád.

nó

Do rogha de na sleachta luaite a aithris:

Dialann Chaoimhe ‘Dhúisigh sí de phreab.....deirfiúr.’Muireann Ni Bhrolcháin Caibidil 4: lth 35/36(Cló Iar-Chonnachta)

Olé, Olé, Olé ‘Nuair a chuaigh sé isteach sa teach...Mícheál Ó hUanacháin bhí a aghaidh dearg.’(Coiscéim) lth 10/11

Lasair na Gréine ‘Oíche an tseó a bhí ann....Níl ann ach piseoga’Claire Lyons lth 36(Coiscéim)

Harry Potter agus an Órchloch Do rogha sliocht gan dul thar trí nóiméad J K Rowling(Bloomsbury)


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Aonad C: Mím

Do rogha ábhair gan dul thar nóiméad amháin.


Roghnaigh tri chaibidil ó leabhar ar chaighdeán do chúrsa scoile agusroghnóidh an scrúdaitheoir sliocht le haithris duit.


Ceisteanna simplí faoina sleachta roghnaithe, faoi uirlisí na cainte agus á n-úsáid chomh maith le moilliú san fhilíocht. Beidh an scrúdaitheoir ag súilgo mbeidh tuiscint ag an iarrthóir ar obair na ngrádanna a tháinig go dtí seo.

GRÁD 4

Aonad A: Filíocht

Dán amháin as an liosta thíos:Máire Nic Gearailt Cluiche Ceannais i (Cló Ceilteach)

bPáirc an ChrócaighÁine Ní Ghlinn Ardán a hAon (An Gúm) Mícheál Ó hUanacháin Dilemma (Coiscéim)Louis de Paor Cartaí Poist (Gill and MacMillan) Máirtín Ó Direáin Fís an Dall (RIAM Anthology)Deirdre Brennan An Bás (RIAM Anthology)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Louis de Paor


Sliocht as leabhar ar rogha an iarrathóra a chur le dráma. Ba chóir gombeadh caighdeán an tsleachta oiriúnach don ghrád.

nó

Do rogha de na sliochtanna luáite a aithris:

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Soraidh Slán ‘Bhí an chéad.....do Chríost.’ Clíodhna Cussen lth 76/77(Coiscéim)

Artemis Fowl Do rogha sliocht gan dul thar Eoin Colfer (Máire Nic Mhaoláin) ceithre nóiméad(Puffin)

Eití Samhraidh ‘Bhí Bríd ar crith.....ag na Iarla Mac Aodh Bhuí dúchasaigh.’ lth 78/79(Coiscéim)

Cuairteoir ‘Fadhb ar bith... ar an úrlar dúinn’Áine Ní Ghlinn (Seán)(Cois Life)

Cuairteoir ‘Caithfimid cuid mhaith den lá...Áine Ní Ghlinn Ag snámh in aghaidh easa’ (Aisling)(Cois Life)

Aonad C: Mím



Roghnaigh ceithre chaibidil ó leabhar ar chaighdeán do chúrsa scoile agusroghnóidh an scrúdaitheoir sliocht le haithris duit.


Ba chóir go mbeadh tuiscint ag iarrthóir ar shaintréithe chonsain na Gaeilge,bundifríochtaí na gcanúintí Gaelacha chomh maith le béim an ghlóir. Tátharag súil go bhfuil tuiscint ar obair na ngrádanna go dtí seo.


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GRÁD 5

I roinn A agus B ní mór do na hiarrthóirí dhá shliocht a aithris. Tá ariarrthóirí rogha amháin dá chuid féin a chur i láthair faoi mar atá léirithethíos:

Rogha an Iarrthóra: Dán Rogha ón Siollabas: Dánnó

Rogha ón Siollabas: Prós/Drama Rogha an Iarrthóra:Prós/Dráma

Aonad A: Filíocht

Dán amháin as an liosta thíos:Mícheál Ó Ruairc Bliúanna Thráthnóna (RIAM Anthology)

dé hAoine S E Ó Cearbhaill Maidin Shamhraidh i (RIAM Anthology)

Nua Eabhrac Gabriel Rosenstock Uaireanta is Fear Bréige (any published edition)

Mé Mícheál Ó Ruairc Dia-Chéille (RIAM Anthology)Dónall O Colchúin Lá le Stiofáin (Gill and MacMillan)Déaglan Collinge Réiteóg Mharfach (Gill and MacMillan)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Séamus Ó Neill


Cuairteoir ‘Níl tuairim dá laghad agam... tá sé Áine Ní Ghlinn greanta ar d’aghaidh.’ (Seán)(Cois Life)

Aililiú Bop Siuaidí ‘Tá mé ag iarraidh bheith i mo Ruaidhrí Ó Báille dhoctúir.....féin aici.’(Cló Iar-Chonnachta) lth 28/29

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Teifeach ‘Lean Marika den siúl ...thit sí i laige’Pól Ó Muirí (Comhar)

Cuairteoir ‘Draíocht ... Sheas mé suas.’ (Aisling)Áine Ní Ghlinn(Cois Life)

Trasna na dTonnta ‘Bhí sé ag druidim le mean lae... iMícheál Ó Ruairc mbun Taighde.’(Comhar)

Aonad C : Mím

Do rogha gan dul thar nóiméad amháin.


Roghnaigh ceithre chaibidil ó leabhar ar chaighdeán do chúrsa scoile agusroghnóidh an scrúdaitheoir sliocht le haithris duit.


Ba chóir go mbeadh tuiscint ag iarrthóir ar shaintréithe chonsain na Gaeilge,bundifriochtaí na gcanúintí Gaelacha chomh maith le béim an ghlóir. Tátharag súil go bhfuil tuiscint ar obair na ngrádanna go dtí seo.


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GRÁD 6

I roinn A agus B ní mór do na hiarrthóirí dhá sliocht a aithris. Tá ar iarrthóirírogha amháin dá gcuid féin a chur i láthair faoi mar atá léirithe thíos:


Rogha ón Siollabas: Prós/Dráma Rogha an Iarrthóra:Prós/Dráma

Aonad A: Filíocht

Dán amháin as an liosta thíos:Biddy Jenkinson Éiceolaí (RIAM Anthology)Mícheál Ó hUanacháin Gan Tideal (Coiscéim)Colm Breathnach Stiurthóir Cóir (Coiscéim)Conleth Ellis Sa Stáisiún (Coiscéim) Rita Kelly Dán Grá (Arlen House)Seán Hutton Sráid Uí Chonaill I (RIAM Anthology)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Áine Ní Ghlinn

Aonad B: Prós/DrámaíochtAn Svaistíce Glas ‘Dhúisigh Kurt...an té a sceith orainn’

Liam Mac Uistín

(An Chéad Chló)

Teach na gColúr ‘Taím reidh, táim reidh ... cártaAisling Ní Leidhin & Liam Nollag fiú’Mac Amhlaigh

An Buille ‘Ar an nóiméad sin d’árdaigh.....agLiam Ó Flaithearta sileadh lena dhrad.’(Dúil le Liam Ó Flaithearta, Sáirseal & Dill)

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An Gnáthrud ‘Amuigh ar an tsráid agus ceo.....Deirdre Ní Ghrianna tobán beag curry lena chos.’ (‘Réaltra’ le Micheál Ó hOibicín lth 208/209 An Cló Ceilteach)

Ar Ais Arís ‘Tá mé ag obair.....i dtreo anMuireann Ní Bhrolcháin chairr.’ lth 20/21(Cló Iar-Chonnachta)

Aonad C: Mím



Léitheoireacht: gan ullmhú.

Aonad E: Comhrá, Litríocht na Gaeilge agus Teoiric

Táthar ag súil go mbeadh tuiscint níos iomláine ag an iarrthóir ar theoiric nangrádanna go dtí seo. Ina theannta sin beidh ceisteanna ar mhodhnú agus arathshonadas sa ghlóir. Beidh béim ar leith ar Fhilíocht an Ghrá idir DhántaGrá agus Amhráin Grá chomh maith leis an Aisling Phoilitúil, An Caoineadhagus na príomh nósanna a ghabhann leo.

GRÁD 7

I roinn A agus B ní mór do na hiarraithóirí dhá shliocht a aithris, Ní mór dona hiarraithóirí rogha amháin dá gcuid fein a chur i láthair faoi mar atámínithe thíos:




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Aonad A: Filíocht

Dán amháin as an liosta thíos:Biddy Jenkinson Aubade (RIAM Anthology)Nuala Ní Dhomhnaill Leaba Shíoda (Coiscéim)Pearse Hutchinson Litir Folamh (Coiscéim)Dolores Stuart Prométheus sa Bhearna (Arlen House)S E Ó Cearbhaill Ellis Island (RIAM Anthology)Deirdre Brennan Sealbhóirí (Coiscéim) Nó do rogha dáin, ar an gcaighdeán céanna, ó Nuala Ní Dhomhnaill

Aonad B: Prós / Drámaíocht

In Ainm an Athar Do rogha sliocht gan dul thar cúig Ríona Nic Congáil nóiméad(I Divas, 2005 - Arlen House)

Consortium Mulierum ‘D’oscail Bréanainn leathshúil ... aBiddy Jenkinson mhalairt’(Cló Iar-Chonnachta)

Na Trí Chliche Do rogha sliocht gan dul thar cúig Séamas Mac Annaidh nóiméad(Cló Iar-Chonnachta)

Iníon Mhaor an Uachta ‘A Mhuire na ngrást.....na Cásca.’Breandán Ó Doibhlín Radharc 6, lth 33/34(Coiscéim)

Caoineadh Airt Uí Laoghaire Eibhlín Dubh línte 151-194 san (Clóchomhar) áireamh

Cúirt An Mheán Oíche ‘Dar coróin na carraige.....ganBrian Merriman bhiogadh.’ líne 683 i leith(Clóchomhar)

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Discó Dé ‘Braithim go gcaithfidh mé scrian...Séamas Mac Annaidh cad é an slionne a bhí air.’(Coiscéim)

Dís ‘Sheáin ...cad a déarfá?’Siobhán Ní Shuilleabháin(Arlen House)

Aonad C: Mím

Do rogha gan dul thar dhá nóiméad.


Sliocht (gan ullmhú) as dán, dráma nó leabhar próis a aithris.


Bheifeá ag súil go mbeadh tuiscuint níos iomláine ag an iarrthóir ar theoiricna ngrádanna go dtí seo. Ina dteannta sin beidh ceisteanna ar mhodhnú agusathshonadas sa ghlór. Beidh béim ar leith ar Fhilíocht an Ghrá idir DhántaGrá agus Amhráin Grá chomh maith leis an Aisling Phoilitúil, An Caoineadhagus na príomh nósanna a ghabhadh leo.


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GRÁD 8

I roinn A agus B ní mór d'iarrthóirí dhá shliocht a aithris. Tá ar iarrthóirírogha amháin dá chuid féin a chur i láthair faoi mar atá leirithe thíos:



Aonad A: Filíocht

Dán amháin as an liosta thíos:Caitlín Maude Concerto (Coiscéim)Celia de Fréine Morning Ireland (Arlen House)Séan Ó Curraoin An Portán (Coiscéim)Seán Ó Leochain An Carbadóir (Coiscéim)Bríd Ní Mhóráin Ag dul ón tobar arís (Cló Iar-Chonnachta)Mícheál Davitt An Scathán (Cló Iar-Chonnachta)


Geiniseas ‘Tann tú ansanPádraig Ó Cíobháin i Paddington...Tagann(Gearrscéalta ár Linne, tú go dtí an cúntar.’Cló Iar-Connachta)

Tagann Godot Progastaron: ‘Go hiontach thar aAlan Titley bhfaca mé.....Cad a deir tú ha?’ (An Clóchomhar) lth 28

O Dialann Chaoimhe Do rogha sliocht gan dul thar tríMuireann Ní Bhrolcháin nóiméad(I Divas, 2005 - Arlen House)

77 Sráid Hume Nurse Cadden: ‘Kelly Ha!.....SráidSíle Ní Bhroin na Faiche.’ lth 73(Práta)

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77 Sráid Hume O Carthy: ‘An Mhóráltaíocht.....goSíle Ní Bhroin dtéann im ghlaic agam.’ lth 92/93(Práta)

Beag agus Mór ‘Is mise an stiúrthóir scannán...sin a Daithí Ó Muirí cheap mé sin a cheap.’(Gearrscéalta ár Linne,Cló Iar-Chonnachta)

Tuige Mise ‘Tá tú í a phosadh mar sin...rachaidh Tina Nic Einrí mé isteach arís.’(I Divas, 2005 - Arlen House)

Aonad C: Mím

Do rogha gan dul thar trí nóiméad.


Léitheoireacht: gan ullmhú.


Mar atá luaite i siollabas na ngrádanna go dtí seo chomh maith le ceisteannaar Úrscealaíocht agus ar Ghearrscéalaíocht sa Ghaeilge agus tuiscint ar Ré nahAthbheochana. Táthar ag súil go mbeadh eolas ag an iarrthóir faoiphriomhthréithe na scribhneoirí nua-aimseartha agus gluaiseacht na Nua-Litríochta.


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TEASTAS SÍNSEARACH

Ní mór dona h-iarraitheoirí a rogha dán, sliocht próis AGUS dráma aaithris roghnaithe ón liosta thíos. Ní ceadófar sliocht a roghnú ó siollabaisna ngrádanna go dtí seo.

Filíocht

Nuala Ní Dhomhnaill, Michael Davitt, Biddy Jenkinson, Deirdre Brennan,Séan Ó Ríordain, Cathal Ó Searcaigh.

Prós

Liam Ó Flaithearta, Deirdre Ní Ghrianna, Padraig Ó Conaire, Nollaig MacCongail, Anna Heussaff, Mícheál Ó Ruairc.

Dramaíocht

John B Keane, Martin McDonagh, Henrik Ibsen, J M Synge, Breandán ÓBeacháin, Tennessee Williams (Aistriúcháin de shaothair na húdair uiligar fáil ó Comhlachas Náisiúnta Drámaíochta).Aonad C: Mím

Do rogha gan dul thar trí nóiméad.


Léitheoireacht próis/dráma agus filíochta gan ullmhú.


Ceisteanna faoina sliochtanna roghnaithe agus bheifeá ag siúl le heolascuimsítheach ar na húdair roghnaithe

Cór-Reachtaireacht 123

CÓR-REACHTAIREACHT

Ní cheadófar níos lú ná deichniúr ná níos mó ná tríocha (nó mar sin) abheith sa chór. Caithfear gach chór dhá shliocht éagsula a aithris ó nadréachtanna sa liosta luaite thíos agus dréacht ina dteannta sin.

Roinnfear na marcanna mar seo a leanas:

Teicníocht 50 marcFoghraíochtForbairt gutha agus tónModhnú, análú agus glór smachtSioncróineacht

Ealaíontacht 50 marcLéiriú agus tréithriúComhordánaidRithim, luas agus mír-roinntAghaidh-dreach agus éifeacht

GRÁD ULLMHÚCHÁIN

Pádraig Mac Concoille An Clog (Folens) Treasa Ní Ailpín Tá an Ghealach ina Suí (An Gúm)Treasa Ní Ailpín Cogar Beag ón nGaoth (An Gúm)Ní fios cé cum Cois Trá (Gill and Macmillan)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Máiréad Nic Con Iomairenó Treasa Ní Ailpin


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BUNGHRÁD

An tSiúr Colmcille Gaoth an Fhómhair (RIAM Anthology)An tSiúr Colmcille An dTiocfaidh tú Liom? (An Gúm)Ní fios cé cum Rince Rince Rince (Futa Fada Féasóg)Ní fios cé cum Seo chugainn an stoirm (Futa Fada Féasóg)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Gabriel Rosenstock

NA SOISIR

Colm Mac Lochlainn Chuala mé an Ghaoth (RIAM Anthology) Liam Ó Flaithearta Na Blátha Craige (RIAM Anthology) Gabriel Rosenstock Smugairle Roin (Cló Ian-Chonnachta) Colm Mac Lochlainn Siopadóireacht (RIAM Anthology)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Eamonn Ó Riordáin nó Joe SteveÓ Neachtáin

AN MHEÁN GHRÁD

Seán Ó hEanaigh Ag Éisteacht leis an (RIAM Anthology)Raidió

Mícheál Ó hUanacháin Tios ar an Dart (Coiscéim)Dónall Ó Colchúin Lá Lúnasa i Londain (An Cló Ceilteach)Conleth Ellis Sa Stáisiún (Coiscéim)Maidhc Ó Sé Cuairt ar an gCathair (An Gúm)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Collette Ní Aodha nó GabrielRosenstock

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NA SINSIR

Tomás Mac Siomóin As Achadh Mhoirnin (Coiscéim)Mícheál Ó hUanacháin Siorcas an tSamhraidh (Coiscéim)Mícheál Mac Liammóir An Laoch (An Gúm) Deirdre Brennan An Tobar (Coiscéim)Séamus Ó Ceileachair Uaigneas (Coiscéim)

Nó do rogha dáin, ar an gcaighdeán céanna, ó Liam Hodder nó Seán ÓLeacháin


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ÓRÁIDAÍOCHT

NA SOISIR

Aonad A:

Caithfidh iarrthóirí óráid a ullmhú idir trí agus cúig nóiméad.Ba chóir go mbeadh téama na h-óráide seo bunaithe ar ghnéithear leith i dtaithí an iarrthóra cosúil leis ‘an leabhar is fearrliom’ nó ‘an t-ábhar spéise is mó dom’. 50 marc

Aonad B:

Dréacht Próis neamhullamh a léamh. 30 marc

Aonad C:

Ceisteanna a fhreagairt ar scileanna óráidaíochta, stad, frásaíocht agus béim an ghutha. 20 marc

AN MHEÁN GHRÁD

Aonad A

Ag baint úsáid as uirleislí oiriúnacha eagsúla, caithfidh an t-iarrthóir óráid a thabhairt ar ábhair a bhaineann le ré stairiúilfaoi leith nó ócáid spóirtiúil. 50 marc

Aonad B

Dréacht próis a léamh gan ullmhú. Príomhphointí an phíosa a aimsiú agus a mhíniú don scrúdaitheoir. 30 marc

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Aonad C

Ceisteanna agus comhrá bunaithe ar A agus B. Beidh ceisteannaar análú, modhnlú agus béim chomh maith le na hábhair ar an gcúrsa sóisearach. 20 marc

NA SINSIR

Aonad A

Ba chóir don iarrthóir suíomh a chruthú don óráid sa ghrád seo agus an óráid a dhíriú ar an lucht éisteachta áirithe seo. Is féidir fearas a úsáid a bheadh oiriúnach don téama agus suíomh na cainte. 30 Marc

Aonad B

Dréacht próis a léamh gan ullmhú. 20 Marc

Aonad C

Óráid a tabhairt ar ábhar ó liosta a bheidh ar fáil ón scrúdaitheoirleath uair roimh an scrúdú. Ní féidir cabhair nó comhairle a fháil i réiteach na píosa cainte seo. 30 Marc

Aonad D

Cómhrá leis an scrúdaitheoir faoin óráidaíocht chomh maith le ceisteanna faoi leith ar ghutaí, ar chonsain agus ar fhograíochtna Gaeilge. Ba chóir go mbeadh tuiscint níos iomláine ag aniarrthóir ar na hábair luaite sna grádanna go dtí seo. 20 Marc


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Theory Guidelines

How many times have students asked teachers ‘what theory questions willI be asked at the examination?’ This is an impossible question for a teacherto answer because each examiner has his/her own particular way of engagingwith students to see what they know. Indeed, some students have come intoexamination room and said to the Examiner ‘Here’s my poem, my drama, mymime, my book for reading and my theory!! It doesn’t quite work like that!

First of all, let me assure everyone, that we at the Academy do not strive tofind out what students do not know but rather what they do know. Werealise that every teacher has his/her own particular method of teachingtheory and making notes for students but because we, at the Royal IrishAcademy of Music, have often been asked for guidelines on theoryrequirements for Speech & Drama examinations, we have put forward thefollowing suggestions that we hope will be of some use to teachers andstudents.

First of all some general points:

Questions

Examiners do not have a prepared list of questions for each candidate. It isthe candidate’s work and performance that propels the questions. Forexample, if a candidate speaks far too quickly, the examiner may talk to herabout the value of pause or if an older candidate performs without muchvocal variety, the examiner may talk to her about Modulation.

Theory from previous grades

Candidates are sometimes surprised when asked theory from earlier grades.This is clearly stated in the syllabus and is particularly important toremember with senior grades when an Examiner is entitled to go back andask questions from previous grades – again the individual performance willpropel the questions. Grade 3 students might also be asked about the use ofPause in Prose (Grade 1) and Phrasing (Grade 2) because they are still at theearly stages of ‘Reading Aloud’ where all these elements are especiallyimportant.

Theory Guidelines 2019

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The Waiting Room

Very often when a candidate leaves the examination room, we hear a chorus of ‘what did she ask you’? This sometimes causes alarm in the waitingarea. Remember that Examiners do not necessarily ask the same questionsfor every candidate of a particular grade.

Kindergarten, Preliminary and Primary Grades

Discussion on the work presented, to test understanding and developcommunication and language skills.

In these early grades we are keen to engage the candidate – who may bequite young – in conversation. Often we ask what they like about the piecesthey have performed or if they had to draw a picture of the poem to describewhat they would draw. We are looking for eye contact in conversation. Theyare also expected to understand the meaning of words within the pieces andexaminers look for an exchange of ideas in discussion.

Grade 1

To discuss the selections spoken and have a knowledge and understandingof the use of Pause in Prose.

Candidates need to know what pauses are used when speaking prose andwhy we use them. In this area, some students offer only punctuation pause. It is important to understand why we use Pause of Emphasis and theDramatic Pause also.

Grade 2

To discuss the selections spoken and have an understanding of the Pauses inProse and Phrasing.

Students need a good definition of phrasing eg – Phrasing is the groupingtogether of words and phrases in order to create sense and interest in speech. Atypical question here might be ‘What is a phrase’? Or ‘Why do we phrase’ or ‘Isa phrase the same as a sentence’. It is important to remember that phrasing mustmake sense. Very often students relate phrasing to their story or prose


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extract but fail to see the importance of phrasing in verse speaking. We willalso recap on the Pauses in Prose for Grade 2.

Grade 3

To answer questions on the use of Pause in Prose, Phrasing, AND the use ofthe Suspensive Pause in Verse.

In grade 3 we recap on the pauses in Prose from Grade 1, Phrasing in Grade2 and add the use of the Suspensive Pause in verse speaking. This is a veryimportant here because it introduces the students to run-on-lines and teachesthem about flow and the shape of the poem. They should be aware ofenjambment and be able to point out a run-on-line should they come uponone in their verse speaking. It is important that the students understandshow this pause is achieved technically.

Grade 4

To discuss the selections spoken and answer questions on the Means ofAchieving Emphasis (including Inflection), to name the Articulative Organs,the Classification of Vowel Sounds and the Specific Organs used in theirformation and all subjects dealt with in previous grades.

Students need to be aware of the various means of achieving Emphasis – andnot just reel off a list without any understanding. Very often here studentsdo not include Inflection. It must be remembered that Inflection is the mostsubtle form of Emphasis. There is also a belief among some students thatEmphasis and Stress is the same thing.

With regard to Vowel Sounds, we suggest students begin with a definition– What is a Vowel? This is a good starting point. It helps focus the candidate. Students should be familiar with all the Organs of Articulation andunderstand they role they play in making vowel sounds. There will besimple questions here eg what is the vowel sound in the word ‘pool’. This mightbe followed with the questions - 'what organs of articulation are used in makingthis sound'? And 'is this a long or a short sound'? Candidates should know thedifference between a Monothong, A Diphthong and a Triphthong and to be


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able to give examples of each. It is also important to remember the value ofvowel sounds to the speaking voice for flow and musicality of language.

Grade 5

In this grade we ask students to choose for the first time the full text and thebackground of ONE the authors. Students are very keen to tell you all theyknow about the background of their chosen author but when posed with thequestion ‘What do you think the writer will be remembered for? Inevitably theanswer is correctly given ‘the writer’s canon of work’. Students need to beaware of this when studying their chosen author. A certain amount ofbiographical information is indeed necessary but examiners want to knowwhat you have read by the same author and what else the author has written. Very often in the case of a chosen poet, candidates can only offer the poemthat they are presenting. But this is a given! If you choose a poet, you mustbe familiar with a couple of other poems and to offer an opinion on them.Likewise with the playwright/prose writer – it is important to know of theother works and offer an opinion. If you choose a contemporary writermakes sure you are up to date with his/her latest literary output.

To discuss the selections spoken, the literary background to chosen author,to answer questions on Breath Control, Relaxation and Posture and allsubjects dealt with in previous grades.

Before we begin to think about Breath Control, we need to be familiar withthe Respiratory Organs. We find here that students are very confident abouttelling us the correct method of breathing and how we inhale and exhale butwhen the question is posed ‘how is the outgoing breath controlled’ wesometimes come up against a blank. It is necessary to be familiar with themuscles that are used and the role they play in controlling the outgoing air.

Relaxation is a very necessary component of any performance so it isespecially important to know how to relax. Examiners may ask individuals(especially those of you that appear tense) ‘how do you relax’. It’s a good ideato have an exercise or two that you can share with the examiner.


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Students need to be familiar with correct posture from head to toe. Veryoften students stand in a very casual fashion while performing – the weightof the body resting on one foot only and not distributed evenly between bothfeet. Others clench hands or hold head in an awkward position and all thiscontributes to tension.

We now move on to the Senior Grades of our Syllabus and at this level weexpect a more detailed response to a theoretical discussion and hope thatstudents will be able to apply the theory to the work.

Grade 6

To discuss the selections, literary background of chosen author, to answerquestions on Resonance and the classification of Consonant Sounds and theorgans of articulation used in their formation and all subjects dealt with inprevious grades.

Again, it is a good idea to begin with a definition of Resonance. Resonanceapplies to the initial sound made in the larynx and should not be confusedwith volume. Students should be aware of the resonators and understandhow a balanced Resonance can be acquired. It is a good idea to have anexercise or two to enhance understanding.

As with Vowel Sounds, candidates will be expected to define a consonantand, at this level, may be asked what is the difference in making a vowelsound and making a consonant sound. An examiner may ask for a consonantsound make with the lips. Here students often answer the letter ‘p’ or theword ‘pan’ – a clearer response would be ‘puh’ as in ‘pan’. Again, you needto be familiar with the different types of consonants and the role played bythe organs of articulation in making these sounds. Give some thought to thevalue of Consonant Sounds in giving ‘bite’ and ‘attack’ to the speaking voice.


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Grade 7

To discuss the selections, literary background of chosen author, the structureand speaking of Sonnet Forms – giving examples of each kind, Modulation,the Neutral Vowel and all subjects dealt with in previous grades.

Regarding Sonnets, it is necessary to understand the main sonnet forms, therhyme scheme and form employed and to be able to give examples of eachkind. The form is a much disciplined one - a mere fourteen lines and thespeaker must be aware of the importance of grasping the mood of the piecewith controlled speaking so as to avoid any tendency to dramatise theemotion expressed.

Modulation is the artistic management of the voice through Inflection, Pitch,Pace, Volume, Emphasis, Pause and Tone Quality. Students need to be awareof all these ‘changes’ within the voice and to be able to explain them.

Students need to clarify the Neutral Vowel, know why it is important andgive guidelines for its use.

Grade 8

To discuss the selections, the literary background of chosen author, the MainForms of English Verse – including Blank Verse - in structure and deliveryand to give examples of each kind. To discuss metre and rhythm, the use ofpause in verse and explain such terms as assonance, alliteration,personification metaphor, imagery etc and all subjects dealt with in previousgrades. Students are usually confident about the main forms of English verse and canoffer information about the lyric, the ode, the ballad, Free Verse, etc. butthere is often a hesitation when it comes to how we approach the speakingof the different types. Think back to when you had to study Sonnet formsand how important shape and form was to the delivery. It is vital tounderstand the form and shape the sonnet takes because the verse line helpsthe speaker to shape and clarify thoughts. Think about the language the poetemploys and the use of imagery, assonance, alliteration etc. If, for exampleyou are speaking a ballad, you must be aware of the ballad metre which


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helps drive the story and give ‘movement’ to the verse. When speaking aballad you need to be able to make the written words visible with vocalcolour. Again, it is always preferable to have an example of each type ofverse to help clarify your understanding.

Blank Verse seems to pose difficulties for many students. A definition hereof ‘unrhymed Iambic Pentameter – five feet in a line, with two syllables ineach foot – an unstressed followed by a stressed’ is generally well known butfor many that is where the knowledge ends. Portia’s celebrated line in TheMerchant of Venice ‘The quality of mercy is not strained’ is perfectly regular butif you think of Hamlet’s equally famous line ‘To be or not to be, that is thequestion’ and you soon realise it doesn’t quite fit into the definition above. Itis important to remember that Blank Verse is not always regular – if it wasthe verse would be dull and monotonous. Sometimes Shakespeare adds anextra light syllable on to the end of the line, or turns a foot upside down orreplaces one foot with another and all these variations should be understoodand explained. One of the most important aspects of speaking Blank Verse(and this is very often forgotten by many students) is the use of theSuspensive, Caesural and Metrical pauses. These pauses not only give shapeand flow to the verse but provide moments of inhalation and can be used toconvey meaning and produce the necessary dramatic effect.

Students need to be aware that Blank Verse is also used in poetic form andhave some knowledge of writers such as Milton and Wordsworth and theirenormous output in Blank Verse with poems like Paradise Lost and ThePrelude.


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Senior Certificate Written Paper

When students come to Senior Certificate level they will have an opportunityto answer theory questions in written form for the first time. This is veryuseful for students who wish to continue with their studies at a later stageand work towards Diploma level.

The questions will focus on an in depth knowledge of theory from grades 1-8, the classification of vowels and consonants, the neutral vowel, thespeaking of Verse and Prose selections in form, structure and artistry, thedevelopment of Character for Performance, the value of Mime andImprovisation, research on chosen poet, author and playwright andknowledge of at least two contrasting plays by Shakespeare.

Answers will be expected to be of reasonable length, well written andcontaining a more detailed response than previously given in oralexaminations. Again, examples always help clarify your ideas. For those ofyou who wish to sit this examination, past papers are available to purchasefrom the Exams Office.

Finally, theory should always work hand in hand with performance duringthe preparation process where students can see and experience theconnection between technique and performance. We at the Royal IrishAcademy want students to enjoy the examination experience, to feel relaxedso as to give their best and to engage and share with the Examiner. TheSpeech & Drama syllabus offers a wide range of work to choose from and thetheory section is only a small part of the whole.


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Suggested Reading List

1. Speech & Drama Handbook – Anne Jones & Robert Cheeseman. Pub:

Dramatic Lines – available through Internet or direct from

Publishers.

2. Effective Communication – John Caputo, Jo Palosaari & Ken Pickering

Pub: Dramatic Lines – available through Internet or direct from

Publishers.

3. Speak Up by Sr M Leonie – an Australian Publication available online

4. Sound & Sense by Wilton Cole – out of print but may be available to

purchase second-hand online.

5. A Guide to Practical Speech Training by Gordon Luck – out of print but

may be available to buy second hand on Internet.

6. Voice and Speech in the Theatre by J Clifford Turner Pub: Methuen

Drama.

7. Voice and the Actor by Cecily Berry Pub: Virgin Books.

8. The Actor and the Text by Constantin Stanislavsky Pub: Methuen

Drama.

9. An Actor Prepares by Constantin Stanislavsky Pub: Methuen Drama.

10. Creating a Role by Constantin Stanislavsky Pub: Methuen Drama.

11. Building a Character by Constantin Stanislavsky Pub: Methuen

Drama.

12. The Actor Speaks by Patsy Rodenburg Pub: Methuen Drama.

13. Speaking Shakespeare by Patsy Rodenburg Pub: Methuen.

Suggested Reading List 2019

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14. Shakespeare’s Advice to the Players by Peter Hall Pub: Oberan Books

Ltd.

15. Concise Oxford Dictionary of Literary Terms compiled by Chris Baldick

Pub: Oxford University Press.

16. Read me Poetry Anthologies Pub: Macmillan.

17. The Works Poetry Anthologies Pub: Macmillan.

18. Audition Speeches for 6-16 year olds chosen by Jean Marlow Pub: A &

C Black.

19. Audition Speeches for Young Actors 16+ edited bv Jean Marlow Pub: A

& C Black.

20. The Methuen Audition Book for Young Actors edited by Anne Harvey

Pub: Samuel French.

21. Solo Scenes for Young Players chosen by Anne Harvey Pub: Samuel

French.

22. Contemporary Irish Monologues edited by Jim Culleton & Clodagh

O’Donoghue Pub: New Island Books - out of print but may be

available to purchase second hand.

All books listed in this syllabus are available either new or second hand fromthe following online shops:

The Book Depository at URL: http://www.bookdepository.com

Amazon at URL: http://www.amazon.co.uk/

ABE Books at URL: http://www.abebooks.co.uk


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Compilers

Speech & Drama Ms Audrey Behan (former Senior Examiner)Ms Anna Walker (Senior Examiner)

Recital Certificate Programme Ms Audrey Behan

Reading Prose & Poetry Ms Anna Walker

Solo Verse Speaking Ms Anna Walker

Creative Performance Ms Eily Kilgannon (Examiner)

Solo Acting Ms Audrey Behan

Duologue Acting Ms Audrey Behan

Group Drama Ms Anna Walker

Stage School Performance Ms Audrey Behan

Choral Verse Speaking Ms Audrey Behan

Public Speaking Ms Margaret Turley

Oral Communication & Ms Margaret TurleyPerformance

Interview Techniques Ms Michelle Nolan O’Driscoll (Examiner)

English as a Second Language Ms Margaret Turley (former Senior Examiner)

Irish Section Dr Gerry Mac Ruairc (Examiner)

Library Services Mr Philip Shields (RIAM Librarian)

Project Co-ordinator Ms Theresa Doyle

syllabus of drama & communication examinations … · from ‘declamation and deportment’, to...

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