Acting and Speaking Syllabus, 2nd Edition

8/3/2019 Acting and Speaking Syllabus, 2nd Edition

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Trinity Guildhall89 Albert EmbankmentLondon SE1 7TP UK

T +44 (0)20 7820 6100F +44 (0)20 7820 6161E [email protected]

Patron HRH The Duke o Kent KG

Executive Director & Head o Academic Governance (Perorming & Creative Arts)Mark Stringer GMusRNCM(Hons) FTCL ARCM ARCO(CHM) PGCE HonLRSL FRSA

Chie Examiner in Drama & Speech SubjectsJohn Gardyne MA BA(Hons) Dip Theatre Studies

Copyright 2009 Trinity College LondonPublished by Trinity College LondonSecond edition, December 2010

Acting and SpeakingGraded Examinations, Perormance Certicates

Syllabus rom 2010


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Trinity Guildhall examinations are oered and delivered by Trinity College London, the international

examinations board.

Trinity College London is an awarding body recognised in the United Kingdom by the Oce o Qualicationsand Examinations Regulation (Oqual) in England, the Welsh Assembly Government (WAG) and the Northern

Ireland Council or Curriculum, Examinations and Assessment (CCEA). Trinitys qualications are accredited by

these authorities within the Qualications Framework. Various arrangements are in place with governmental

education authorities worldwide.


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Contents

Contents

Foreword...............................................................................................................................................................................................................................................................................................................4

Overview..............................................................................................................................................................................................................................................................................................................5

Acting and Speaking ........................................................................................................................................................................................................................................................9

Introduction to Acting and Speaking subjects..........................................................................................................................................................10

A note on language.......................................................................................................................................................................................................................................................10

Learning outcomes and assessment criteria .........................................................................................................................................................11

Attainment descriptors or Acting and Speaking .................................................................................................................................................12

Guidance on selecting material or perormance................................................................................................................................................13

Solo examinations Introduction...........................................................................................................................................................................................14

Guidance or candidates on solo examinations..............................................................................................................................................15

Speech and Drama (solo) (InitialGrade 8)....................................................................................................................................................................18

Perorming Text (solo) (InitialGrade 8)............................................................................................................................................................................20

Individual Acting Skills (solo) (Grades 18).....................................................................................................................................................................22

Shakespeare (solo) (Grades 18)........................................................................................................................................................................................................24

Pair examinations Introduction ..........................................................................................................................................................................................26

Guidance or candidates on pair examinations .............................................................................................................................................27

Acting in Pairs (Grades 18).......................................................................................................................................................................................................................28

Shakespeare in Pairs (Grades 18)................................................................................................................................................................................................30

Group examinations Introduction ...................................................................................................................................................................................32

Guidance or candidates on group examinations......................................................................................................................................33Group Drama Devised (InitialGrade 8) ......................................................................................................................................................................34

Group Drama Scripts (Grades 38) ......................................................................................................................................................................................35

Group Drama Shakespeare (Grades 38).................................................................................................................................................................36

Choral Speaking (Grades 18) .................................................................................................................................................................................................................37

Plays in Production (Grades 18).....................................................................................................................................................................................................38

Perormance Certicates .............................................................................................................................................................................................................................39

Young Perormers Certicates ................................................................................................................................................................................................................41

Perormance Certicates .................................................................................................................................................................................................................................42

Options or urther study.............................................................................................................................................................................................................................44Perorming ..................................................................................................................................................................................................................................................................................44

Teaching and Education Studies ........................................................................................................................................................................................................45

Directing...........................................................................................................................................................................................................................................................................................47

Appendices

Appendix 1 Inormation and regulations............................................................................................................................................................48

Appendix 2 Health and saety guidelines ...........................................................................................................................................................53

Appendix 3 Acting and Speaking Changes rom 2006 syllabus ................................................................54


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4

Foreword

ForewordIt gives me great pleasure to introduce the new Trinity Guildhall syllabuses or Grade and Certicate

qualications in Drama & Speech subjects, applicable to all examinations rom 1 January 2010.

I am condent that no other awarding body in the world oers such breadth o choice or students and

teachers o the perorming arts at all levels o experience and ability.

Such is the range o study options now available, Grade, Certicate and Diploma qualications are now

presented in six separate publications as ollows:

w Young Perormers Certicates

w Grade and Certicate Examinations in Acting and Speaking (this syllabus)

w Grade and Certicate Examinations in Musical Theatre and Perormance Arts

w Grade and Certicate Examinations in Communication Skills

w Diplomas in Drama & Speech Subjects

wSpeech Communication Arts (limited availability).

It is a measure o the academic rigour and integrity o our qualications that the learning outcomes,

assessment criteria and attainment descriptors that have applied over the last ve years remain

virtually unchanged.

In reviewing the requirements or examinations we have, however, made various changes to those in

the previous edition o the syllabus and a summary o these can be ound in Appendix 3. Changes have

been made with the intention o oering candidates additional opportunities to develop, display and

integrate their skills, knowledge and understanding in their chosen eld o study.

I sincerely hope that teachers and students alike will nd the exploration o our syllabuses a stimulating,

challenging and educative activity in itsel, and that it will provide a practical and inspirational ramework

or creative learning and teaching. The standards and expectations are high but the rewards in terms o

satisaction and personal development are considerable.Copies o all syllabuses listed above and additional guidance and inormation can be downloaded

rom our website www.trinityguildhall.co.uk/drama. While preparing or examinations, teachers and

candidates are encouraged to visit the website regularly and to share ideas, opinions and experiences

with others worldwide via the orum acility.

I wish you well in your endeavours.

John Gardyne MA BA(Hons) Dip Theatre Studies

Chie Examiner in Drama & Speech Subjects


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5

Overview

OverviewAll Trinity Guildhall Grade examinations in Drama & Speech subjects or individuals and pairs are

accredited in England, Wales and Northern Ireland by Oqual, WAG and CCEA respectively and also

have recognition in a number o other countries.

Examinations are categorised at three attainment levels which are benchmarked as ollows to the

Levels o the National Qualications Framework (NQF)* in England, Wales and Northern Ireland:

w Foundation (Grades 13) Level 1

w Intermediate (Grades 45) Level 2

w Advanced (Grades 68) Level 3.

Grades 13 typically relate to work at a standard comparable to that done in the UK in primary schools

and the initial years o secondary schools, depending on the learner.

Grades 45 typically relate to work at a standard comparable to that done in the UK in secondary

schools by students aged approximately 1215 in preparation or relevant GCSE examinations.

Grades 68 typically relate to work at a standard comparable to that done in the UK in secondary schools

by students aged approximately 1518 working towards relevant A level examinations in preparation or

higher education study in the perorming arts.

In the UK, solo and pair Grade examinations accredited at Level 3 o the NQF carry points or university

entry on the UCAS tari system.

While there are no minimum age limits imposed or entry at any grade, teachers should ensure that

potential candidates have achieved an appropriate level o physical, vocal, emotional and intellectual

maturity to meet the published learning outcomes and assessment criteria or the relevant attainment

band prior to registration or examination.

While candidates may enter at any grade they choose, the syllabus is designed to provide a structured

ramework or progressive development o skills over time. Some suggested study pathways areillustrated in the diagram overlea.

* The NQF is being superseded by the Qualications and Credit Framework (QCF) during 2010/11. Trinity GuildhallGraded examinations are included within this new Framework.


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6

Overview

Young PerormersCertifcate

BronzeSilverGold

Initial

Initial

Musical Theatre

Grades 13

Musical Theatre

Grades 45

FoundationPerormanceCertifcate

Perormance Arts

Grades 13

Perormance Arts

Grades 45

CommunicationSkills

Grades 13

CommunicationSkills

Grades 45

Acting andSpeaking subjects

Grades 45

NQF Entry Level

Acting and Speaking

(this syllabus)

NQF Level 1 NQF Level 2

Communication Skills

Musical Theatre/Perormance Arts

Some suggested study pathways


Grades 13


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Overview

Musical Theatre

Grades 68

IntermediatePerormanceCertifcate

AdvancedPerormanceCertifcate

ProessionalCertifcate inCommunication

Skills

Perormance Arts

Grades 68

CommunicationSkills

Grades 68

Diplomas:

Public SpeakingTeaching


Grades 68

Diplomas:

TeachingPerormingDirecting

Diplomas:

TeachingPerormingDirecting

NQF Level 3 NQF Levels 47


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A

cting

andSpeak

ing


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Introduction toActing and Speaking subjects

Trinity Guildhall Grade examinations are designed to encourage candidates rom all countries andcultures to engage with as wide a variety o perormance activities and materials as possible while

developing their skills within an integrated ramework o assessment.

The range o study options available both in this Acting and Speaking syllabus and in the related

Drama & Speech subject syllabuses refect the many and varied contexts and cultures in which

candidates experience, rehearse and perorm dierent types o material.

Examinations may be taken by individuals, by pairs or by groups o three or more. There is no

maximum group size.

All examinations oer candidates opportunities to demonstrate perormance skills appropriate to

their individual interests and aspirations.

Candidates or solo and pair examinations additionally undertake various tasks that enable them

to display supporting skills such as sight reading, story-telling and improvisation.

Candidates also engage with the examiner in conversation/discussion in order to display their

knowledge and understanding both o repertoire and o the range o techniques that may be employed

or eective and engaging perormance.

Within the specic requirements o the syllabus, the choice o repertoire and perormance pieces is

entirely the candidates own.

There are no prerequisites or any o these examinations. Candidates may enter examinations at

whatever grade they wish and it is hoped that they and their teachers will be encouraged to explore

the opportunities oered across the whole range o syllabuses.

A note on languageExaminations are conducted in English.

It is accepted that candidates rom many parts o the world with English as a second or oreign

language may have distinctive eatures o pronunciation, grammar and/or vocabulary which conorm

to the model prevalent in their own linguistic or cultural group.

There is no requirement or candidates to conorm linguistically to all eatures o British Standard

English or Received Pronunciation. However, candidates oral communication must be rooted in an

internationally accepted model o English which does not impose diculty o comprehension or

undue strain or the listener.

Introduction


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Learning outcomes andassessment criteria

Foundation (Grades 13, NQF Level 1)

Learning outcomes

The learner will:

Assessment criteria

The learner can:

1. employ appropriate physical and vocalresources to engage the audiencethrough perormance

1.1 produce a perormance which demonstrates understandingand thoughtul interpretation with a ree and fuent delivery,a sense o spontaneity, and conscious awareness o audience,sustaining these qualities to the end

1.2 perorm rom memory, audibly and clearly and mostlyaccurately

2. respond to the quality, orm and contento the material being presented

2. demonstrate creative engagement with the materials andcareul preparation

3. adopt and sustain a role using spacecreatively and eectively

3.1 create and convey mood (e.g. humour, ear) throughvariations in volume, pace and pitch

3.2 make appropriate use o body and space to complementvocal perormance

Intermediate (Grades 45, NQF Level 2)

Learning outcomes

The learner will:

Assessment criteria

The learner can:

1. employ appropriate physical andvocal resources to engage theaudience through an imaginativeand sustained perormance

1.1 demonstrate a personal and imaginative interpretation inwhich there is reasonably consistent application o developingtechnical skills

1.2 perorm in an audible and clear manner with appropriate

articulation (e.g. volume, pitch, pace, rhythm, style, dynamics)leading to a secure, accurate and sustained perormance,which also conveys a sense o spontaneity

2. respond sensitively to the quality,orm and content o the materialbeing presented

2.1 support intentions in perormance by demonstrating a soundunderstanding o material

2.2 show clear evidence o sensitivity to and considerable controlo the material, which is grounded in eective preparation

3. adopt and sustain a role usingspace creatively and eectively toenhance meaning

3.1 communicate shades o meaning and contrasts, or example,o characterisation and mood

3.2 combine the use o voice, body and space eectively to enhancemeaning and interpretation and to engage the audience

Advanced (Grades 68, NQF Level 3)

Learning outcomes

The learner will:

Assessment criteria

The learner can:

1. employ appropriate integrated physicaland vocal resources to engage theaudience in a perormance which showsa sense o ownership

1.1 perorm with condence, clarity and a sense o ownership othe material

1.2 consciously integrate knowledge, understanding and skills ina secure and sustained perormance

2. respond with authority and matureunderstanding to the quality, orm andcontent o the material being presented

2.1 demonstrate mature understanding o the material

2.2 demonstrate authority and control through thorough andrelevant preparation

3. adopt and sustain a role using space

creatively and eectively to conveycomplexity o meaning

3.1 combine skilul and appropriate use o voice, body and

space with imaginative response and fair, to engage theaudience wholeheartedly

3.2 demonstrate a discriminating and sensitive personalinterpretation o the material, which conveys complexityand range o meaning (e.g. in mood, atmosphere,characterisation, eeling)

Learning outcomes and assessment criteria


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Attainment descriptors or Acting and Speaking

Attainment descriptors orActing and Speaking

The ollowing table describes the levels o attainment required or the allocation o marks in theDistinction, Merit, Pass and Below Pass bands.

Foundation level(Grades 13)

Intermediate level(Grades 45)

Advanced level(Grades 68)

Distinction

Work that demonstrates sustaineddelivery, some sense o spontaneityand a conscious awareness oaudience. There will be evidentcommand o appropriate technicalskills and a keen awareness othe perormance demands, themeaning and the quality o thechosen material.

Distinction

Work that demonstrates a secure,accurate and sustained responseto the chosen material. A senseo spontaneity and personalinvolvement will be achievedthrough the employment o a widerange o perormance skills thateectively engage an audience.

Distinction

Work that achieves richness anda sense o total perormancethrough a synthesis o advancedperormance skills at a levelo sustained excellence.Sophistication o interpretationwill be demonstrated through asense o originality and a whollyindependent response to thematerial perormed.

Merit

Work o some originality with athoughtul and fuent response tothe perormance demands o thechosen material. A good level oaudibility and clarity, enhanced bysuitable variations in dynamics,pace and pitch.

Merit

Work that demonstrates aconsiderable level o control othe material and a relatively widerange o perormance skills. Therewill be appropriate establishmento mood and character and alevel o sensitivity to the needso the audience.

Merit

Understanding will bedemonstrated by a mature andimaginative commitment o thematerial. This will result in aperormance o some complexity,using a wide range o advancedperormance skills eectively.

Pass

Work that demonstrates

understanding and learning othe text. Although the rangeo perormance skills may besomewhat limited there will bebasic audibility and clarity andsome imaginative response tothe chosen material.

Pass

Work that demonstrates a

reasonable control o thechosen material and a range oappropriate perormance skills.There will be some attempt toengage an audience and convey asense o personal involvement inthe ideas communicated.

Pass

Work that demonstrates some

evidence o mature understandingpresented with an element oidentication with the material.Perormance skills are integratedand used with some assurance.

Below Pass

Work that shows signicantlimitations in perorming, learningand understanding. There maybe evidence o inadequatepreparation and an inability torelate to the chosen material.

Below Pass

Work that may show lack opreparation and control operormance skills (even thoughsome may be evident). At best,the perormance may be sporadicin its attempt to communicate

eectively.

Below Pass

Work in which some skills maybe evident but are insucientlyintegrated or contain signicantlapses in technical achievement.There may be inadequatepreparation and inappropriate

response to the material.


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Guidance on selecting materialor perormance

Guidance on selecting material or perormance

Foundation level (Grades 13)

At this level material should be o sucient length to allow candidates to show their ability to establish andsustain their perormance and interpretation. Content should go beyond easily recognisable events and storiesso that candidates can begin to explore emotions, moods and atmosphere outside their immediate experience(e.g. rom other periods). The language should contain a variety o expressive vocabulary and a range osyntax, oering some opportunity or interpretative choices.

Intermediate level (Grades 45)

At this level material should be substantial enough to convey some development, both in terms o authorsintentions and candidates interpretation and perormance. Content should be suciently complex to providesome internal contrast and range, or example in terms o theme, character, situation or mood, and provideopportunity or candidates to begin to explore more universal themes. There should be stylistic variety olanguage and literary orm. Subtleties o vocabulary and syntax should provide opportunity or a variety oapproaches and interpretative choices.

Advanced level (Grades 68)

At this level material should be drawn rom signicant authors, past and present, rom the eld o world

literature. It should be selected in line with some acknowledged principles, or example, coverage o dierentgenres and styles or coherence/contrast o theme, setting, character, mood. Overall length and demand shouldbe sucient to enable variety and range o presentation to be demonstrated and sustained. Content should beconcerned with subjects o substance which include some depth o thought, enabling the candidate to engagewith complex emotions and universal themes. It should be such as to require analysis and refection in thepreparation o perormance and present challenging physical requirements in terms o articulation. The choiceo language and syntax should demand considerable inerential understanding and thoughtul interpretationto refect subtleties o meaning (e.g. metaphorical language, irony).


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Solo examinations IntroductionSolo candidates may enter or examinations in Speech and Drama, Perorming Text, Individual Acting

Skills and Shakespeare.

While each subject strand ocuses on a dierent approach to Acting and Speaking, they have all been

designed to encourage individuality o approach, creativity, personal engagement with a range o texts,

inclusiveness and internationalism.

Examinations in Speech and Drama oer assessment o skills in spoken interpretation and dramatic

perormance, acknowledging approaches to learning and teaching that are long established and

greatly valued. Whereas various kinds o dramatic activity are included in most o the syllabus strands,

students preparing or Speech and Drama examinations are expected to sustain particular ocus on the

use o voice and speech. The subject requires candidates to explore texts and concepts rom dierent

periods o literature.

The Perorming Text syllabus strand is designed or candidates who wish to concentrate exclusively on

the eective spoken interpretation o text both through reading aloud and memorised perormance.

Preparation or these examinations contributes to the development o knowledge and understandingo literature, and candidates are required to explore many dierent types and styles o writing rom a

range o periods.

Examinations in Individual Acting Skills ocus on the vocal and physical skills that contribute to

perormance, including acting, mime, movement, characterisation, staging, improvisation and personal

engagement with a range o dramatic literature.

A similar approach is applied to the examinations in Shakespeare, which have been re-modelled to

encourage candidates to develop an understanding and appreciation o Shakespeares work through

practical and imaginative approaches to text and perormance.

N.B. The World Dramatists syllabus strand has been withdrawn as the perormance opportunities and

learning outcomes it oered are all available in other syllabus strands. Teachers who have previously

entered candidates or World Dramatists examinations should contact the Chie Examiner in Drama &

Speech Subjects or guidance on alternative study pathways.

Solo examinations Introduction


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Guidance or candidateson solo examinations

1. Candidates are required to arrive at the examination centre 15 minutes beore the scheduled timeo their examination.

2. Where the syllabus oers an EITHER/OR option the choice is made by the candidate.

3. Perormance pieces do not all have to be the same length. Candidates may combine shorter and

longer pieces but must not exceed the overall time allowed. Approximate timings or prepared

material are provided or each grade and these should not be signicantly exceeded. The examiner

may ask a candidate to curtail an excessively long perormance piece in order to ensure that there

is sucient time to complete all remaining sections o the examination.

4. Candidates are awarded marks or the range o perormance skills they display. When contrasting

scenes or extracts are required, candidates are encouraged to select pieces that provide them with

opportunities to display as wide a range o skills as possible.

5. Candidates must hand copies o their prepared pieces to the examiner on entry to the examination

room. These should be set out in the published ormat with accurate punctuation and, in the case o

poetry or verse drama, in the writers original verse ormat and lineation. Candidates rom Grade 5

upwards who perorm an extract rom a play should provide a copy o the entire play. Photocopies

o individual pieces are acceptable. Handwritten copies are not allowed.

6. Candidates may perorm their prepared pieces in any order they choose as long as this is made clear

to the examiner at the beginning o the examination. Examiners may wish to discuss a particular piece

immediately ater the candidate nishes it beore moving on to the next perormance piece.

7. Poems, narrative pieces and monologues and plays rom which extracts are taken should normally

be published in book orm and/or have been previously perormed by a theatre company. Candidates

original work must not be perormed unless stated in the syllabus (e.g. Speech and Drama Grades78, Perorming Text Grades 78). Candidates who wish to perorm their own original work are also

encouraged to reer to the Trinity Guildhall Musical Theatre & Perormance Arts syllabus where this

option is oered.

8. When perorming, candidates should project their voices to ll whatever space is available to an

imagined audience, o which the examiner is but a part.

9. Hard and ast denitions o styles and types o poetry and prose are notoriously dicult to make.

For the purposes o these examinations, lyric is dened as being primarily the thoughts and

eelings, moods and meditations o a single voice in verse or prose orm. Narrative is dened as

being primarily a description o a series o events developing in a sequential order, told in the rst,

second or third person, possibly involving direct or indirect speech rom one or more characters

and/or some orm o refective commentary by a narrator. In practice o course virtually everypoem ever written has both lyrical and narrative qualities. In selecting works or perormance,

candidates should not think in terms o Is this a lyric or a narrative poem? Rather they should ask

themselves What are the lyrical (or narrative) qualities o this poem with which I could eectively

engage an audience in perormance?

10. A number o styles may be adopted or the eective speaking o a lyric or narrative piece and there

are no set rules. The delivery is both a vocal and a visual engagement with an imagined audience.

While this may not call or the kind o physical skills appropriate or a play extract, the perormance

may be enhanced by some relaxed and contained body movement, gesture and acial expression that

stem organically rom the context. The xed stare and rigid posture sometimes adopted by candidates

can appear very unnatural and distracting and signicantly inhibit eective communication.

11. Candidates should beware o adopting vocal aectations, especially noted at times in perormanceo lyric poetry, where sound may be beautied at the expense o sense. Teachers and candidates

should read A note on language on page 10.

12. Monologues and extracts rom plays should be perormed as though on stage particularly in

respect o ocus, sight-lines, positioning, movement and engagement with an imagined audience.

Guidance or candidates on solo examinations


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13. Play extracts, mimes and monologues may be given with or without costume, scenery, lighting,

properties or other staging devices. Candidates will not be given additional credit or perorming

with such devices. Any props or urniture must be set up and removed within the total time limit

allowed or the examination.

14. Where candidates are required to perorm a monologue (e.g. Individual Acting Skills Grades 14),they may select either a speech rom a collection o monologues or an extract rom a play. Where

candidates are required to perorm an extract rom a play, this must be a speech, monologue or

soliloquy rom a longer work.

15. Play extracts may be edited and subsidiary characters removed to create scenes suitable or

perormance as long as the overall structure, sense and dramatic development remain clear.

Individual candidates are dissuaded rom attempting to play a single character in a scene in which

dramatic development depends largely on verbal interaction with one or more other characters

who remain in the context o a solo perormance invisible and inaudible. Candidates should not

normally attempt to play multiple characters within a scene, unless this is specically related to the

style and content o the play.

16. Female candidates may play male roles and vice versa. However, candidates should ensure thattheir perormances do not become physical or vocal caricatures o members o the opposite gender.

17. Candidates required to perorm a re-working o a dramatic extract are encouraged to be as

imaginative as possible in preparing the task. A scene may be re-written into the candidates own

words, given a dierent setting or context, plot points altered or reversed or the entire extract

re-imagined rom a completely dierent perspective. Any perormance skill or combination o skills

may be employed, including acting, mime, dance, movement, song, puppetry, stand-up comedy, etc.

18. In some examinations candidates are required to respond to questions rom the examiner in role

o a prepared piece. The candidate should be prepared to answer questions appropriate to the

character at the moment in the play rom which the prepared piece comes. So a candidate who

perormed Violas ring speech rom Twelfth Night might be asked questions o her (imagined) lie

up until that minute, both related to actual elements o plot (How did you get to Illyria?) and toher current emotional state (How did you feel when Malvolio threw the ring on the ground? How

do you feel about living in the court in disguise?) This process sometimes known as hot seating

has an established and recognised role in assisting a perormer to engage more ully with a role.

19. Where candidates are required to read aloud a passage, selected by the examiner, rom the

candidates own book, the book should be at a level o complexity commensurate with age, ability

and grade. The book the candidate brings into the examination to read rom must not contain the

extracts used in earlier tasks. It must be a dierent book.

20. Candidates selecting the Sight Reading option (e.g. in Speech and Drama Grades 46) will be given

approximately 30 seconds to prepare beore being asked to begin reading.

21. Candidates selecting the Story Telling option (e.g. in Speech and Drama Grades 26) will be given

either a copy o the picture or a laminated card containing the words on which the story is to bebased. They will then be given approximately 30 seconds to prepare beore being asked to begin.

22. Stimuli or improvisation tasks will usually be based on the content and/or context o one o

the prepared pieces. Lack o understanding o the context may make the task dicult to ulll

satisactorily. A document giving urther guidance on examiner expectations or improvisation

tasks, along with examples o the types o stimuli that the examiner will provide and a ull set o

attainment descriptors may be downloaded rom www.trinityguildhall.co.uk/drama

23. A contemporary writer is dened as a person who is living now or who has died within the last ve

years. However, this denition should be qualied urther. When exploring material in this category,

it is hoped that candidates will choose the work o writers who are writing about current issues and

ideas that refect the world in which we live today in a modern idiom, rather than pieces written

decades ago by a writer who is now very aged and/or has been inactive or many years.


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24. In Shakespeare examinations, the term genre reers to the generally accepted groupings o

Shakespeares plays comedies, tragedies, histories, Roman plays and romances (or Late Plays).

Particular genres are not specied in the grade requirements, but candidates may be required to

perorm works rom dierent genres. Please contact the Chie Examiner or urther clarication

on specic works.

25. When material or stimuli are provided 15 minutes beore an examination, candidates must be let

alone to prepare or the relevant task. They must not discuss the task or receive guidance rom

their teachers during this time.

26. In Shakespeare Grade 8 candidates are provided with an extract o text 15 minutes beore the

examination on which they are required to work with the examiner. I by chance this extract is

all or part o one o their prepared pieces they should inorm the steward immediately and an

alternative piece will be provided.

27. Where a thematically linked programme is required (e.g. Individual Acting Skills Grade 8),

candidates should be prepared to cover transitions rom one piece to another in an appropriate

and creative manner.

28. In all solo and pair examinations, candidates are given the opportunity to display their knowledgeand understanding o their perormed pieces and aspects o perormance skills in conversation/

discussion with the examiner. In some examinations reerence is made to specic subjects.

Candidates will not necessarily be asked questions on all the listed subjects. Candidates should

be aware that they may also be asked questions on subjects required at lower grades in the same

subject strand. So a Grade 5 Speech and Drama candidate might be asked questions about phrasing

and pace which is required at Grade 4.

29. Discussion about authors should ocus on the nature o their work and the candidates personal

response to it rather than on memorised lists o biographical acts and dates.

30. I desired, candidates may be accompanied by a prompter or the perormance elements o the

examination. The prompter may not be the candidates teacher, parent or guardian. Excessive

reliance on prompts in perormance may be indicative o inadequate preparation and this will betaken into account when awarding marks.

Further guidance is regularly posted at www.trinityguildhall.co.uk/drama



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Speech and Drama (solo)


Grade Speech and Drama Marks

Initialmaximum8 minutes

1. All or part o an original, traditional or published story told or actedout rom memory.

40

2. A poem perormed rom memory.(Tasks 12 approximately 4 minutes)

40

3. A conversation with the examiner on the meaning o the perormedpieces and the candidates avourite stories.

20

Foundation

Grade 1maximum10 minutes

1. A short prose passage or short extract rom a play or story perormedrom memory.

30

2. A poem perormed rom memory. 30

3. A perormance o a simple, prepared mime.

(Tasks 13 approximately 6 minutes)

20

4. A conversation with the examiner on the meaning o the perormedpieces and the candidates ideas on presenting a mime.

20


1. A prose passage or extract rom a play or story perormedrom memory.

20


3. A perormance o a simple, prepared mime. 20

4. EITHER a reading, selected by the examiner, rom the candidatesown bookOR invent and tell a story based on a picture provided by the examiner.(Tasks 14 approximately 8 minutes)

20

5. A conversation with the examiner on the meaning and mood o the

prepared pieces and the candidates ideas about what makes agood story.

20


1. A prose passage or extract rom a play or story perormedrom memory.

20


3. EITHER a reading, selected by the examiner, rom the candidatesown bookOR invent and tell a story based on a picture provided by the examiner.

20

4. An improvisation arising rom one o the prepared pieces; thestimulus will be given by the examiner.(Tasks 14 approximately 10 minutes)

20

5. A discussion with the examiner. The candidate will be asked todemonstrate understanding o the meaning and mood o the preparedpieces and the use o pausing and emphasis in the work presented.

20

Intermediate


1. A prose passage or a play extract perormed rom memory. 20


3. EITHER a prose sight reading provided by the examinerOR invent and tell a story using our words given by the examiner.

20


20

5. A discussion with the examiner. The candidate will be asked todemonstrate understanding o the prepared pieces, their contextwhere appropriate and how variations in phrasing and pacecontributed to the perormance.

20


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Grade Speech and Drama Marks


1. A prose passage or a play extract perormed rom memory. 20


3. EITHER a prose sight reading provided by the examinerOR invent and tell a story using ve words given by the examiner.

20


20

5. A discussion with the examiner. The candidate will be asked todemonstrate understanding o the prepared pieces, their contextwhere appropriate and how variations in infection and intonationcontributed to the perormance.

20

AdvancedGrade 6maximum20 minutes

1. An extract rom a play written ater 1950 perormed rom memory. 20

2. All or part o a narrative poem perormed rom memory. 20

3. A passage o narrative prose, contrasting in mood with Tasks 1 and 2,perormed rom memory.

20

4. EITHER a prose or verse sight reading chosen and provided bythe examinerOR invent and tell a story using six words given by the examiner.(Tasks 14 approximately 16 minutes)

20

5. A discussion with the examiner on the meaning, content and preparationo the pieces perormed, the specic challenges o perorming thedierent styles o writing required in Tasks 13 and the contribution obreathing and relaxation to sae and eective perormance. This section

may include an improvisation.

20


1. An extract rom a play written beore 1900 perormed rom memory.This may involve another perormer.

20

2. All or part o a lyric poem perormed rom memory. 20

3. A contrasting passage o prose perormed rom memory. 20

4. A ourth piece o the candidates choice contrasting to Tasks 13perormed rom memory. This may be the candidates original writingi desired.(Tasks 14 approximately 18 minutes)

20

5. A discussion with the examiner on the meaning, content, preparationand interpretation o the pieces perormed, the specic challengeso perorming the dierent styles o writing required in Tasks 14

and the contribution o resonance and articulation to sae andeective perormance. This section may include an improvisation.

20


1. A presentation rom memory o a thematically linked programmeo contrasting perormance pieces to include at least our o theollowing: an extract rom a play by a contemporary writer; anextract rom a play rom an earlier period o literature; a lyric poemor passage o lyrical verse; all or part o a narrative poem or passageo narrative verse or prose; a piece o reportage or polemic; a pieceo original writing. Another perormer may be involved in one o thepieces. The presentation must include a 5-minute talk on one o theprepared pieces giving a critical analysis o its content, orm, context,style and relationship with the writers other works.(Approximately 20 minutes)

80

2. A discussion with the examiner on the selection, meaning, context,

interpretation o the programme, rehearsal processes employed inits preparation and vocal techniques employed in perormance. Thissection may include an improvisation.

20


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Perorming Text (solo)


Grade Perorming Text Marks


1. All or part o an original, traditional or published story toldrom memory.

40

2. EITHER a reading o a passage rom the candidates own book,selected by the examinerOR a poem perormed rom memory.(Tasks 1 and 2 approximately 5 minutes)

40

3. A conversation with the examiner about the meaning o theperormed pieces and the candidates avourite reading.

20

Foundation


1. A passage o prose or verse perormed rom memory. 40

2. A reading o a passage rom the candidates own book, selected by

the examiner.(Tasks 12 approximately 6 minutes)

40

3. A conversation with the examiner about the meaning o the perormedpieces and the candidates ideas about reading aloud to an audience.

20


1. A prose or verse passage perormed rom memory. 30

2. A prepared reading o a contrasting passage o prose or verse. 30

3. A reading o a passage rom the candidates own book, selected bythe examiner.(Tasks 13 approximately 8 minutes)

20

4. A conversation with the examiner on the meaning and mood o theprepared pieces and the ways in which they contrast.

20

Grade 3

maximum14 minutes


2. EITHER a prose passage perormed rom memoryOR a presentation o a news item as i or TV or radio.

20

3. A prepared reading o a passage o prose or poetry, contrasting incontent and style with Tasks 1 and 2.

20

4. A reading o a passage rom the candidates own book, selected bythe examiner.(Tasks 14 approximately 10 minutes)

20

5. A discussion with the examiner on the meaning, mood and contrastinguse o language in the prepared pieces.

20

Intermediate

Grade 4maximum

16 minutes

1. A poem or passage o verse perormed rom memory. 20

2. A passage o prose containing direct speech, perormedrom memory.

20

3. A prepared reading rom a magazine or newspaper o a report orarticle on a sporting or cultural event.

20

4. A prose sight reading provided by the examiner.(Tasks 14 approximately 12 minutes)

20

5. A discussion with the examiner on the prepared pieces, theircontext where appropriate and how variations in phrasing and pacecontributed to the perormance.

20


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Grade Perorming Text Marks


1. A lyric or passage o lyric verse perormed rom memory. 20

2. A passage o narrative prose containing direct speech rom at least twocharacters, perormed rom memory.

20

3. A prepared reading o a passage o romantic, historical orscience ction.

20


20

5. A discussion with the examiner on the prepared pieces, their contextwhere appropriate and how variations in vocal techniques anddelivery contributed to the perormance.

20

Advanced


1. A lyric poem or passage o lyric verse written beore 1700,perormed rom memory.

20

2. All or part o a persuasive speech or public address, originally givenby a signicant historic or living gure, spoken rom memory.

20

3. A passage o humorous verse or prose perormed rom memory. 20


20

5. A discussion with the examiner on the meaning, content andpreparation o the pieces perormed, the specic challenges operorming the dierent styles o writing required in Tasks 13 andthe vocal techniques used to meet these.

20


1. EITHER a sonnet OR piece o original writing perormed rom memory. 20

2. A passage o humorous prose, rom an eighteenth- or nineteenth-century novel, perormed rom memory.

20

3. A passage written or political, religious or ceremonial purposesperormed rom memory.

20

4. A prepared reading o a description o a person, place or event.(Tasks 14 approximately 18 minutes)

20

5. A discussion with the examiner on the meaning, content,preparation and interpretation o the pieces perormed, the specicchallenges o perorming the dierent styles o writing required inTasks 14 and the vocal techniques used to meet these.

20


1. A presentation rom memory o a thematically linked programmeincorporating a variety o contrasting texts to include at least ouro the ollowing: lyric poetry or passages o lyrical verse; narrative

verse or prose; satirical verse or prose; an extract rom a play bya contemporary writer; language written or political, religious orceremonial purposes; original writing. Another perormer may beinvolved in one o the pieces.(Approximately 20 minutes)

80

2. A discussion with the examiner on the selection, meaning, contextand/or interpretation o the programme, rehearsal processes employedin its preparation and vocal techniques employed in perormance.

20


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Individual Acting Skills

Grade Individual Acting Skills Marks

Foundation


1. A monologue or play extract, perormed rom memory. 40

2. A perormance o a prepared mime on a subject or theme o thecandidates choice. (Tasks 12 approximately 6 minutes)

40

3. A conversation with the examiner on the meaning o the preparedpieces and the candidates ideas about presenting a mime.

20


1. A monologue or play extract perormed rom memory. 30

2. A perormance o a prepared mime contrasting in mood to Task 1. 30

3. An improvisation arising rom one o the prepared pieces; the stimuluswill be given by the examiner. (Tasks 13 approximately 8 minutes)

20

4. A conversation with the examiner on the meaning and mood o the

prepared pieces and the candidates ideas about improvisation.

20


1. A monologue or play extract perormed rom memory. 30

2. A perormance oEITHER a prepared mimeOR an original speech or scene written/devised by the candidatebased on one o the ollowing:

w Lost and Found

w Late

w Taking a Risk

w The Party

w Journey into the Unknown.

30

3. An improvisation arising rom one o the prepared pieces; the stimuluswill be given by the examiner. (Tasks 13 approximately 10 minutes)

20

4. A discussion with the examiner on the meaning and mood o theprepared pieces and the candidates ideas about presenting a character.

20

Intermediate


1. A monologue or an extract rom a play written ater 1950 perormedrom memory.

20

2. An extract rom a contrasting play perormed rom memory 20

3. A re-working o EITHER Task 1 OR Task 2 devised by the candidate(see guidance point 17, page 16).

20

4. An improvisation arising rom one o the prepared pieces or amodication o the perormance in another style; the stimulus willbe provided by the examiner. (Tasks 14 approximately 12 minutes)

20

5. A discussion with the examiner on the meaning and context o theprepared pieces, vocal and physical aspects o characterisation andthe candidates approach to Task 3.

20


1. An extract rom a play by a contemporary writer perormedrom memory.

20

2. An extract rom a play written in a dierent period perormedrom memory.

20

3. EITHER a re-working o Task 1 or Task 2 devised by the candidate(see guidance point 17, page 16)OR in role o the character or EITHER Task 1 OR Task 2, respond toquestions rom the examiner. The choice o character is to be madeby the candidate (see guidance point 18, page 16).

20

4. An improvisation arising rom one o the perormed pieces or a

modication o one o the perormances in another style; the stimuluswill be provided by the examiner. (Tasks 14 approximately 14 minutes)

20

5. A discussion with the examiner on the meaning and context o theprepared pieces, the writers use o language and how this contributesto characterisation and choices made in staging the play extracts.

20



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Grade Individual Acting Skills Marks

Advanced


1. An extract rom a play written in the 16th or 17th century perormedrom memory.

20

2. An extract rom a play written ater 1900 perormed rom memory. 20

3. EITHER a re-working o EITHER Task 1 OR Task 2 devised by thecandidate (see guidance point 17, page 16).OR in role o the character or Task 1 or Task 2 respond to questionsrom the examiner. The choice o character to be made by theexaminer (see guidance point 18, page 16).

20

4. An improvisation arising rom one o the perormed pieces or amodication o one o the perormances in another style; thestimulus will be provided by the examiner.


20

5. A discussion with the examiner on the meaning, context andpreparation o the perormed pieces and the contrasting opportunitiesoered to the perormer by the writers o Tasks 1 and 2.

20


1. Three contrasting play extracts, perormed rom memory. One mustbe rom a play written in the 18th or 19th century and one rom acountry or culture other than the candidates own. Another perormermay be involved in one o the extracts.

60

2. An improvisation arising rom one o the prepared pieces, or amodication o one o the perormances in another style; the stimuluswill be provided by the examiner.(Tasks 12 approximately 18 minutes)

20

3. A discussion with the examiner on the meaning, context, contrasting

styles, personal interpretation and possible staging options or thepieces perormed in Task 1.

20


1. A themed programme perormed rom memory o our contrastingplay extracts rom a range o periods, introduced and linked byrelevant commentary as part o the perormance. Another perormermay be involved in one o the extracts.

60

2. An improvisation arising rom one o the prepared pieces or a versiono one o the perormances in another style; the stimulus will beprovided by the examiner.(Tasks 12 approximately 20 minutes)

20

3. A discussion with the examiner on the selection, meaning, context andinterpretation o the perormed pieces, rehearsal processes employed inpreparing the programme and aspects o dramatic writing that may beinfuenced by the conditions under which the plays were rst perormed.

20


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Shakespeare (solo)

Grade Shakespeare Marks

Foundation


1. All or part o a story rom a Shakespeare play told or acted outrom memory.

40

2. A perormance o approximately eight lines rom the same play,perormed rom memory.(Tasks 12 approximately 6 minutes)

40

3. A conversation with the examiner on the meaning o the pieceperormed in Task 2.

20



20

2. An event rom the play in Task 1 acted out in the candidates

own words.

30

3. A perormance o approximately 12 lines rom the same play,perormed rom memory.(Tasks 13 approximately 8 minutes)

30

4. A conversation with the examiner on the meaning and mood o theprepared pieces and how the candidate approached Task 2.

20


1. Delivery o a spoken biography o a character rom Shakespeare inthe candidates own words.

30

2. A perormance o a speech by the same character as or Task 1,rom memory.

30

3. EITHER a perormance o another speech by the same characterrom memoryOR a perormance o a speech by a dierent character rom the same

play rom memoryOR all or part o a story rom a dierent Shakespeare play, told orpartially acted out rom memory.(Tasks 13 approximately 10 minutes)

20


20

Intermediate


1. A perormance o an extract rom a Shakespeare play rom memory. 30

2. A perormance o an extract rom a dierent Shakespeare playrom memory.

30

3. A re-working o Task 1 or Task 2 devised by the candidate (see guidancepoint 17, page 16).


20

4. A discussion with the examiner on the meaning and context o theprepared pieces, vocal and physical aspects o characterisation andpreparation o Task 3.

20



2. A perormance o an extract rom a Shakespeare play rom adierent genre rom memory.

30

3. EITHER a re-working o Task 1 or Task 2 devised by the candidate(see guidance point 17, page 16)OR in role o the character or EITHER Task 1 OR Task 2, respond toquestions rom the examiner. The choice o character is to be madeby the candidate (see guidance point 18, page 16).(Tasks 13 approximately 14 minutes)

20

4. A discussion with the examiner on the meaning and context othe prepared pieces, Shakespeares use o language and how thiscontributes to characterisation and choices made in staging theperormance pieces.

20

Shakespeare (solo)


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Shakespeare (solo)

Grade Shakespeare Marks

Advanced



2. In role o the character or Task 1, respond to questions rom theexaminer (see guidance point 17, page 16).

20

3. Perormance o a contrasting extract rom a Shakespeare play rom adierent genre.

20

4. Perormance o a Shakespeare sonnet rom memory.(Tasks 14 approximately 16 minutes)

20

5. A discussion with the examiner on the meaning, context and preparationo the perormed pieces and the range o opportunities Shakespearesuse o blank verse and other verse orms oers the perormer.

20


1. A perormance o a verse extract rom a Shakespeare playrom memory.

20

2. A perormance o a prose extract rom a Shakespeare play rom adierent genre rom memory. Another perormer may be involved ineither Task 1 or Task 2.

20

3. In role o the character rom Task 1 or Task 2, respond to questionsrom the examiner (see guidance point 18, page 16). The choice ocharacter to be made by the examiner.

20

4. EITHER perormance o two Shakespeare sonnets rom memoryOR perormance o an extract o approximately 30 lines rom anarrative poem by Shakespeare.

20

5. A discussion with the examiner on the meaning, context andpersonal interpretation o the perormed pieces and the range operormance opportunities oered by Shakespeares contrastinguse o verse and prose.

20


1. A themed programme o at least our contrasting extracts rom theworks o Shakespeare, introduced and linked by relevant commentaryas part o the perormance. One piece may be an extract rom a playby a contemporary o Shakespeare (Webster, Middleton, Jonson, etc.)Another perormer may be involved in one o the extracts.

60

2. Work with the examiner on a piece o text by Shakespeare. The text tobe provided 15 minutes beore the examination begins.(Tasks 12 approximately 20 minutes)

20

3. A discussion with the examiner on the selection, meaning, contextand interpretation o the perormed pieces, rehearsal processesemployed in preparing the programme and aspects o Shakespearesdramatic writing that might have been directly infuenced by the

conditions under which his plays may have been originally perormed.

20


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Pair examinations IntroductionWorking in pairs requires candidates to develop a strong sense o trust, to work as a team and to

develop sophisticated listening and reactive skills.

Acting in Pairs examinations oer candidates the opportunity to present duologues and extracts rom

plays rom contrasting periods o dramatic literature, to develop scenes through improvisation both

over an extended period and spontaneously, and to demonstrate understanding o the perormed

pieces and their rehearsal processes through discussion with the examiner.

The Shakespeare in Pairs option allows candidates to ocus their work exclusively on Shakespeare and

closely ollows the model o individual examinations in Shakespeare.

Teachers may wish to consider using pair work to give additional opportunities to candidates who have

already perormed solo to enhance urther their range o perormance skills.

Candidates are assessed individually and receive a separate mark, report and certicate.

Pair examinations Introduction

Note or centres:

The timings given or pair examinations reer to the duration o the practical examination/perormance.

Additional time is required between each examination or the examiner to write up the two report orms.

When scheduling pair examinations, centres must allow an additional 5 minutes or Grades 15 and

8 minutes or Grades 68.


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Guidance or candidateson pair examinations

1. Candidates and teachers should reer to points 130 in the guidance or individual candidates onpages 1517.

2. Both candidates must make an equal contribution to all scenes and extracts perormed and to the

conversation/discussion with the examiner.

3. Each scene must be introduced by the candidates beore the perormance, giving a brie outline o

the characters, setting and context.

4. Perormances may be given with or without costume, scenery, lighting, properties or other staging

devices. Candidates will not be given additional credit or perorming with such devices.

5. A scene developed through improvisation should have dened characters, a clear context and

some sense o dramatic development. Excessive use o narrators should be avoided. Candidates

should be ully amiliar with all aspects o such scenes and should have rehearsed them in theirnal orm beore the examination. Candidates are not required to provide a script o scenes

developed through improvisation unless specically stated in the syllabus.



7. Scenes rom collections o duologues written specically or examinations are acceptable at

Foundation level (Grades 13).

8. For Intermediate and Advanced grades a copy o the entire play must be provided (not a photocopy

o the scene). Failure to provide this may limit opportunities or candidates ully to display knowledge

and understanding o the play in the discussion task.

9. A play written in a colloquial style will typically be written in an inormal, conversational styleand employ a recognisable contemporary idiom and vocabulary. A play written in a non-colloquial

style will typically be written in some orm o heightened or stylised language which is outside

contemporary idiom. While this might refect the period in which the play was written (Sophocles,

Shakespeare, Congreve, Molire, Wilde) it might also refect a contemporary writers preerred style

(Steven Berko, Tony Harrison, Glyn Maxwell). All verse drama would be considered to be written in

a non-colloquial style.



opportunities to display their range o skills, both individually and as a pair.

Guidance or candidates on pair examinations


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Acting in Pairs

Grade Acting in Pairs Marks

Foundation


1. EITHER introduce and perorm rom memory an extract rom a playOR introduce and perorm a scene developed through improvisation.(Approximately 6 minutes)

80

2. A conversation with the examinerEITHER about the meaning o the perormed pieceOR about the preparation o the scene developed through improvisation.

20


1. EITHER introduce and perorm rom memory one or two extractsrom a playOR introduce and perorm a scene developed through improvisation.(Approximately 8 minutes)

80

2. A conversation with the examiner

EITHER about the meaning and mood o the perormed piecesOR about the preparation o the scene developed through improvisation.

20


1. Introduce and perorm rom memory an extract rom a play. 40

2. Introduce and perorm a contrasting scene developed throughimprovisation. (Tasks 1 and 2 approximately 10 minutes)

40

3. A discussion with the examiner on the meaning and mood o theperormed pieces and the candidates ideas about characterisation.

20

Intermediate


1. Introduce and perorm rom memory an extract rom a play writtenin a colloquial style.

40

2. Introduce and perorm a scene developed through improvisation

eaturing the same characters as those in Task 1.(Tasks 1 and 2 approximately 12 minutes)

40

3. A discussion with the examiner on the meaning and context o theperormed pieces and vocal and physical aspects o characterisation.

20


1. Introduce and perorm rom memory an extract rom a play with twocharacters o dierent status.

40

2. Introduce and perorm a scene developed through improvisationrelated to Task 1.(Tasks 1 and 2 approximately 14 minutes)

40

3. A discussion with the examiner on the meaning and context o theperormed pieces, the choices made in staging and the writers useo language and how this contributes to characterisation.

20

Acting in Pairs


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Acting in Pairs

Grade Acting in Pairs Marks

Advanced


1. Introduce and perorm rom memory an extract or extracts rom aplay written in verse or in a non-colloquial style.(Approximately 10 minutes)

60

2. Introduce and perorm an improvised scene based on a plot outlineprovided by the examiner 15 minutes beore the examination.(Approximately 5 minutes)

20

3. A discussion with the examiner on the meaning, context, preparationand staging o the perormed pieces and the challenges o perormingverse and/or non-colloquial text.

20

Grade 7maximum

23 minutes

1. Introduce and perorm rom memory an extract or extracts roma play.

30

2. Introduce and perorm rom memory an extract or extracts rom aplay contrasting in style and/or period to Task 1.(Tasks 1 and 2 approximately 14 minutes)

30

3. Introduce and perorm an improvised scene based on a stimulusprovided by the examiner 15 minutes beore the examination.(Approximately 5 minutes)

20

4. A discussion with the examiner on the meaning, context, preparation,staging and interpretation o the perormed pieces and preparationo Task 3.

20


1. Perorm rom memory three contrasting duologues on a chosentheme, introduced and linked by relevant commentary as part othe perormance.(Approximately 16 minutes)

60

2. Improvise in response to a stimulus provided by the examiner.(Approximately 4 minutes)

20

3. A discussion with the examiner on the meaning, context, staging andinterpretation o the perormed pieces, rehearsal processes employedin preparing Task 1 and possible alternative staging options.

20

Note or centres:

The timings given or pair examinations reer to the duration o the practical examination/

perormance. Additional time is required between each examination or the examiner to write up the

two report orms.

When scheduling pair examinations, centres must allow an additional 5 minutes or Grades 15 and8 minutes or Grades 68.


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Shakespeare in Pairs

Grade Shakespeare in Pairs Marks

Foundation



40

2. A perormance o approximately 12 lines rom the same play, sharedequally between the candidates, perormed rom memory.(Tasks 12 approximately 6 minutes)

40

3. A conversation with the examiner on the meaning o the pieceperormed in Task 2.

20


1. An incident rom a Shakespeare play, told or acted out in thecandidates own words.

40

2. A perormance o approximately 18 lines rom the same play shared

equally between the candidates, relating to the incident in Task 1,perormed rom memory.(Tasks 12 approximately 8 minutes)

40

3. A conversation with the examiner on the meaning and mood o thepieces perormed.

20


1. Delivery o spoken biographies o two characters rom a Shakespeareplay in the candidates own words.

30

2. A perormance o an extract rom the play involving thesame characters.

30

3. EITHER a perormance o another extract rom the same playinvolving the same charactersOR a perormance o another extract rom the same play involvingone or two dierent charactersOR all or part o a story rom a dierent Shakespeare play, told orpartially acted out rom memory.(Tasks 13 approximately 10 minutes)

20


20

Intermediate


1. A perormance o an extract rom a Shakespeare play. 30

2. A perormance o an extract rom a dierent Shakespeare play. 30

3. A re-working o EITHER Task 1 OR Task 2 devised by the candidates(see guidance point 17, page 16).(Tasks 13 approximately 12 minutes)

20

4. A discussion with the examiner on the meaning and context o theprepared pieces, vocal and physical aspects o characterisation andpreparation o Task 3.

20


1. A perormance o an extract rom a Shakespeare play. 30

2. A perormance o an extract rom a Shakespeare play rom adierent genre.

30

3. EITHER a re-working o EITHER Task 1 OR Task 2 devised by thecandidates. (see guidance point 17, page 16)OR in role o the characters or EITHER Task 1 OR Task 2, respond toquestions rom the examiner (see guidance point 18, page 16).(Tasks 13 approximately 14 minutes)

20

4. A discussion with the examiner on the meaning and context othe prepared pieces, Shakespeares use o language and how thiscontributes to characterisation and choices made in staging theperormance pieces.

20



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Grade Shakespeare in Pairs Marks

Advanced



2. Perormance o a contrasting extract rom a work by Shakespearerom a dierent genre.

30

3. EITHER a re-working o EITHER Task 1 OR Task 2 devised by thecandidates (see guidance point 17, page 16).OR in role o the characters or EITHER Task 1 OR Task 2, respondto questions rom the examiner (see guidance point 18, page 16).The choice o characters to be made by the candidate.(Tasks 13 approximately 16 minutes)

20

4. A discussion with the examiner on the meaning, context andpreparation o the perormed pieces and the range o opportunities

Shakespeares use o blank verse and other verse orms oersthe perormer.

20


1. A perormance o a verse extract rom a Shakespeare playrom memory.

20

2. A perormance o a prose extract rom a Shakespeare play rom adierent genre rom memory.

20

3. In role o the characters rom Task 1 or Task 2, respond to questionsrom the examiner (see guidance point 18, page 16). The choice ocharacters to be made by the examiner.

20

4. EITHER perormance o two Shakespeare sonnets rom memoryOR perormance o an extract o approximately 30 lines rom anarrative poem by Shakespeare shared between the candidatesrom memory.


20

5. A discussion with the examiner on the meaning, context and personalinterpretation o the perormed pieces and the range o perormanceopportunities oered by Shakespeares contrasting use o verseand prose.

20


1. A themed programme o at least our contrasting extracts rom theworks o Shakespeare, introduced and linked by relevant commentaryas part o the perormance. One piece may be an extract rom a playby a contemporary o Shakespeare (Webster, Middleton, Jonson, etc.).(Approximately 15 minutes)

60

2. Work with the examiner on a piece o text by Shakespeare. The text tobe provided 15 minutes beore the examination begins.

20

3. A discussion with the examiner on the selection, meaning, context

and interpretation o the perormed pieces, rehearsal processesemployed in preparing the programme and aspects o Shakespearesdramatic writing that might have been infuenced by the conditionsunder which his plays may have originally been perormed.

20

Note or centres:

The timings given or pair examinations reer to the duration o the practical examination/

perormance. Additional time is required between each examination or the examiner to write up the

two report orms.

When scheduling pair examinations, centres must allow an additional 5 minutes or Grades 15 and

8 minutes or Grades 68.


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Group examinations IntroductionGroup examinations recognise the act that the perorming arts are requently a collective activity

involving co-operation between a number o participants. Group Drama examinations oer groups o

three or more candidates the opportunity to present scenes rom plays rom contrasting periods odramatic literature and to develop scenes through improvisation both over an extended period and

spontaneously. A Group Shakespeare option is also oered.

Choral Speaking examinations oer groups o our or more candidates opportunities to perorm poetry,

prose and dramatic literature in a sharply contrasting style, while the Plays in Production option enables

the cast, creative and backstage team o a complete production to oer their work or assessment.

When assessing group work, examiners will consider the overall achievement o the group as a whole and

the written report and mark awarded will refect that. The total mark awarded will classiy each groups

perormance as Below Pass, Pass, Merit or Distinction.

Each group member will be awarded a certicate giving his or her name, the name o the group and the

level o achievement. In addition, a urther certicate will be awarded giving the name o the group only.

Additional certicates may be requested at the time o entry.

Group examinations Introduction


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Guidance or candidateson group examinations

1. Candidates and teachers should reer to points 130 in the guidance or individual candidates onpages 1517.

2. All members o the group should as ar as possible be given opportunities to make positive

contributions to the perormance, although it is recognised that the contributions may not be

equal in substance or duration. Scenes or extracts in which one perormer dominates the stage

throughout should be avoided.

3. Each scene must be introduced by the candidates beore the perormance, who should give a brie

outline o the characters, setting and context.

4. Perormances or group examinations (other than Plays in Production) may be given with or

without costume, scenery, lighting, properties or other staging devices unless specically required.

Candidates will not be given additional credit or perorming with such devices. Plays entered

or Plays in Production must be ully staged with set, costume, props, sound, lighting and other

technical elements as appropriate.

5. A scene developed through improvisation should have dened characters, a clear context and

some sense o dramatic development. Excessive use o narrators should be avoided. Candidates

should be ully amiliar with all aspects o such scenes and have rehearsed them in their nal orm

beore the examination. Candidates or Group Drama Devised Grades 68 are required to provide

a ull script o plays developed through improvisation. Handwritten manuscripts are not permitted.



7. Groups entered or Group Drama Scripts and Plays in Production must provide a copy o the

entire play(s) to be perormed or rom which excerpts are drawn. Texts o Choral Speaking piecesmust be provided as or individual examinations (see guidance point 5, page 15).

8. For a denition o the term a contemporary writer see guidance point 23, page 16. For denitions

o the terms colloquial style and non-colloquial style see guidance point 9, page 27.



opportunities to display their range o skills, both individually and as a group.

10. There is no discussion element in group examinations. However, examiners may engage in some

inormal conversation beore and/or ater the perormance in order to create a supportive

atmosphere and enhance the fow o the examination.

11. It may be possible or a live audience to be present or some group perormances and Foundation,Intermediate and Advanced Perormance Certicates, as long as their presence does not impede

the running o the examination session. Please contact Trinitys London oce or urther

inormation on this.

Guidance or candidates on group examinations


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Group Drama Devised

Grade Group Drama Devised (three candidates or more) Marks


Introduce and perorm a scene developed through improvisationbased on a story. A brie outline to be given to the examiner beorethe perormance.

100

Foundation


Introduce and perorm a scene developed through improvisationbased on an original, traditional or published story. A brie outline tobe given to the examiner beore the perormance.

100


Introduce and perorm a scene developed through improvisationbased on a song or poem. Text to be given to the examiner beorethe perormance.

100

Grade 3

maximum14 minutes

Introduce and perorm a scene developed through improvisation

based on a photograph, drawing, painting or visual stimulus. A copy tobe given to the examiner beore the perormance.

100

Intermediate


Introduce and perorm a scene developed through improvisationbased on a newspaper or magazine article. A copy o the article to begiven to the examiner beore perormance.

100


1. Introduce and perorm a scene developed through improvisationbased on one o the ollowing:

w Budget Airline

w Final Night

w The Apprentice

w The Legacy

w Obsession

w Under Siege.

(Approximately 12 minutes)

80

2. Introduce and perorm an improvisation related to Task 1 on a themeprovided by the examiner. Candidates will be given one minute orpreparation.

20

Advanced


1. Introduce and perorm an original scripted play devised by thegroup. Scripts to be given to the examiner beore the perormance.(Approximately 14 minutes)

80

2. Introduce and perorm an improvisation on a theme provided bythe examiner, related to Task 1. Candidates will be given one minuteor preparation.

20


1. Introduce and perorm rom memory two contrasting original scriptedplays devised by the group. Scripts to be given to the examiner beorethe perormance.(Approximately 16 minutes)

80

2. Introduce and perorm an improvisation on a theme provided by theexaminer, related to one o the scripted plays. Candidates will be givenone minute or preparation.

20


1. Introduce and perorm rom memory two original scripted playsdevised by the group. The plays must contrast in perormance stylebut have some narrative or thematic relationship.(Approximately 18 minutes)

80

2. Introduce and perorm two improvisations based on stimuli providedby the examiner, related to the two scripted plays. Candidates will be

given one minute or preparation.

20

Group Drama Devised


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Group Drama Scripts

Grade Group Drama Scripts (three candidates or more) Marks

Foundation


Introduce and perorm rom memory one or more extracts roma play.

100

Intermediate


Introduce and perorm rom memory one or more extracts rom a playwritten in a colloquial style.

100


Introduce and perorm rom memory one or more extracts rom a playwritten in verse or in a non-colloquial style.

100

Advanced


Introduce and perorm rom memory one or more extracts rom a playwritten beore 1900.

100


Introduce and perorm rom memory contrasting extracts rom twoplays, one by a contemporary writer and one rom an earlier periodo drama.

100


Perorm rom memory a themed programme o extracts rom two ormore contrasting plays, introduced and linked by relevant commentaryas part o the perormance.

100

Group Drama Scripts


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Group Drama Shakespeare

Group Drama Shakespeare

Grade Group Drama Shakespeare (three candidates or more) Marks

Foundation


Introduce and perorm rom memory one or two excerpts rom aShakespeare play.

100

Intermediate


Introduce and perorm rom memory two or more excerpts rom aShakespeare play.

100


Introduce and perorm rom memory excerpts rom twoShakespeare plays.

100

Advanced


Introduce and perorm rom memory excerpts rom two or moreShakespeare plays rom dierent genres (see guidance point 9,page 15).

100


Introduce and perorm rom memory verse and prose excerpts romtwo or more Shakespeare plays rom dierent genres (see guidancepoint 9, page 15).

100


Perorm rom memory a themed programme o extracts rom at leastthree Shakespeare plays or poems, introduced and linked by relevantcommentary as part

Documents

Acting and Speaking Syllabus, 2nd Edition