GCSE (9–1)
Drama
Component 2: Performance
from Text (1DR0/02)
Overview of Requirements for
2022
Links to Overview
• Approved changes from the DfE and Ofqual to
the requirements of the qualification.
• Covid 19 Update
• Summer 2022 Support
2
Aims and Objectives
• Recap on the demands of Component 2 –
changes to the delivery, assessment and
requirements for 2022.
• Consideration of practical ideas for the rehearsal
and performance of text in light of social
distancing requirements, including the
approaches to design roles.
• Address common issues and FAQs.
• Administration (new for 2022) and Learner Work
Transfer (LWT) platform (new for 2022).
• Further support.
3
1.Statement
from the
Principal
Examiner –
Ruth Gibbs
2. Qualification
Overview and
Requirements
Component 2: Overview
• Externally assessed component worth 20% of the
qualification.
• 48 marks in total.
• AO2 is externally assessed.
• AO2: Apply theatrical skills to realise artistic
intentions in live performance.
• Marks will be scaled for 2022 to reflect reduction
of extracts from two to one per student.
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Overview for 2022
• ONE extract only
• Assessed out of 24 marks
• There are new regulatory minimum timings
(introduced in 2021)
• Summary of changes document (Appendix 3)
• Performance options
• Design options
• Audience
• Assessment choices
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Overview for 2022 Contd.
• Performance text requirements
• Flexibility in length
• Performance Text Choices 2021/22 form
• Ask The Expert facility
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3.
Requirements
– audience,
groups,
timings,
designers
Performance Focus and
Audience for 2022
• The requirement to perform in front of a live
audience has been amended to allow for both live
and virtual audiences.
• This means that students can perform live or
virtually in front of small audience (to include their
teacher), or just to their teacher.
• The teacher must be present to authenticate the
work of the students. There is the requirement to
record performances.
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Performance Focus and
Audience for 2022
• There is no requirement for final performances to
be done with full designed set/lighting/costumes if
performance students are not working with
designers.
• Students should perform to the chosen audience
and not to the camera, students should be
reminded that the performance aim must be
theatrical and not for screen.
• The chosen audience is up to the discretion of the
centre, with mindful adherence to social distancing.
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Timings:
Mono and Duo Requirements
Regulatory and Maximum
Number of performers Minimum performance times
performance times
1 performance student
1.5 minutes 3 minutes
(monologue)
2 performance students
2 minutes 5 minutes
(duologue)
• In light of the reduced preparation time available due to
lockdown, the regulatory requirements for Component 2 are
reduced for 2022
• The minimum regulatory timing for a monologue is 1.5 minutes
and the minimum regulatory duologue performance time is 2
minutes
• Performances under the regulatory timing will result in a
proportional time penalty. Examiners will be required to stop
marking after the maximum performance time has passed.
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Timings:
Group Requirements
Recommended Maximum
Group Size minimum performance performance times
times
3−4 performance student 10 minutes 12 minutes
5−6 performance students 13 minutes 15 minutes
• The regulatory requirements for groups are that
they must complete a minimum performance
time of 2 minutes for this component.
• The recommended minimum performance
times have been provided to ensure all
students within the group have sufficient time
to access all levels of the assessment criteria.
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Timings: Regulatory and
Recommended
• Due to the challenges faced by students when preparing to
perform from text, whilst maintaining social distance: the
recommended minimum times are more flexible in 2022 –
students should try to perform work that meets these minimum
performance times; however, if the work is under these
timings, please remember they are ‘recommendations’.
• It is important to note the ‘regulatory requirement’ that groups
and duologues must complete a minimum performance time of
2 minutes and monologues 1.5 minutes for this component.
• Performances under the regulatory timing will still result in a
proportional time penalty.
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2022 Timing Penalty Tables
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Design Students’ Additional
Documentation
NB: Centres are reminded that any appropriate evidence produced in line with the requirements above
should also be sent to the moderator as part of the design students’ portfolio.
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Alternative Evidence – Design
Realisation
• If a design student is not able to realise their design
in performance, we will accept any rehearsal
recordings or any other evidence that the student
feels can help to determine how their design would
have worked in performance.
• We expect to see some form of realisation of the
design. This may be in the form of a recorded or
written presentation explaining the intended design
and what has been realised, which would include
visual evidence such as photographs or visual
recordings.
• Teachers must then use their professional judgement
looking at the design requirements and evidence
provided of the realisation to give the design student
a mark.
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4. How the
Intention of
Communication
can support the
assessment of
AO2
Using Intention of
Communication to Support
AO2 in 2022
▪ Students should be encouraged to use the Intention of Communication to
highlight specific points in their performance or design to the examiner.
▪ It may be supportive for students to use the communication to highlight
any challenges they have faced when preparing the performance from
text and highlighting moments of strength to the examiner.
▪ The Intention of Communication does not form part of the assessment for
AO2.
▪ Students may face challenges in terms of ‘thinking differently’ and
creatively due to social distancing and also the issues involved that may
have meant they did not create a scene in the way that had ideally wanted
to. This can be outlined in their communication of the intention and
interpretation for performance.
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Using Intention of
Communication to Support
AO2 in 2022
▪ Students must perform to the live audience and
not the camera; they can outline their intended
communication within their communication.
▪ Students may have faced challenges in the
application of physical skills, due to social
distancing. These can be outlined in their
interpretation.
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Performer and Designer
Intention of Communication
questions
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5. Theatrical
techniques for
‘performing at
a distance’ and
text/extract
choices
Teaching Tips: Open Drama
•
UK
Have a seating plan or group plan projected on the whiteboard or on the floor- socially.
distanced.
• DO NOT sharing resources such as theatrical masks, puppets, props.
• Keep doors and windows open.
• Clean down chairs/ blocks and wipe surfaces after each session.
• Consideration should be given to the style, proxemics and physicality of performance to
support performing from a distance.
• Many texts/extracts can be delivered in a style which accommodates social distancing
between performers on stage.
• Whilst monologues are an obvious choice, duologues and small groups can also be
performed with distancing measures in place; careful selection of the appropriate text and
extract will be supportive for students.
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Tips for Performing from Text at a
Distance
✓ Opportunity offered by the text for techniques that allow students to stand in their
own space, socially distanced and talking directly to the audience.
✓ Direct address and asides i.e.; Shakespeare.
✓ Narration, movement/sequences that are symbolic and demonstrate characters
or relationships i.e.; Mark Wheeler.
✓ News reports and verbatim speech from research: didactic approach i.e.; Gillian
Slovo.
✓ Multirole i.e.; Teechers, John Godber.
✓ Greek theatre – opportunities for chorale work focus, Greek chorus movement
techniques: such as cannon, unison or repetition of movements and gestures
• Texts written in the collective voice to enable spotlighting on one student with
socially distanced ensemble i.e.; Adult Child/Dead Child, Claire Dowie.
• Texts intended for monologue or interspersed monologue i.e.; Eight, Ella
Hickson, work by Sarah Kane, Mark Ravenhill or Company of Angels.
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Tips for Performing from Text
at a Distance
Students should be encouraged to work with limitations upon set, props,
costume to minimise contamination. The following techniques can be
utilised to create setting and develop characterisation:
✓ use of levels and inventive use of space/proxemics
✓ split stage for different locations, time zones, states of mind etc.
✓ techniques such as socially distanced ‘chair duets’, Round, By
through, inspired by Frantic Assembly
✓ movement motif work either solo or distanced
✓ use of mirroring for symbolic or realistic movements and gestures.
✓ use of mime sequences
✓ use of media: projections, audio and video work to create setting
rather than the use of set and props.
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Text and Extract Choice
• Performance text suggestions
• 2019 PE report
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How Does Social Distancing Work
for Design Students?
Sound and lighting designers
✓ There should be no problem socially distancing: some
students may find these design routes supportive
✓ Ensure all equipment touched is appropriately cleaned
(antibacterial wipes or fluids)
Set designers
✓ Props should not be shared and cleaned thoroughly after
and before use.
✓ Set such as painted flats, backdrops and projections may be
supportive
Costume designers
✓ Theatrical masks should not be shared (again these should
be kept by the performer and cleaned thoroughly).
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6. Assessment
Options 2022
Assessment Process
• The decision has been made to allow UK centres a
choice of assessment in 2022 of either a visiting
examiner attending their centre, or digitally via recorded
performances (submitted via the Learner Work Transfer
(LWT) platform).
• International centres will not be offered this choice and
work will be assessed digitally.
• For more information, please refer to the 2022
Assessment Process and the LWT guidance documents .
• Centres can be reassured that all examiners are trained
to mark on recording and the application of the AO2
criteria will be applied in exactly the same way as
marking live performances.
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2022 Process
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7. Submission
Process
Key points
• The examination window will be between Monday 1
February–Friday 1 April 2022.
• A survey has been sent out to centres at the end of
November to confirm whether they want an early February
visit. Early visits fall between 1 February–11 February
2022.
• The LWT window to upload materials will between 1
February–15 April 2022.
• Any centres with less than 7 entries will not be allocated
a visiting examiner and will have to upload their work to
be examined digitally.
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Key points
• Centres that opt for a visiting examiner:
• will be contacted by the examiner to arrange a suitable date for the
visit
• will need to provide their pre-examination materials 10 working
days before the exam
• Centres will be contacted by their examiner if they do not have the
materials 3 working days before the exam
• failure to upload the materials 2 working days before the
exam will result in the visit being cancelled and work will
have to be uploaded to LWT to be examined digitally. Centres
then will not be offered another visiting date or another
visiting examiner
• will also need to upload the post-examination materials to LWT up
to 10 working days after the examination.
• For centres that opt for digital assessment all the documentation
listed on the next set of slides must be sent via the LWT by 15 April
2022.
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Visiting Option:
Pre-exam Materials
• Statement of intention – one per candidate.
• One copy of each key extract with the
performance extract indicated.
• Centre information sheet – one per centre.
• Permission to use non-assessed candidates – if
applicable.
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Visiting option:
Post-exam Materials
• Recordings of examination performances.
• Additional documentation for designers if
applicable – additional documentation must be
recorded on the day of the exam alongside any
supporting evidence as per the 2022 guidance.
• Retrospective permission to use non-assessed
candidates – if applicable.
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8.Administration
and Recordings
Forms and
Administration
Centre Information Sheet
• We have created a centre information sheet (CIS)
to collect information from centres to share with
the examiners.
• The new centre information sheet (issue 2) will
replace the postal examiner red and green mark
forms and registers and is available in the ‘forms
and administration’ section of the home page.
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Centre Information Sheet
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Administration
• Please include accurate detail of the student’s
appearance in the performance on the Centre Information
Sheet (CIS).
• Extracts and Intention of Communication must be collated
and scanned together in sequential order for each
group performance and saved as separately labelled
files in this group order. All must have student name
and candidate number on.
• The extract provided for monologue, duologues and small
groups need only be for the extract to be performed rather
than the entire 10 minute extract studied.
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Assessment Materials
Checklist 1
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Assessment Materials
Checklist 2
41
Assessment Materials
Checklist 3
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Tips for a Making a Good
Recording 1
• Please refer to Appendix 4 in the issue 4 specification for
guidance on best practice when recording a performance.
• All recordings must be complete and unedited for each
performance.
• The camera must be positioned to ensure the best
possible and unobstructed recording is made of the
performance, as it would be seen by the examiner.
Panning and zooming should not be used.
• Each student should introduce themselves at the start of
each recording. They must provide the following
information:
• name and candidate number
• details of the performance/design role, including group
and extract number.
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Tips for a Making a Good
Recording 2
• It is supportive to the assessment process to make
identification as clear as possible, therefore please consider
providing any of the following:
• students holding up A4 sheets to the camera in the
introduction stating student name and number in a large
font
• providing full length group photographs or static shot of
students in costume
• labelled screen shots of students in performance.
• If students are working remotely, they are required to perform
the work live to the audience on a platform such as Teams.
• The teacher must be present, and the session recorded.
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File Naming Conventions 1
Please name files as outlined in the LWT Guidance, as below:
Recorded performances
File naming convention for group recordings:
[centre number #]_[component no #]_[group number #]
For example, centre 12345 for group 1 would submit a recording entitled:
‘12345_C2_group 1’
File naming convention for duologue recordings:
[centre number #]_[component no #]_[duo number #]
For example, centre 12345 for duo 1 would submit a recording entitled:
‘12345_C2_duo 1’
File naming convention for monologue recordings:
[centre number #]_[component no #]_[mono number #]
For example, centre 12345 for mono 1 would submit a recording entitled:
‘12345_C2_mono 1’
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File Naming Conventions 2
• File naming convention for copy of each key extract from the chosen performance texts:
[centre number #]_[component no #]_[performance info and number]_[extract]
For example, centre 12345 for mono 1 would submit a doc entitled:
‘12345_C2_mono 1_extract’
• File naming convention for communication of intention/statement of intention per student:
[centre number #]_[component no #]_[candidate number #]_[intention]
For example, Jackie Kay, candidate number 6789, from centre 12345 for would submit a document
entitled:
‘12345_C2_6789_intention’
• File naming convention for centre information sheet one per centre:
[centre number #]_[component no #]_[CIS]
For example, centre 12345 would submit a doc entitled:
‘12345_C2_CIS’
• File naming convention for email permission from Pearson regarded non-assessed individuals (if
applicable).
[centre number #]_[component no #]_[NAI approval email]
For example, centre 12345 would submit a doc entitled:
‘12345_C2_NAI’
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9. Further
Support
Your Subject Advisor
Paul Webster
Telephone: 0333 016 4141
Email: [email protected]
Post questions, share useful resources and information, and get in touch
with us informally via:
Twitter: @PearsonPerfArts
Facebook: Pearson Edexcel GCSE Drama.
Look at Paul’s subject page and
sign up to his
updates.
You can ‘Ask the Expert’ questions here.
You can also sign up for other
subject updates by completing this
online form
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Thank you for
listening – we
hope you
found this
presentation
useful.
