Assessment Type 2: Evaluation and Creativity (30%)

Students undertake one or two evaluation and creativity tasks. 

To demonstrate their analysis, evaluation, and creativity as authentic drama practitioners, students complete two tasks, or they may choose to integrate the tasks to produce one single piece that synthesises the ideas, theories, practice, learning, and/or subject matter investigated. 

In this assessment type, evidence of student learning may be informed by analysis and evaluation of dramatic works, theories, events, and source material that have been explored in the Exploration and Vision area of study, and from the practical and contextual learning gained from the Company and Production area of study. 

One task (or part-task) should focus on responding to drama. Students produce an analysis and evaluation of dramatic events created by professional drama practitioners. The evaluation should provide opportunities for students as artists to link reflection of their own development with their learning from professional dramatic events. Events may include live theatre performances, onsite masterclasses and workshops, dramatic film, and/or online drama performances. 

The second task (or part-task) should focus on creating drama. It may be linked to the study of the shared text and dramatic styles explored and analysed during Exploration and Vision, or to another text and style(s), or it can be self-devised.  The chosen texts must be different from the texts produced by the students in the group production; however, they may be written by the same authors and may involve the same dramatic styles. In this task, each student is encouraged to take creative risks and to experiment while imagining, conceiving, and developing a hypothetical creative outcome.  

Examples of tasks may include, but are not limited to: 

• an original design or directorial concept and pitch for a hypothetical production of the shared text studied in Exploration and Vision, with justified examples of staging choices 
• a pitch for an original creative vision or concept of a hypothetical production of another dramatic text (or self-devised work), with justified examples of staging choices 
• a written response making links between a live theatre production and their own practice as an actor, director, film-maker, or designer  
• an original script (or part of a script) with an annotated analysis and justification of choices and intentions, with a synopsis of the whole work 
• a business plan and pitch as the producer of a hypothetical regional tour of the group production (or another actual or hypothetical production). The pitch and plan may include consideration of the dramatic and artistic intentions of the production, audience development, touring viability, budget, marketing, sustainability with a view to carbon neutrality, artists’ salaries, and touring logistics 
• an oral presentation which analyses and evaluates the experience of a workshop or masterclass by visiting professional performers to the school, and how the student artist might link the learning gained to inform and improve the development of their own practice 
• a multimedia presentation exploring how a theatre practitioner or film-maker has used technology innovatively and how this might influence ideas for a new hypothetical work 
• an oral presentation analysing and evaluating how a live production has inspired the student artist, and how the ideas, aesthetics, and skills have spurred the student to envisage an original theatrical work 
• a discursive essay detailing the student’s personal philosophy of theatre for the purpose of social change, e.g. ‘a theatre of hope’, ‘a theatre of provocation’. 
• an oral presentation of a director’s or auteur’s vision for a self-devised production, exploring the issue of climate change, racism, or another social issue 
• a vlog for a target audience, such as Inside the Actors Studio, reflecting on how theatre or film provides opportunities for presenting viewpoints through drama about a contemporary issue 
• a recorded oral discussion with a peer, a small group, or a teacher exploring how ideas from a performance tradition might be applied in a local, contemporary dramatic context, e.g. the Balinese chorus or butoh dramatic movement 
• a tutorial presentation about the use of non-literal devices such as symbolism in one or more plays or films, and how these might influence a directorial concept or set design. 

The combined total for tasks in this assessment type is a maximum of 12 minutes if oral or multimodal, or 2000 words if written. 

For this assessment type, students provide evidence of their learning primarily in relation to the following assessment design criteria: 

• knowledge and understanding 
• creative and critical thinking 
• creative application.