2024 2026 Syllabus
2024 2026 Syllabus
2024 2026 Syllabus
Cambridge International
AS & A Level
Drama 9482
Use this syllabus for exams in 2024, 2025 and 2026.
Exams are available in the June and November series.
Version 1
For the purposes of screen readers, any mention in this document of Cambridge IGCSE
refers to Cambridge International General Certification of Secondary Education.
Why choose Cambridge International?
Cambridge International prepares school students for life, helping them develop an informed curiosity and a
lasting passion for learning. We are part of the University of Cambridge.
Our Cambridge Pathway gives students a clear path for educational success from age 5 to 19. Schools can
shape the curriculum around how they want students to learn – with a wide range of subjects and flexible ways
to offer them. It helps students discover new abilities and a wider world, and gives them the skills they need for
life, so they can achieve at school, university and work.
Our programmes and qualifications set the global standard for international education. They are created by
subject experts, rooted in academic rigour and reflect the latest educational research. They provide a strong
platform for students to progress from one stage to the next, and are well supported by teaching and learning
resources.
We review all our syllabuses regularly, so they reflect the latest research evidence and professional teaching
practice – and take account of the different national contexts in which they are taught.
We consult with teachers to help us design each syllabus around the needs of their learners. Consulting with
leading universities has helped us make sure our syllabuses encourage students to master the key concepts in
the subject and develop the skills necessary for success in higher education.
Our mission is to provide educational benefit through provision of international programmes and qualifications
for school education and to be the world leader in this field. Together with schools, we develop Cambridge
learners who are confident, responsible, reflective, innovative and engaged – equipped for success in the
modern world.
Every year, nearly a million Cambridge students from 10 000 schools in 160 countries prepare for their future
with the Cambridge Pathway.
School feedback: ‘We think the Cambridge curriculum is superb preparation for university.’
Feedback from: Christoph Guttentag, Dean of Undergraduate Admissions, Duke University, USA
Quality management
Cambridge International is committed to providing exceptional quality. In line with this commitment, our
quality management system for the provision of international qualifications and education programmes for
students aged 5 to 19 is independently certified as meeting the internationally recognised standard,
ISO 9001:2015. Learn more at www.cambridgeinternational.org/ISO9001
Key benefits
The best motivation for a student is a real passion for the
subject they’re learning. By offering students a variety of
Cambridge International AS & A Levels, you can give them the
greatest chance of finding the path of education they most
want to follow. With over 50 subjects to choose from, students
can select the ones they love and that they’re best at, which
helps motivate them throughout their studies. Cambridge
learner
Following a Cambridge International AS & A Level programme
helps students develop abilities which universities value highly,
including:
• a deep understanding of their subjects
• higher order thinking skills – analysis, critical thinking,
problem solving
• presenting ordered and coherent arguments
• independent learning and research.
Cambridge International AS & A Level Drama provides opportunities for learners to develop their skills as
theatrical practitioners, engaging with performance texts in practical and creative ways. It fosters engagement
with, and enjoyment of, the study of a wide range of theatrical styles and genres. Through their study, learners
will develop as skilled, well-informed, reflective practitioners, able to research ideas and create and interpret
meaning through drama.
Our approach in Cambridge International AS & A Level Drama encourages learners to be:
responsible, developing shared responsibility, working with others and understanding the power of drama to
engage, influence and persuade
reflective, engaging with performance processes, and using them to inform future practice
innovative, creating original dramatic work and formulating imaginative responses to existing repertoire
engaged, developing their enjoyment of drama as a means of nourishing their own continuing practical,
intellectual and artistic growth.
Key concepts
Key concepts are essential ideas that help students develop a deep understanding of their subject and make
links between different aspects. Key concepts may open up new ways of thinking about, understanding or
interpreting the important things to be learned.
Good teaching and learning will incorporate and reinforce a subject’s key concepts to help students gain:
• a greater depth as well as breadth of subject knowledge
• confidence, especially in applying knowledge and skills in new situations
• the vocabulary to discuss their subject conceptually and show how different aspects link together
• a level of mastery of their subject to help them enter higher education.
The key concepts identified below, carefully introduced and developed, will help to underpin the course you will
teach. You may identify additional key concepts which will also enrich teaching and learning.
The key concepts for Cambridge International AS & A Level Drama are:
• Communication
Drama is about communicating meaning to an audience through verbal and physical performance. Such
a performance requires a company of actors, designers and director to stage a production in a chosen
performance space at a given time.
• Performance processes
A performance may consist of a realisation of an existing play, an original piece of devised work, or a
combination of the two. It requires all members of the company to work collaboratively to interpret or create
dramatic material, to negotiate the journey through rehearsing and refining this material, and to present the
final performance with confidence and authority to an audience.
• Practical skills
The staging of a successful dramatic performance requires a wide range of well-developed practical skills.
The overall theatrical vision for the performance is realised through performers playing a role bringing their
characters to life, and the integral work of designers.
• Genre, style and structure
Drama practitioners work in a style that expresses the concerns of their own times and cultures, or they
adopt conventions from other contexts. They choose the genre, style and structure that best suit their
dramatic intention, which may variously promote, challenge, or influence aspects of the cultures in which
they live and practise.
• Research and critical reflection
Drama practitioners use research and critical reflection to prepare, refine and evaluate their work. Research
and critical reflection is the ongoing process that helps performers, directors and designers to discover
what works and what does not. They need to research the work of established practitioners, estimating its
significance and evaluating their own success in achieving a vision for performance.
UK NARIC, the national agency in the UK for the recognition and comparison of international qualifications and
skills, has carried out an independent benchmarking study of Cambridge International AS & A Level and found
it to be comparable to the standard of AS & A Level in the UK. This means students can be confident that their
Cambridge International AS & A Level qualifications are accepted as equivalent, grade for grade, to UK AS & A
Levels by leading universities worldwide.
Cambridge International AS Level Drama makes up the first half of the Cambridge International A Level course
in drama and provides a foundation for the study of drama at Cambridge International A Level. Depending on
local university entrance requirements, students may be able to use it to progress directly to university courses
in drama or some other subjects. It is also suitable as part of a course of general education.
Cambridge International A Level Drama provides a foundation for the study of drama or related courses in
higher education. Equally it is suitable as part of a course of general education.
For more information about the relationship between the Cambridge International AS Level and Cambridge
International A Level see the ‘Assessment overview’ section of the Syllabus overview.
We recommend learners check the Cambridge recognition database and university websites to find the most
up-to-date entry requirements for courses they wish to study.
School feedback: ‘The depth of knowledge displayed by the best A Level students makes
them prime targets for America’s Ivy League universities.’
Feedback from: Yale University, USA
Supporting teachers
We provide a wide range of resources, detailed guidance and innovative training and professional development
so that you can give your students the best possible preparation for Cambridge International AS & A Level. To
find out which resources are available for each syllabus go to www.cambridgeinternational.org/support
The School Support Hub is our secure online site for Cambridge teachers where you can find the resources
you need to deliver our programmes. You can also keep up to date with your subject and the global Cambridge
community through our online discussion forums.
Sign up for email notifications about changes to syllabuses, including new and revised products and services at
www.cambridgeinternational.org/syllabusupdates
Professional development
We support teachers through:
• Introductory Training – face-to-face or online
• Extension Training – face-to-face or online
• Enrichment Professional Development – face-to-face or online
Find out more at www.cambridgeinternational.org/events
2 Syllabus overview
Aims
The aims describe the purposes of a course based on this syllabus.
Content overview
Cambridge International AS & A Level Drama encourages students to explore a range of practical and
theoretical approaches to drama from script to performance. The syllabus encourages students to develop
the ability to apply practical skills effectively and to analyse and evaluate both their own work and the work of
others.
Skills developed through drama are all highly transferable. They can help students in other subject areas, and
can help equip them for higher education or employment.
www.cambridgeinternational.org/support
School feedback: ‘Cambridge International AS & A Levels prepare students well for university
because they’ve learnt to go into a subject in considerable depth. There’s that ability to really
understand the depth and richness and the detail of a subject. It’s a wonderful preparation for
what they are going to face at university.’
Feedback from: US Higher Education Advisory Council
Assessment overview
Component 1 Component 3
Component 2 Component 4
There are three routes for Cambridge International AS & A Level Drama:
Route Component 1 Component 2 Component 3 Component 4
* Candidates carry forward their AS Level result subject to the rules and time limits described in the Cambridge
Handbook.
Candidates following an AS Level route will be eligible for grades a–e. Candidates following an A Level route are
eligible for grades A*–E.
Assessment objectives
The assessment objectives (AOs) are:
AO2 Devising
Candidates demonstrate skill and creativity in devising original pieces of theatre for group performance.
AO3 Performing
Candidates demonstrate acting skills in performing a range of text-based materials.
3 Subject content
This section sets out the knowledge, understanding and skills that learners need to develop during the course
in preparation for the assessment.
This syllabus gives you the flexibility to design a course that will interest, challenge and engage your learners.
Where appropriate you are responsible for selecting suitable topics and subject contexts, resources and
examples to support your learners’ study. These should be appropriate for the learners’ age, cultural
background and learning context as well as complying with your school policies and local legal requirements.
Candidates learn to explore play extracts in detail and to justify their ideas, while taking into account the
relationship of the extract to the play as a whole. Candidates learn about performance characteristics of the
play’s original production period or an appropriate modern revival. They learn about performance of a given
role, ensemble and interaction, direction of the scene and appropriate design ideas.
Candidates also develop their understanding of how to approach a complete play from a performance
perspective. They explore how actors, designers and directors could interpret and present a play. Candidates
consider the intended effects of artistic choices on an audience.
Candidates learn about the genre and tradition of theatre from which a play comes and relevant aspects of
its historical context, including its performance history. Candidates draw on their knowledge and experience
of theatre practice, but the emphasis is on developing their own ideas for performing, designing and directing
in relation to the text. They become able to articulate their understanding of the potential of the text and its
practical applications in performance. Candidates learn to support their work with clear expression and to
make close reference to relevant detail.
In this component, all texts in Section A are texts originally written in English and must be studied in the
editions specified. Texts in Section B are from a wide range of world theatre and from different historical periods
including some plays in translation into English. Particular editions are not specified for Section B.
Candidates study one set text from Section A and one from Section B.
Section A
William Shakespeare As You Like It (1599–1600) ed. Cedric Watts, Wordsworth Classics,
ISBN: 9781853260599
Richard Sheridan The Rivals (1775) ed. Kathy Casey, Dover, 1998
ISBN 9780486404332
Arthur Miller A View from the Bridge (1955) Penguin Books, 1977, Penguin Modern Classics,
(reprinted, 2009, 2010, ISBN 9780141189963)
Wole Soyinka The Beatification of Area Methuen Drama 1995, ISBN 9780413686800
Boy (1995)
Helen Edmundson Small Island (2019) Nick Hern Books, 2019, ISBN 9781848428515
Section B
Sophocles Oedipus Rex (c. 429 BCE)*
Nicolai Gogol The Government Inspector (1842)*
Anton Chekhov The Cherry Orchard (1904)*
Federico Lorca Blood Wedding (1933)*
Jean Tay Boom (2015)
*Texts in translation
These plays must be studied in English translation. Any appropriate translation into English may be used.
Schools are advised to avoid translations which are essentially adaptations or re-workings of the original.
Teachers and candidates have the flexibility to approach this component in the most appropriate way to
support candidates’ interests and abilities, and draw on their previous experience in theatre and drama.
Devised piece
Candidates work in a group to devise a piece of drama which is performed to a live audience.
Teachers support each group of candidates in learning to devise a performance in response to a stimulus.
The choice of stimulus, which can be literary, artistic, or based on current affairs or historical events, forms the
beginning of this work.
Candidates learn to research and explore a stimulus for its dramatic possibilities. To do this, they explore
structure and dramatic effectiveness, and create and communicate a role. Candidates in each group also learn
to build a sense of ensemble in the performance of their devised piece.
As candidates learn to devise a performance piece, they may also gain experience in using simple props,
costumes and set.
The devised piece must be developed from one chosen stimulus, selected from the options set out below. For
example, a group may decide to choose from the artistic category a sculpture as their stimulus.
Candidates learn to evaluate strengths and weaknesses of their work in devised performance. They gain
experience in reflecting on the devising process and on the achievement of the artistic intentions of a devised
performance.
Scripted performance
Candidates work in a group to perform a piece of scripted drama to a live audience.
As teachers support each group of candidates in learning to perform an extract from a published play,
candidates develop appropriate acting skills.
Candidates learn vocal and physical skills, characterisation appropriate to the genre and style of the piece, and
how to pace their performance of the extract. Candidates in each group learn to work as part of an ensemble
in the performance of their scripted piece and develop a sense of audience. They learn to engage and
communicate with the audience.
As candidates develop their skills in performing, they may also gain experience in using simple props,
costumes and set.
The play must be in English or an English translation from another language and it must be performed in
English. It should be sufficiently challenging, published with an ISBN number and have been performed
professionally. It must not be published only online, or intended as classroom drama, or material intended solely
for youth theatre. Candidates may not use any texts set for study for Component 1.
Teachers and candidates have the flexibility to structure this component to support candidates’ continued
experience in theatre and drama and reflect their interests and abilities.
Each group of candidates chooses a theatre practitioner, tradition or style with the support of their teacher. The
choice is from a set list, and forms the beginning of this work.
In devising the group piece, candidates may work as performers or designers. Teachers support candidates in
learning performing and design skills. The design skills may be chosen from:
• lighting and/or sound design
• costume and/or mask design
• set and/or prop design.
Each group may have no more than one design candidate (irrespective of the design area).
Set practitioners, traditions and styles for exams in 2024, 2025 and 2026
The practitioners, traditions and styles listed below are for exams in 2024, 2025 and 2026.
From the set list, each group of candidates chooses one practitioner, tradition or style and carries out an
investigation of a particular production of a text as a case study.
Preparatory work
Each group of candidates chooses one practitioner, tradition or style from this list and carries out an
investigation. Each group should investigate one professionally performed production (either current or historic)
that represents the work of their chosen practitioner or which bears the distinct hallmarks of their chosen
tradition or style.
The investigation itself is not assessed. Its purpose is to support candidates in devising, performing, and
analysing and evaluating. The practical work emerges from this process.
The group performance does not have to reproduce the content or themes of the ‘investigation production’ but
should reflect its stylistic elements and present clear evidence for it having been the source of inspiration. The
content and themes of the devised piece should be appropriate to the application of the chosen practitioner,
tradition or style.
The following are examples of ‘case study’ productions which could provide the starting point for candidates’
own work:
Brecht, as exemplified through The Caucasian Chalk Circle at the Berliner Ensemble in 1954
Frantic Assembly, as exemplified through their production of Othello (on tour) in 2008, 2014 and 2015
Commedia dell’arte, as exemplified through The Servant of Two Masters at the Royal Shakespeare Company
(RSC) in 1999.
As candidates research the practitioner, tradition or style, they learn about some or all of the following areas:
• the socio-historical, cultural/theatrical context in which the tradition or style emerged or in which the
practitioner was/is practising
• the cultural purpose of the drama produced
• the political intentions of the drama produced
• the artistic ideals of the drama produced
• the practitioner
• working methods
• preferred venues and/or actor/audience configuration
• the contribution of director, actor and designer to the work.
Devising
Candidates learn the skills required to devise a piece from a particular starting point (theatre practitioner,
tradition or style). This starting point will be the focus of a case study investigation. They draw on their
understanding of drama forms and techniques to create an original piece of drama, identifiably developed from
their chosen starting point. Groups produce a case study statement describing the basis and intentions of their
work.
Each group of candidates should be self-contained and entirely responsible for developing the finished piece.
Candidates learn to build on their individual and collaborative skills with this in mind.
If no candidates offer design skills, the performers may also gain experience in using simple props, costume,
set, lighting or sound as part of their developing understanding of the devising process.
Candidates learn to analyse and evaluate their work in group devised performance.
Individual performance
Candidates work to prepare an individual performance to a live audience. The Individual performance is an
opportunity for candidates to present a solo performance created from a range of existing written texts that are
thematically linked. This is referred to as the ‘programme’ in this syllabus.
Teachers support individual candidates in selecting a range of material related to a given theme. Candidates
learn to perform a connected and integrated piece, which includes appropriate links between the different
materials they have chosen.
Candidates learn a range of acting skills appropriate to the material chosen. They learn to guide an audience
through a sequence of three or more chosen pieces of text.
Candidates may not use any texts set for study for Component 1.
Within the context of their individual performance, candidates may learn to use appropriate lighting and sound
or puppetry, masks, props, costume.
Candidates might select three or more of the following pieces to form their programme:
• an extract from Testament of Youth by Vera Brittain
• an extract from Henry V by William Shakespeare
• Denise Levertov’s poem ‘What Were They Like?’
• an extract from a newspaper report on conflict in a war zone
• an extract from transcripts from an International War Crimes Tribunal in The Hague.
Some of the material chosen for the individual performance may be suitable for use as conservatoire or drama
school audition pieces.
Teachers support candidates to gain the research and written skills needed to explore the dramatic and
theatrical possibilities of their chosen material. Candidates develop skills in writing a research essay, which may
include visual or diagrammatic material as well as written text. Candidates learn to structure their (written) work
and to develop clarity of expression. Candidates learn to analyse, evaluate and reflect throughout the process.
The research essay may build on and extend work done for Component 2 and/or Component 3 or may stand
alone. Candidates may not use any texts set for study for Component 1 as the focus for their study, although
passing reference to these texts as part of a wider consideration of a playwright’s work or genre or style of
theatre would be acceptable.
• Hubert Ogunde is often considered the father of Nigerian theatre. Discuss this statement with reference to
the theatre practice of two other Nigerian playwrights.
• ‘The line between religious ritual and theatrical performance is often blurred.’ (Richard Schechner). Discuss
with reference to two different performance traditions.
• Evaluate the contribution of Deborah Warner to contemporary British theatre.
The list of terms is not intended to be exhaustive. Teachers are advised to consult the complete Cambridge
International AS & A Level Drama (9482) Glossary of dramatic and theatrical terms, published on the School
Support Hub (www.cambridgeinternational.org/support). The glossary provides definitions for a wide range
of terms including technical vocabulary. This glossary is designed to support teaching and learning but is not
prescriptive.
Action Improvisation
Chorus Moment
Comedy/tragedy Mood
Conflict/suspense/tension Pace/rhythm/tempo
Contrast Plot
Devised drama Rehearsal process
Devising process Script
Dialogue Structure
Ensemble Theatre
Exposition, climax and resolution Theme
Genre/style (of plays and performance) Transition
Performance terms
Key personnel
Candidates respond to one text in each section. Candidates answer two questions: one question in Section A
and one question in Section B.
Candidates are advised to divide their time equally between the two sections.
Candidates are expected to write their answers to both sections in continuous prose in English. However,
answers may be supported by sketches and/or diagrams where appropriate.
For Section A the prescribed set text editions must be used. For Section B particular editions are not specified
but candidates should not use editions that include extensive study notes or explanations or footnotes in the
exam. Clean copy text only should be used in the exam for AS & A Level Drama.
Further information about the requirements for the open-book exam in drama is in the Cambridge Handbook.
Section A
A total of 30 marks is available for Section A. Candidates should spend no more than one hour on this section.
In this section there are ten questions. Two questions will be set on each extract. Candidates answer one
question.
The questions in Section A assess AO1. This section will assess candidates’ knowledge and understanding of
the details of the play extract. Their responses will be informed by a practical sense of theatre, and the ability to
offer an interpretation that is consistent with the play as a whole.
Candidates must be prepared to engage with the extract from the perspective of performer, director or
designer as specified by the question.
In developing their own ideas, candidates should refer to any of the following aspects where appropriate:
• the theatrical/cultural/historical context of the play
• language and stage imagery
• genre and style
• performance history of the play.
For each text, a specified extract will be indicated in the question. The extract is about two to three pages of
text and is about five minutes of performance time.
Section B
A total of 30 marks is available for Section B. Candidates should spend no more than one hour on this section.
In this section there are ten questions. Two questions will be set on each play. Candidates answer one
question.
The questions in Section B assess AO1. This section will assess candidates’ knowledge and understanding of
appropriate details of the play. Their responses will be informed by a practical sense of theatre, and the ability
to offer an interpretation that is consistent with the play as a whole.
Candidates must be prepared to engage with the play from the perspective of performer, director or designer
as specified by the question.
In developing their own ideas, candidates should refer to any of the following aspects where appropriate:
• the theatrical/cultural/historical context of the play
• language and stage imagery
• genre and style
• performance history of the play.
Each candidate will participate in two group performances, and material chosen for both pieces must be
performed to a live audience.
Candidates must take both parts, Devised piece and Scripted performance. Both must be recorded.
The following items must be submitted for each part. Refer to the assessment details below.
Cohort Recording cover sheet listing all recordings for both parts
Candidates must (a) contribute to a group piece and (b) provide a spoken self-evaluation.
The devised piece must be developed from one selected stimulus from the options set out on page 15 of
section 3 Subject content.
The piece may be supported by the use of simple props, costumes and set. The props, costumes and set will
not be assessed.
Teachers may support and advise as the devised piece develops. Teachers must not make creative decisions
or work as directors.
Candidates work in a group to prepare and perform an extract of between 10 and 25 minutes from a published
play of their own choice.
The group will consist of between two and five candidates and each candidate will be assessed individually on
their performance.
The length of the extract will depend on the number of performers. It must allow each candidate approximately
five minutes’ exposure.
Note that candidates may not use any texts set for study for Component 1 in their scripted performance for
Component 2.
Teachers will guide candidates in the choice of appropriate scripted material. Teachers work to ensure that
each group has a thorough understanding of the period, genre and style of the drama in order to inform each
candidate’s practical realisation of his/her role. Teachers may provide support to the group including reviewing
rehearsals and offering feedback but they must not act as directors. Teachers must not be involved in creative
decisions.
Although candidates are not assessed specifically on their use of technical and design elements, simple props,
costume and set may be used. Candidates are expected to understand the relationship between design
elements and performance, for example how a character may be expressed through the costume worn by that
character. Any props, costume or set used should be consistent with the overall style of the piece.
The marker should look at the work and then make a judgement about which level statement is the ‘best fit’.
In practice, work does not always match one level statement precisely so a judgement may need to be made
between two or more level statements.
Once a ‘best-fit’ level statement has been identified, use the following guidance to decide on a specific mark:
• If the candidate’s work convincingly meets the level statement, award the highest mark.
• If the candidate’s work adequately meets the level statement, award the most appropriate mark in the
middle of the range (where middle marks are available).
• If the candidate’s work just meets the level statement, award the lowest mark.
In the context of this syllabus creativity is taken to refer to originality of approach and inventiveness of ideas in
making drama.
A Stimulus (5 marks)
Candidates are awarded marks for their creative response to the stimulus:
• creative interpretation of the chosen stimulus
• exploitation of the dramatic possibilities of the chosen stimulus.
5 • Insightful and analytical account of the process of devising the piece and 9–10
identifying its artistic intentions.
• Perceptive evaluation of their personal contribution to the success of the
devised piece in achieving its artistic intentions.
4 • Clear and reasoned account of the process of devising the piece and 7–8
identifying its artistic intentions.
• Well-developed evaluation of their personal contribution to the success of the
devised piece in achieving its artistic intentions.
3 • Competently explained account of the process of devising the piece and 5–6
identifying its artistic intentions.
• Broad evaluation of their personal contribution to the success of the devised
piece in achieving its artistic intentions.
2 • A variable account of the process of devising the piece with occasional 3–4
reference to identifying its artistic intentions. The approach may be uneven or
largely narrative.
• Occasional points of evaluation of their personal contribution to the success of
the devised piece in achieving its artistic intentions.
1 • A limited account of the process of devising the piece with minimal reference 1–2
to identifying its artistic intentions. The approach may be inconsistent,
narrative, confused or irrelevant.
• A general review on their role in the piece.
0 • No creditable response. 0
In addition, you should submit a recording cover sheet completed for the cohort. Include the recording cover
sheet with the sample materials you send to Cambridge International. Download the recording cover sheet
from the samples database at www.cambridgeinternational.org/samples. The database will ask you for the
syllabus code (i.e. 9482) after which it will take you to the correct form. Follow the instructions on the form itself
to complete it.
You should record candidates’ marks for Component 2 on the Individual Candidate Mark Sheet which you
should download each year from the samples database at www.cambridgeinternational.org/samples. The
database will ask you for the syllabus code (i.e. 9482), after which it will take you to the correct form. Follow the
instructions on the form to complete it.
Each candidate must have a record of marks for Part 1 Devised piece and a record of marks for Part 2 Scripted
performance.
The marks on this form must be identical to the marks you submit to Cambridge International.
Internal moderation
If more than one teacher in your centre is marking internal assessments, you must make arrangements
to moderate or standardise your teachers’ marking so that all candidates are assessed to a common
standard. (If only one teacher is marking internal assessments, no internal moderation is necessary.)
You can find further information on the process of internal moderation on the samples database at
www.cambridgeinternational.org/samples
You should record the internally moderated marks for all candidates on the Individual Candidate Mark Sheet
and submit these marks to Cambridge International according to the instructions set out in the Cambridge
Handbook for the relevant year of assessment.
External moderation
Cambridge International will externally moderate all internally assessed components.
The sample you submit to Cambridge International should include examples of the marking of each teacher.
The samples database at www.cambridgeinternational.org/samples explains how the sample will be
selected.
External moderators will produce a short report for each centre with feedback on your marking and
administration of the assessment.
Authentication of coursework
It is the centre’s responsibility to make sure all assessed work is kept under teacher supervision and is the
candidate’s original work. Teachers should note the guidance given about the permitted level of support and
involvement in developing the material, and confirm that no further help beyond that permitted in the syllabus
has been given to candidates. A general discussion on the progress of coursework is a natural part of the
teacher–candidate relationship, as it is for other parts of the course.
Candidates must sign a statement confirming that they have received no additional support in developing,
rehearsing and performing their material, and that the devised piece they have performed is their own invention.
Teachers must countersign to confirm that they believe this to be the case.
Candidates must understand that they cannot submit someone else’s work as their own, or use material
produced by someone else without citing and referencing it properly. You should make candidates aware of the
academic conventions governing quotation and reference to the work of others, and teach candidates how to
use them.
A candidate taking someone else’s work or ideas and passing them off as his or her own is an example of
plagiarism. It is your responsibility as a teacher to prevent plagiarism from happening and to detect it if it does
happen. For more information, search for ‘Preventing plagiarism – guidance for teachers’ on our website at
www.cambridgeinternational.org
At the time of submission, the candidate must sign a statement confirming that they are submitting their own
work. You countersign it to confirm that you believe the work is theirs. Centres should use the cover sheet on
the samples database for this purpose.
Each candidate will participate in two performances and material chosen for both pieces must be performed to
a live audience.
Candidates must take both parts, Group devised drama and Individual performance. Both must be recorded.
The following items must be submitted for each part. Refer to the assessment details below.
Cohort Recording cover sheet listing all recordings for both parts
Candidates must (a) contribute to a group piece and (b) provide a written analysis and evaluation.
The piece must be inspired by and clearly informed by one of the practitioners, traditions or styles from the set
list on page 17 of section 3 Subject content.
Investigation
Each group of candidates chooses one practitioner, tradition or style from the set list and carries out an
investigation.
The investigation itself is not assessed. Its purpose is to support candidates in devising and performing, and
analysing and evaluating. The practical work emerges from this process.
Candidates must investigate one professionally performed production, either current or historic (the ‘case
study’), that represents the work of their chosen practitioner or bears the distinct hallmarks of their chosen
tradition or style.
The group performance does not have to reproduce the content or themes of the production used for the
case study investigation. The group performance must reflect the stylistic elements of the production used and
present clear evidence of it having been the source of inspiration. The content and themes of the devised piece
must be appropriate to the application of the chosen practitioner, tradition or style. Refer to pages 17–18 of
section 3 Subject content for further information, including examples of ‘case study’ productions and types of
research.
The research into the practitioner, tradition or style may include some or all of the following areas:
• the socio-historical, cultural/theatrical context in which the tradition or style emerged or in which the
practitioner was/is practising
• the cultural purpose of the drama produced
• the political intentions of the drama produced
• the artistic ideals of the drama produced
• the practitioner
• working methods
• preferred venues and/or actor/audience configuration
• the role of the director, actor and designer in the work
A statement describing the case study investigation must be included in the group cover sheet completed by
the teacher. This statement should be the same for all the candidates in the group.
Each group should have no more than one design candidate (irrespective of the design area).
In the context of the chosen theatre practitioner, tradition or style, candidates will therefore be assessed on one
of the following:
• their ability to create and communicate a role as part of an ensemble
or
• their creation and realisation of a technical or design element in support of the performance. No more
than one candidate should offer design for each devised piece, and the piece should enable design
candidates to present work of sufficient substance for assessment at this level.
Designers in all disciplines must present a written portfolio of evidence of their work and its contribution to
the piece. Conceptualisations, supporting diagrams, layout plans and images must be of a sufficiently high
standard to communicate ideas effectively at this level. If no candidates offer design skills, the piece may be
supported by simple props, costume, set, lighting or sound, but these will not be assessed.
All candidates, whether performers or designers, will submit a written analysis and evaluation of their
contribution to the devised piece. This must include:
• analysis of the application of the ideas/methods/style/practice of the chosen practitioner, tradition or style
• analysis of the original ideas and development of process for the piece
• evaluation of the refinement, process and outcomes of the piece
• evaluation of personal contribution.
The analysis and evaluation must not exceed 800 words. A word count must be declared. Any work beyond
the 800 words will not be assessed.
Each group of candidates should be self-contained and entirely responsible for developing the finished piece.
During the devising process, candidates may expect support and constructive feedback from their teacher,
in relation to their devising skills, and guidance, in relation to the choice of and research into the practitioner,
tradition or style. However, teachers may not act as directors, contribute to the shaping of the piece or
contribute artistic ideas of their own; they should retain sufficient objectivity to be able to assess the finished
piece.
Candidates work individually to prepare and perform an individual programme of between six and eight
minutes.
The individual performance will require candidates to select a range of material related to a given theme and
perform it as a coherent and connected, integrated piece including appropriate links between the different
materials.
This is a solo performance task. However, candidates may choose to perform the programme to a silent on-
stage partner.
The programme should consist of a compilation of extracts from texts drawn from any theatrical tradition or
genre. The programme may also include texts selected from poetry, prose fiction, non-fiction, news reportage
or verbatim material. Note that candidates may not use any texts set for study for Component 1.
Candidates should select three or more texts to include in their individual programme. Each of the texts
selected should be related to the candidate’s chosen theme. Candidates may choose extracts from each of
these texts or complete texts depending on length and balance. In order to create a coherent presentation,
candidates should create their own brief links between the texts. These may be written or improvised, but
are considered an assessed part of the performance. Links will introduce each piece, explain the relationship
between pieces, for example identifying contrasts or similarities, and comment on how each piece relates to
the theme. They are intended to guide the audience through the programme. There is no need for a concluding
comment after the final piece. Linking material should not outweigh the performance of the texts and the whole
performance, including the linking material, must not exceed the upper limit of eight minutes of performance
time. Refer to page 19 of section 3 Subject content for an example of an individual performance.
Teachers work to ensure that each candidate has a thorough understanding of the task. They guide candidates
in the choice of appropriate material. Teachers may provide support to each candidate including reviewing
rehearsals and offering feedback. They must not act as directors. Teachers must not be involved in creative
decisions.
Although this is primarily a performance of a programme, candidates are permitted to use lighting and sound
in their performance and may choose to include puppetry, masks, props and/or costume to enhance the
presentation, provided these do not distract from the primary focus of the task on performance skills and the
selection of appropriate content.
The marker should look at the work and then make a judgement about which level statement is the ‘best fit’.
In practice, work does not always match one level statement precisely so a judgement may need to be made
between two or more level statements.
Once a ‘best-fit’ level statement has been identified, use the following guidance to decide on a specific mark:
• If the candidate’s work convincingly meets the level statement, award the highest mark.
• If the candidate’s work adequately meets the level statement, award the most appropriate mark in the
middle of the range (where middle marks are available).
• If the candidate’s work just meets the level statement, award the lowest mark.
In the context of this syllabus creativity is taken to refer to originality of approach and inventiveness of ideas in
making drama.
Structure
Candidates are awarded marks for their contribution to the structure and dramatic effectiveness of the
piece through:
• effective use of structural features, for example but not limited to: openings, endings, transitions,
dénouement, reversals, circularity, linear form.
5 • Insightful and analytical account of the process of devising the piece and 9–10
identifying its artistic intentions.
• Perceptive evaluation of their personal contribution to the success of the group
devised drama in achieving its artistic intentions.
4 • Clear and reasoned account of the process of devising the piece and 7–8
identifying its artistic intentions.
• Well-developed evaluation of their personal contribution to the success of the
devised piece in achieving its artistic intentions.
3 • Competently explained account of the process of devising the piece and 5–6
identifying its artistic intentions.
• Broad evaluation of their personal contribution to the success of the devised
piece in achieving its artistic intentions.
2 • A variable account of the process of devising the piece with occasional 3–4
reference to identifying its artistic intentions. The approach may be uneven or
largely narrative.
• Occasional points of evaluation of their personal contribution to the success of
the devised piece in achieving its artistic intentions.
1 • A limited account of the process of devising the piece with minimal reference 1–2
to identifying its artistic intentions. The approach may be inconsistent,
narrative, confused or irrelevant.
• A general review on their role in the piece.
0 • No creditable response. 0
B Communication (5 marks)
Candidates are awarded marks for:
• the ability to communicate with the audience.
Each group must have a cover sheet for Part 1 Group devised drama.
In addition, you should submit a recording cover sheet completed for each cohort. Include the recording cover
sheet with the sample materials you send to Cambridge International. Download the recording cover sheet
from the samples database at www.cambridgeinternational.org/samples. The database will ask you for the
syllabus code (i.e. 9482) after which it will take you to the correct form. Follow the instructions on the form itself
to complete it.
All individuals’ written work must have a cover sheet attached to their written analysis and evaluation, and to
their written portfolio in the case of candidates offering design.
You should record candidates’ marks for Component 3 on the Individual Candidate Mark Sheet which you
should download each year from the samples database at www.cambridgeinternational.org/samples. The
database will ask you for the syllabus code (i.e. 9482), after which it will take you to the correct form. Follow the
instructions on the form to complete it.
Each candidate must have a record of marks for Part 1 Group devised drama and a record of marks for Part 2
Individual performance.
The marks on these forms must be identical to the marks you submit to Cambridge International.
Internal moderation
If more than one teacher in your centre is marking internal assessments, you must make arrangements
to moderate or standardise your teachers’ marking so that all candidates are assessed to a common
standard. (If only one teacher is marking internal assessments, no internal moderation is necessary.)
You can find further information on the process of internal moderation on the samples database at
www.cambridgeinternational.org/samples
You should record the internally moderated marks for all candidates on the Individual Candidate Mark Sheet
and submit these marks to Cambridge International according to the instructions set out in the Cambridge
Handbook for the relevant year of assessment.
External moderation
Cambridge International will externally moderate all internally assessed components.
• You must submit the marks of all candidates to Cambridge International.
• You must also submit the marked work of a sample of candidates to Cambridge International.
The sample you submit to Cambridge International should include examples of the marking of each teacher.
The samples database at www.cambridgeinternational.org/samples explains how the sample will be
selected.
External moderators will produce a short report for each centre with feedback on your marking and
administration of the assessment.
Authentication of coursework
It is the centre’s responsibility to make sure all assessed work is kept under teacher supervision and is the
candidate’s original work. Teachers should note the guidance given about the permitted level of support and
involvement in developing the material, and confirm that no further help beyond that permitted in the syllabus
has been given to candidates. If plans and first drafts are completed under teacher supervision, you can be
sure of the authenticity of the final coursework. You should not correct or edit draft coursework. Candidates
can draft and redraft work, but you should only give brief summative comments on progress during this
drafting phase. A general discussion on the progress of coursework is a natural part of the teacher–candidate
relationship, as it is for other parts of the course.
Candidates must sign a statement confirming that they have received no additional support in developing,
rehearsing and performing their material, and that the devised piece they have performed is their own invention.
Teachers must countersign to confirm that they believe this is to be the case.
Candidates must understand that they cannot submit someone else’s work as their own, or use material
produced by someone else without citing and referencing it properly. You should make candidates aware of the
academic conventions governing quotation and reference to the work of others, and teach candidates how to
use them.
A candidate taking someone else’s work or ideas and passing them off as his or her own is an example of
plagiarism. It is your responsibility as a teacher to prevent plagiarism from happening and to detect it if it does
happen. For more information, search for ‘Preventing plagiarism – guidance for teachers’ on our website at
www.cambridgeinternational.org
At the time of submission, the candidate must sign a statement confirming that they are submitting their own
work. You countersign it to confirm that you believe the work is theirs. Centres should use the cover sheet on
the samples database for this purpose.
The research essay assesses AO1 (40 marks) and AO4 (20 marks).
For each candidate the following items must be submitted for this component. Refer to the assessment details
below.
Research essay
Essay
Bibliography
Outline proposal forms are no longer in use for this syllabus. As part of teaching, you should give guidance and
feedback to candidates on whether their coursework, essay or project title is suitable.
For guidance on developing suitable titles for coursework, essays or projects go to our School Support Hub
www.cambridgeinternational.org/support
For further information, see the Cambridge Handbook for the relevant year of assessment at
www.cambridgeinternational.org/eoguide
Research essay
Candidates must independently produce a research essay of 2500–3000 words which explores, analyses and
evaluates a particular area of theatre-making and performance, with the focus on theatre and drama.
Candidates choose their own topic. The set texts for Component 1 may not be chosen. The essay is written
in response to a specific question, agreed with the candidate’s teacher, and should address a specific area of
performance. It may also include graphic or illustrative material (for example photographs, designs, sketches
and diagrams) as required to support the main essay assessed.
The focus of the research should be on the practicalities of theatre-making and performance.
Essay title
Essay titles should take the form of a question or statement followed by a prompt for further exploration. The
title must have sufficient range and scope to warrant an in-depth academic investigation. See pages 20–21 of
section 3 Subject content for further information, including examples of essay titles.
Research
Candidates should select and apply research methods appropriate to the subject area they are working in and
the nature of the selected topic. It is expected that candidates will use some of the research methods listed
below in the pursuit of their topic:
• literature review (books, academic articles, critical reviews or commentaries)
• performance documentation (scripts, programmes, prompt copies, design sketches or photographs,
directors’ notes)
• verbatim material (practitioner interviews, their writings, manifestos)
• archives and historiography (contemporaneous reviews and reflections, graphic/pictorial evidence)
• practice as research (including performance workshops and laboratories)
• observation (including live and/or digital performance).
The use of research methods must be accompanied by critical reflection and an evaluation of the sources.
Candidates are expected to engage with the research findings in a reflective and critical way.
Candidates must present their findings in accordance with the conventions of academic writing, including
thorough referencing of sources and a full bibliography.
Candidates must provide references for all source materials used in their research. All quotations and
sources must be referenced in the text, and all sources used must be referenced fully and consistently in the
bibliography in a recognised style.
Word count
The research essay must not exceed 3000 words, excluding only the bibliography. A word count must be
declared. Any work beyond the 3000 words will not be assessed.
Assessment details
Candidates must include the following items in their final submission:
• a research essay of 2500–3000 words
– reference details for all sources (bibliography)
• a statement from the teacher testifying that the submission:
– is the candidate’s own work
– has not been used for any other examination submission
and detailing any assistance given during consultations.
A Knowledge and understanding of the chosen area of drama and theatre; application of
supporting evidence (AO1) (25 marks)
Level Descriptors Marks
5 • Authoritative knowledge and understanding of the chosen area of study and 21–25
its context with a precise focus on the chosen aspect(s).
• A wide range of appropriate and relevant supporting evidence consistently
applied to the chosen area of study.
4 • Assured knowledge and understanding of the chosen area of study and its 16–20
context with a consistent focus on the chosen aspect(s).
• A good range of appropriate and relevant supporting evidence applied to the
chosen area of study.
3 • Competent knowledge and understanding of the chosen area of study and its 11–15
context with a mostly consistent focus on the chosen aspect(s).
• A range of mostly appropriate and relevant supporting evidence broadly
applied to the chosen area of study.
2 • Generalised exploration of the chosen area of study and its context with an 6–10
inconsistent focus on the chosen aspect(s).
• Some appropriate and relevant supporting evidence partly applied to the
chosen area of study.
1 • Limited exploration of the chosen area of study and its context with little 1–5
secure focus on the chosen aspect(s).
• Limited use of supporting evidence which may be largely inappropriate or
irrelevant to the chosen area of study.
0 • No creditable response. 0
0 • No creditable response. 0
0 • No creditable response. 0
0 • No creditable response. 0
Avoidance of plagiarism
It is the centre’s responsibility to make sure all assessed work is the candidate’s original work. If plans and first
drafts are completed under teacher supervision, you can be sure of the authenticity of the final coursework.
You should not correct or edit draft coursework. Candidates can draft and redraft work, but you should only
give brief summative comments on progress during this drafting phase. A general discussion on the progress
of coursework is a natural part of the teacher–candidate relationship, as it is for other parts of the course.
Candidates must understand that they cannot submit someone else’s work as their own, or use material
produced by someone else without citing and referencing it properly. You should make candidates aware of the
academic conventions governing quotation and reference to the work of others, and teach candidates how to
use them.
A candidate taking someone else’s work or ideas and passing them off as his or her own is an example of
plagiarism. It is your responsibility as a teacher to prevent plagiarism from happening and to detect it if it does
happen. For more information, search for ‘Preventing plagiarism – guidance for teachers’ on our website at
www.cambridgeinternational.org
At the time of submission, the candidate must sign a statement confirming that they are submitting their own
work. You countersign it to confirm that you believe the work is theirs.
Command words
Command words and their meanings help candidates know what is expected from them in the exam. The table
below includes command words used in the assessment for this syllabus. The use of the command word will
relate to the subject context.
Describe state the points of a topic / give characteristics and main features
Explain set out purposes or reasons / make the relationships between things evident /
provide why and/or how and support with relevant evidence
Identify name/select/recognise
Suggest apply knowledge and understanding to situations where there are a range of valid
responses in order to make proposals / put forward considerations
Phrases such as ‘How would you … ?’, ‘In what ways would you … ?’ and ‘What advice would you give?’ may
also be seen in the assessment for this syllabus.
This section is an overview of other information you need to know about this syllabus. It will help to share the
administrative information with your exams officer so they know when you will need their support. Find more
information about our administrative processes at www.cambridgeinternational.org/eoguide
You can view the timetable for your administrative zone at www.cambridgeinternational.org/timetables
You can enter candidates in the June and November exam series.
Check you are using the syllabus for the year the candidate is taking the exam.
Making entries
Exams officers are responsible for submitting entries to Cambridge International. We encourage them to work
closely with you to make sure they enter the right number of candidates for the right combination of syllabus
components. Entry option codes and instructions for submitting entries are in the Cambridge Guide to Making
Entries. Your exams officer has a copy of this guide.
Exam administration
To keep our exams secure, we produce question papers for different areas of the world, known as
administrative zones. We allocate all Cambridge schools to one administrative zone determined by their
location. Each zone has a specific timetable. Some of our syllabuses offer candidates different assessment
options. An entry option code is used to identify the components the candidate will take relevant to the
administrative zone and the available assessment options.
Candidates can carry forward the result of their Cambridge International AS Level assessment from one series
to complete the Cambridge International A Level in a following series, subject to the rules and time limits
described in the Cambridge Handbook.
Candidates cannot resubmit, in whole or in part, coursework from a previous series. For information, please
see the Cambridge Handbook for the relevant year of assessment at
www.cambridgeinternational.org/eoguide
Regulations for carrying forward marks can be found in the Cambridge Handbook for the relevant year of
assessment at www.cambridgeinternational.org/eoguide
Language
This syllabus and the related assessment materials are available in English only.
Access arrangements
Access arrangements (including modified papers) are the principal way in which Cambridge International
complies with our duty, as guided by the UK Equality Act (2010), to make ‘reasonable adjustments’ for
candidates with special educational needs (SEN), disability, illness or injury. Where a candidate would otherwise
be at a substantial disadvantage in comparison to a candidate with no SEN, disability, illness or injury, we
may be able to agree pre-examination access arrangements. These arrangements help a candidate by
minimising accessibility barriers and maximising their opportunity to demonstrate their knowledge, skills and
understanding in an assessment.
Important:
• Requested access arrangements should be based on evidence of the candidate’s barrier to assessment
and should also reflect their normal way of working at school; this is in line with The Cambridge Handbook
www.cambridgeinternational.org/eoguide
• For Cambridge International to approve an access arrangement, we will need to agree that it constitutes
a reasonable adjustment, involves reasonable cost and timeframe and does not affect the security and
integrity of the assessment.
• Availability of access arrangements should be checked by centres at the start of the course. Details of our
standard access arrangements and modified question papers are available in The Cambridge Handbook
www.cambridgeinternational.org/eoguide
• Please contact us at the start of the course to find out if we are able to approve an arrangement that is not
included in the list of standard access arrangements.
• Candidates who cannot access parts of the assessment may be able to receive an award based on the
parts they have completed.
Grades a, b, c, d or e indicate the standard a candidate achieved at Cambridge International AS Level. ‘a’ is the
highest and ‘e’ is the lowest grade.
‘Ungraded’ means that the candidate’s performance did not meet the standard required for the lowest grade
(E or e). ‘Ungraded’ is reported on the statement of results but not on the certificate. In specific circumstances
your candidates may see one of the following letters on their statement of results:
• Q (PENDING)
• X (NO RESULT).
These letters do not appear on the certificate.
If a candidate takes a Cambridge International A Level and fails to achieve grade E or higher, a Cambridge
International AS Level grade will be awarded if both of the following apply:
• the components taken for the Cambridge International A Level by the candidate in that series included all
the components making up a Cambridge International AS Level
• the candidate’s performance on the AS Level components was sufficient to merit the award of a Cambridge
International AS Level grade.
On the statement of results and certificates, Cambridge International AS & A Levels are shown as General
Certificates of Education, GCE Advanced Subsidiary Level (GCE AS Level) and GCE Advanced Level (GCE
A Level).
School feedback: ‘Cambridge International A Levels are the ‘gold standard’ qualification. They
are based on rigorous, academic syllabuses that are accessible to students from a wide range
of abilities yet have the capacity to stretch our most able.’
Feedback from: Director of Studies, Auckland Grammar School, New Zealand
How students, teachers and higher education can use the grades
Cambridge International A Level
Assessment at Cambridge International A Level has two purposes:
• to measure learning and achievement
The assessment:
– confirms achievement and performance in relation to the knowledge, understanding and skills specified
in the syllabus, to the levels described in the grade descriptions.
• to show likely future success
The outcomes:
– help predict which students are well prepared for a particular course or career and/or which students
are more likely to be successful
– help students choose the most suitable course or career.
Grade descriptions
Grade descriptions are provided to give an indication of the standards of achievement candidates awarded
particular grades are likely to show. Weakness in one aspect of the examination may be balanced by a better
performance in some other aspect.
Grade descriptions for Cambridge International A Level Drama will be published after the first assessment of
the A Level in 2021. Find more information at www.cambridgeinternational.org/alevel
You must read the whole syllabus before planning your teaching programme.
Significant changes to the syllabus are indicated by black vertical lines either side of the text.
Any textbooks endorsed to support the syllabus for examination from 2021 are still suitable for
use with this syllabus.
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the accessibility of our documents. If you find any problems or you think we’re not meeting accessibility requirements, contact us at
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