Cambridge Pre-U Drama and Theatre (9801)

SYLLABUS
Cambridge International Level 3
Pre-U Certiicate in
Drama and Theatre (Principal)

9801
For examination in 2017

QN: 600/3310/1

Cambridge Advanced

Version 3

Support
Cambridge provides a wide range of support for Pre-U syllabuses, which includes recommended
resource lists, Teacher Guides and Example Candidate Response booklets. Teachers can access
these support materials at Teacher Support http://teachers.cie.org.uk
Changes to syllabus for 2017
This syllabus has been updated in September 2015.
Information on page 15 regarding the submission of the proposal for Paper 4 has been updated.

Information on page 26 regarding the submission of marks has been updated.
These changes have been indicated with black vertical lines either side of the text.
Please see the Cambridge Administrative Guide for more information.
If there are any further changes to this syllabus, Cambridge will write to Centres to inform them.
This syllabus is also on the Cambridge website www.cie.org.uk/cambridgepreu. The version of the
syllabus on the website should always be considered as the deinitive version.
Copies of Cambridge Pre-U syllabuses can be downloaded from our website
www.cie.org.uk/cambridgepreu

Cambridge International Examinations retains the copyright on all its publications. Registered Centres are permitted to
copy material from this booklet for their own internal use. However, we cannot give permission to Centres to photocopy
any material that is acknowledged to a third party even for internal use within a Centre.
© Cambridge International Examinations 2015

Contents
Introduction .......................................................................................................................... 2
Why choose Cambridge Pre-U?
Why choose Cambridge Pre-U Drama and Theatre?

Syllabus aims ........................................................................................................................ 4

Scheme of assessment ........................................................................................................ 5
Assessment objectives ........................................................................................................ 6
Relationship between scheme of assessment and assessment objectives ....................... 7
Grading and reporting ........................................................................................................... 8
Grade descriptions................................................................................................................ 9
Description of components ................................................................................................ 10
Component 1: World Drama and Theatre (3 hours)
Component 2: Repertoire
Component 3: Devised Drama
Component 4: Performance Investigation

Marking criteria for Component 2....................................................................................... 17
Marking criteria for Component 4....................................................................................... 23
Procedures for external moderation for Component 2 and Component 4 ......................... 26
Additional information......................................................................................................... 28

Introduction

Introduction
Why choose Cambridge Pre-U?

Cambridge Pre-U is designed to equip learners with the skills required to make a success of their studies at
university. Schools can choose from a wide range of subjects.
Cambridge Pre-U is built on a core set of educational aims to prepare learners for university admission, and
also for success in higher education and beyond:


to support independent and self-directed learning



to encourage learners to think laterally, critically and creatively, and to acquire good
problem-solving skills



to promote comprehensive understanding of the subject through depth and rigour.

Cambridge Pre-U Principal Subjects are linear. A candidate must take all the components together at the end
of the course in one examination series. Cambridge Pre-U Principal Subjects are assessed at the end of a
two-year programme of study.

The Cambridge Pre-U nine-point grade set recognises the full range of learner ability.

Guided learning hours
Cambridge Pre-U syllabuses are designed on the assumption that learners have around 380 guided learning
hours per Principal Subject over the duration of the course, but this is for guidance only. The number of
hours may vary according to curricular practice and the learners’ prior experience of the subject.

Why choose Cambridge Pre-U Drama and Theatre?
The Cambridge Pre-U Drama and Theatre course is made up of four components covering both theoretical
and practical aspects of the subject. Students study for two complementary written components, a
timed examination paper and a Performance Investigation, and two practical components which cover
performance and production skills. In the externally-set written paper, candidates are required to apply their
understanding of drama and theatre practice to an unseen extract from a play, and to demonstrate their
knowledge, understanding and evaluation of four plays studied within two chosen areas. The Performance
Investigation allows the pursuit of personal enthusiasms in the investigation of an individualy chosen topic
in the ield. The practical work covers both acting and production skills, in repertoire and in the creation of
original drama.
The course allows for a great deal of lexibility in the selection of content as appropriate to the Centres
and the candidates themselves within a context of academic rigour. Centres are able to pace themselves
throughout the two years and allow extra-curricular opportunities to be integrated.


Prior learning
Cambridge Pre-U builds on the knowledge, understanding and skills typically gained by candidates taking
Level 1/Level 2 qualiications such as Cambridge IGCSE. It is recommended that candidates have attained
communication and literacy skills at a level equivalent to IGCSE/GCSE Grade C in English.

2

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Introduction

Progression
The course will equip candidates with a base of transferrable skills and knowledge suitable for further study
at higher-education level while stimulating independent thought and encouraging a love of the theatre and
performance arts.

Cambridge Pre-U Diploma
If learners choose, they can combine Cambridge Pre-U qualiications to achieve the Cambridge Pre-U
Diploma; this comprises three Cambridge Pre-U Principal Subjects* together with Global Perspectives and

Research (GPR). The Cambridge Pre-U Diploma, therefore, provides the opportunity for interdisciplinary
study informed by an international perspective and includes an independent research project.
irst year

second year

CAMBRIDGE PRE-U DIPLOMA
Cambridge Pre-U Principal Subject

Cambridge Pre-U Principal Subject*

Cambridge Pre-U Principal Subject*

Global Perspectives

Independent Research Report

* Up to two A Levels, Scottish Advanced Highers or IB Diploma programme courses at higher level can be
substituted for Principal Subjects.
Learn more about the Cambridge Pre-U Diploma at www.cie.org.uk/cambridgepreu


Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

3

Syllabus aims

Syllabus aims
The aims of the syllabus, listed below, are the same for all candidates.

4



Provide opportunities for learners to develop a range of skills, knowledge and understanding in
drama and theatre, embracing creative, interpretative, historical and analytical aspects of the
subject.




Provide a context for personal development through serious study of drama and theatre, and
thereby promote academic independence and self discipline, broaden intellectual and emotional
responses, stimulate critical discrimination and heighten social and cultural awareness.



Provide the basis for an informed and lasting appreciation and enjoyment of drama and theatre,
either as participants or informed members of an audience.



Form a suitable preparation for higher education, while being particularly relevant to those who
intend to continue their drama studies, whether at university, drama school or other institutions.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Scheme of assessment

Scheme of assessment
For Cambridge Pre-U Drama and Theatre, candidates take all four components.


Component

Component
name

Duration

Number
of marks

Weighting
(%)

Paper 1

World Drama
and Theatre

3 hours


80

40

Written paper,
externally set and
marked

Paper 2

Repertoire

n/a

40

20

Internally assessed

and externally
moderated

Paper 3

Devised Drama

n/a

40

20

Externally assessed at
the Centre by visit

Paper 4

Performance
Investigation

n/a

40

20

Internally assessed
and externally
moderated

Type of assessment

Availability
This syllabus is examined in the June examination series.
This syllabus is available to private candidates.

Combining this with other syllabuses
Candidates can combine this syllabus in a series with any other Cambridge syllabus, except syllabuses with
the same title at the same level.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

5

Assessment objectives

Assessment objectives

6

AO1

Communicate knowledge and understanding of the nature and interpretation of
drama and theatre using appropriate vocabulary.

AO2

Demonstrate practical skills in the realisation of repertoire and the creation of original
drama.

AO3

Analyse and critically evaluate aspects of drama and theatre, making independent
decisions and judgements, within appropriate cultural, historical, stylistic and
theoretical contexts.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Relationship between scheme of assessment and assessment objectives

Relationship between scheme of assessment and
assessment objectives
The approximate weightings allocated to each of the assessment objectives are summarised below. The
table shows the assessment objectives (AOs) as a percentage of each component and as a percentage of
the overall Cambridge Pre-U Drama and Theatre qualiication.

Component

AO1

AO2

AO3

Total

Weighting of
component
in overall
qualiication

World Drama and
Theatre

56%

n/a

44%

100%

40%

Repertoire

n/a

100%

n/a

100%

20%

Devised Drama

n/a

100%

n/a

100%

20%

50%

n/a

50%

100%

20%

32.5%

40%

27.5%



Performance
Investigation
Weighting of AO in
overall qualiication

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

7

Grading and reporting

Grading and reporting
Cambridge International Level 3 Pre-U Certiicates (Principal Subjects and Short Courses) are qualiications
in their own right. Each individual Principal Subject and Short Course is graded separately on a scale of nine
grades: Distinction 1, Distinction 2, Distinction 3, Merit 1, Merit 2, Merit 3, Pass 1, Pass 2 and Pass 3.

Distinction

Grading Cambridge Pre-U Principal
Subjects and Short Courses
1
2
3

Merit

1
2
3

Pass

1
2
3

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Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Grade descriptions

Grade descriptions
The following grade descriptors indicate the level of attainment characteristic of the middle of the given
grade. They give a general indication of the required standard at each speciied grade. The descriptors
should be interpreted in relation to the content of the syllabus; they are not designed to deine that content.
The grade awarded will depend in practice upon the extent to which the candidate has met the assessment
objectives overall. Shortcomings in some aspects of the examination may be balanced by better
performance in others.
Distinction (D2)


Insightful work that may often be original and employs eloquent expression with assured use of
dramatic/theatrical terminology



Exceptional practical skills in the realisation of repertoire and the creation of original drama



Sophisticated and well-informed analysis and evaluation of drama and theatre in a variety of contexts
demonstrating excellent ability to make independent decisions and judgements.

Merit (M2)


Proicient work that shows knowledge and understanding of drama and theatre and employs clear
expression with mostly appropriate use of dramatic/theatrical terminology



Proicient practical skills in the realisation of repertoire and the creation of original drama



Well-developed analysis and evaluation of drama and theatre in a variety of contexts showing ability to
make appropriate decisions and judgements.

Pass (P2)


Generally relevant work that shows knowledge and understanding of drama and theatre, although there
may be gaps; backed up by some evidence of understanding of dramatic/theatrical terminology



Suficient practical skills to realise repertoire and to participate in the creation of original drama



Basic analysis and evaluation of drama and theatre in context; some ability to make decisions and
judgements.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

9

Description of components

Description of components
Component 1: World Drama and Theatre (3 hours)
Written paper, externally set and marked.

Section A Unseen (from British Drama since 1956) [30 marks]
Candidates will be given an extract, of no more than 250 lines, taken from an unseen play. Introductory/
contextual notes will also be provided on the question paper. Candidates will be asked questions on speciic
aspects of the extract and will be expected to show awareness of historical and theoretical contexts of
theatre and drama including the work of salient practitioners.
Examples of areas which may be covered include:


the use of dramatic forms and concepts to create setting and atmosphere



creation of character and realisation of ideas



the use of theatrical techniques



the actors’ or director’s viewpoints



the use of modern theatre-technology.

This list is not exhaustive and candidates should be familiar with other dramatic features as appropriate.
In approaching the passage, candidates will be expected to demonstrate understanding of the elements
of drama as appropriate to the questions asked, e.g. roles, relationships, dramatic tension, time and
place, focus, space, mood, language, symbol, body language, gesture and movement, contrast, dramatic
conventions and communication to audience.

Section B Aspects of World Drama and Theatre

[50 marks]

Candidates will study two of the four areas of world drama and theatre listed below which are for
examination in 2017.
For each of their chosen areas of study, candidates will be expected to study two plays and answer one
essay question from a choice of three.
Set plays may not be taken into the examination room.
Examples of areas which may be covered include:


theatrical traditions and conventions



salient dramatic features and functions



the social, cultural and political context of plays



directing and production



communication to audience



the use of modern theatre-technology.

This list is not exhaustive and candidates should be familiar with other dramatic features as appropriate.

10

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Description of components

Areas of study and set plays for examination in 2017
Foundations of Modern Drama
Anton Chekhov – The Seagull
Henrik Ibsen – Hedda Gabler
George Bernard Shaw – Saint Joan
Oscar Wilde – The Importance of Being Earnest
Political Theatre
Bertolt Brecht – The Resistible Rise of Arturo Ui
Caryl Churchill – Cloud Nine
Kee Thuan Chye – 1984 Here and Now
Tony Kushner – Angels in America, Part 1: Millennium Approaches
African Drama
Ama Ata Aidoo – The Dilemma of a Ghost
Athol Fugard – My Children! My Africa!
Percy Mtwa, Mbongeni Ngema and Barney Simon – Woza Albert!
Wole Soyinka – The Lion and the Jewel
Jacobean Tragedy
Thomas Heywood – A Woman Killed with Kindness
Cyril Tourneur (Thomas Middleton) – The Revenger’s Tragedy
John Webster – The Duchess of Mali
Thomas Middleton and William Rowley – The Changeling

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

11

Description of components

Component 2: Repertoire
Internally assessed and externally moderated.
Candidates may prepare their work for this component at any time during the course. The work of
all candidates must be recorded onto DVD ready for external moderation by Cambridge if requested.
Candidates should be assessed by their teacher during the live performance/presentation, and not from the
recording.
All candidates will offer Part 1 Duologue. In Part 2 they will choose one activity from the list speciied
below. Material chosen for both Parts 1 and 2 must be suitable for the audience for which it is intended.
Teachers may not direct the work although they may give guidance on inding suitable pieces of repertoire
according to the ability and interests of individual candidates.

Part 1 Duologue [20 marks]
Candidates will perform a duologue for a live audience, lasting between 8 and 10 minutes, and will be
assessed on their acting and production skills. The duologue must be taken from a published play, i.e. a play
published in printed format. Plays published on the internet are not permitted. Additionally, the chosen play
may not be taken from the list of set plays provided in the syllabus for Component 1. Cambridge reserves
the right to request a copy of the play for moderation purposes.
Partners are required to be either candidates for Pre-U Drama and Theatre or students from within the
Centre. Partners may not be teachers or contacts from outside the Centre.
Candidates must demonstrate:


a range of emotional states



character through use of voice, movement, body and space



appropriate costume and setting.

Part 2 Monologue/Design skills [20 marks]
Candidates are required to offer one of the four options listed below. For all options, the chosen play(s)
must not be taken from the list of set plays provided in the syllabus for Component 1 and must be from a
different play to that chosen for the Duologue in Part 1.
Option 1: Monologue
Candidates will perform two contrasting monologues for a live audience, each lasting between 3 and 5
minutes, and will be assessed on their acting skills. Each monologue must be from the work of a different
playwright, and should be contrasting in subject matter, mood and style.
Candidates must demonstrate understanding of how to interpret their chosen texts in performance. In
particular they should show character through use of voice, movement, body and space, and develop
appropriate rapport with the live audience.
Each monologue must be taken from a published play, i.e. a play published in printed format. Plays
published on the internet are not permitted. Cambridge reserves the right to request a copy of the play for
moderation purposes.

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Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Description of components

Option 2: Set Design
Candidates will make a scale model of a set design for an extract from a published play, which includes one
scene change. The play must be from a different period/genre to that chosen for the duologue performed in
Part 1.
Candidates must give a presentation based on their scale model. This will explain their vision for the
design and its relationship to the chosen extract, and demonstrate an appreciation of the dimensions and
possibilities of the performance space.
The presentation can take the form of a talk, a website, a podcast, etc., and must last no more than
10 minutes. Teachers must complete a form to authenticate the work as that of the candidate.
The play must be published in printed format. Plays published on the internet are not permitted. Cambridge
reserves the right to request a copy of the play for moderation purposes.
Option 3: Costume Design
Candidates will make a model of one character’s costume, and produce detailed designs for two other
costumes, all from the same published play. The play must be from a different period/genre to that chosen
for the duologue performed in Part 1.
Candidates must give a presentation based on their model and the other two designs. This will explain their
vision for the designs and how they relect the historical and cultural context of the play, and demonstrate
an understanding of the technical aspects of the designs.
The presentation can take the form of a talk, a website, a podcast, etc., and must last no more than
10 minutes. Teachers must complete a form to authenticate the work as that of the candidate.
The play must be published in printed format. Plays published on the internet are not permitted. Cambridge
reserves the right to request a copy of the play for moderation purposes.
Option 4: Mask Design
Candidates will make a completed mask for one character, and produce detailed designs for two other
masks, all from the same published play or chosen tradition. The play/tradition must be from a different
period/genre to that chosen for the duologue performed in Part 1.
Candidates must give a presentation based on their completed mask and the other two designs. This
will explain their vision for the designs and how they relect the historical and cultural context of the play/
theatrical event, e.g. pantomime or carnival, and demonstrate an understanding of the technical aspects of
the designs.
The presentation can take the form of a talk, a website, a podcast, etc., and must last no more than
10 minutes. Teachers must complete a form to authenticate the work as that of the candidate.
The play must be published in printed format. Plays published on the internet are not permitted. Cambridge
reserves the right to request a copy of the play for moderation purposes.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

13

Description of components

Component 3: Devised Drama
Candidates will be assessed, by a visiting examiner, in a live performance towards the end of the course.
Groups of between three and six candidates will be required to devise and perform in a piece of drama
for a live audience based on one of the pre-release stimuli issued by Cambridge at the start of the course.
The nature and number of the stimuli may change from year to year. Examples of stimuli include a poem, a
picture, a political event, a well-known performer or practitioner.
The piece must last between 15 and 30 minutes depending on the size of the group, e.g. a group of three
candidates will produce a piece of 15 minutes’ duration; a group of six candidates, 30 minutes’ duration. It
is expected that candidates will take collective responsibility for the directorial concept, script, and costume
and set design, although it is recognised that individual candidates are likely to take the lead in different
areas depending on their strengths. Teachers may not direct the work although they may give guidance on
inding a focus for the piece (based on the chosen stimulus). All devised material must be suitable for the
audience for which it is intended.
Centres where there are fewer than three candidates may include a non-assessed actor for the inal
performance. However, only those candidates who are being assessed may contribute to the devising/
design process. The non-assessed actor must be a student from within the Centre and may not be a
teacher or contact from outside the Centre.
On the day of the visit, each candidate will be awarded two sets of marks: one which will be the same for
all members of the company to recognise the concept/vision and realisation of the piece [20 marks], and a
further individual mark for each candidate’s performing skills [20 marks].
Before the visit, the Centre will submit a pro forma for each group. This will be completed by the candidates
and will give them the opportunity to put forward the points they wish to convey to the Examiner which will
assist him/her in the understanding of the performance.
Immediately before the performance, candidates will meet the Examiner informally for a short,
non-assessed discussion. The intention is to allow the Examiner to identify the candidates and to further
explore and clarify the concept/vision of the piece he/she is about to watch.
During the visit, Centres will be required to record each performance onto DVD. The recordings should be
sent to Cambridge within two weeks of the visit so that a record can be kept of each performance.

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Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Description of components

Component 4: Performance Investigation
Internally assessed and externally moderated.
Candidates will produce an essay of 3000 to 3500 words on a subject of their own choice, although the
essay must not be based on any of the set plays listed for Component 1 or any of the plays offered by the
candidate in Component 2.
Candidates are required to submit a proposal of no more than 500 words describing the proposed essay,
including the list of source materials that will be used to research the chosen subject. The proposal must be
submitted to Cambridge for approval. The deadline for submission is given in the Cambridge Administrative
Guide. The Principal Moderator will consider the scope of the dissertation and either approve the proposal,
suggest adjustments or request a re-submission.
As the investigation involves research and is a preparation for academic study, it will require candidates
to follow the conventions of academic writing, including the use of referencing and bibliographies to
acknowledge sources where appropriate. These, and quotations, will not count towards the word limit.
The focus of the dissertation/essay should always be a direct engagement with drama and/or theatre
and, throughout, should demonstrate the candidate’s ability in critical thinking. Candidates are therefore
expected to evaluate their sources of information, organise, argue and make connections, and base all
judgements on dramatic and/or theatrical evidence.
The following are examples of the type of work that may be submitted:


a playwright’s style and inluence (e.g. Brecht’s Epic theatre)



dramatic techniques in a non-western tradition (e.g. Asian shadow-puppetry)



detailed dramatic analysis of a play or a signiicant extract



cultural inluences on a dramatic style or period (e.g. Revenge drama in England in Shakespeare’s time)



a particular work and its impact (e.g. Show Boat and its inluence on Musical Theatre in the 20th century)



a portfolio of theatre reviews focusing on the stylistic intentions of the productions and the audience
reactions (minimum six reviews from three contrasting styles of drama)



a particular period/movement and its impact (e.g. European Theatre of the Absurd)



inluence/importance of a particular performer/director/designer/theatre company (e.g. Laurence Olivier/
Vsevolod Meyerhold/Ming Cho Lee/Complicite)



theatre history and historical performance conditions (e.g. Restoration theatre).

The Performance Investigation must be entirely the candidate’s own work. The teacher will need to assist
with inding a focus, wording the title, giving advice on researching the area, and teaching the proper
academic conventions for presentation of the essay, but once writing has begun the candidate must
complete the process without further assistance. The teacher must not view and comment on drafts.
Candidates will need to sign a declaration statement for the Performance Investigation to indicate that the
work has been carried out solely by the candidate. A teacher will be required to countersign the statement
when it is submitted for external examination. The statement must appear on the title page of the
document.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

15

Description of components

What teachers can do


Teach appropriate courses from which students can choose areas of study.



Offer detailed guidance on selection of appropriate material and further reading from a wide range of
suitable texts.



Give individual guidance to each candidate on the choice and wording of the Performance Investigation
essay title – this will in turn be vetted by Cambridge.



Give individual guidance on the early resolution of conceptual and practical problems, reminding each
student of matters such as structure, balance and the importance of good introductions and conclusions;
essay plans in bullet points or lists can be looked at as they do not constitute ‘writing’ (deined as
connected prose paragraphs); particular attention can be paid to the sections of the main body of
the essay; it is suggested that at least two individual sessions for each student are given, with the
participation of more than one member of staff.



Have realistic target dates to keep students on course for completion.



Draw candidates’ attention to the importance of the declaration they will be required to make about the
work being their own.



Feel conident, in the light of these measures, about countersigning students’ work.

What teachers cannot do


Check and correct early versions of the essay.



Give detailed advice on how to improve the work once writing has begun, either to individuals or groups.



Contribute any writing at all to the student’s essay.

Presentation of Performance Investigation
Essays should normally be word-processed.


Headings, footnotes and bibliography will not count towards the 3000 to 3500 word limit.



The essay must be typewritten on A4-size paper.



The essay should be attached securely to the coversheet provided.



Every page should bear the candidate’s name and Centre details.



The essay should not be enclosed in any kind of ile, folder or plastic wallet.



A complete bibliography of all resources used/referred to must be attached to the work.



Direct quotations from the work of critics or others must be referenced, giving full details of the source.

Avoidance of plagiarism
Candidates should be made aware of the academic conventions governing quotation and reference to the
work of others, and taught to use them. Candidates will be required to sign a declaration that the work is all
their own when submitting their Performance Investigation.

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Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Marking criteria for Component 2

Marking criteria for Component 2
Component 2 is marked out of 40, divided as follows:
Part 1 Duologue 20 marks
Candidates will perform a duologue for an audience, lasting between 8 and 10 minutes, taken from a
published play.

Part 2 Monologue/Design skills 20 marks
Candidates choose one of the options from the list below:
Option 1 Monologue
Candidates will perform two contrasting monologues for a live audience, each lasting between 3 and 5
minutes. Each monologue must be from the work of a different playwright, and should be contrasting in
subject matter, mood and style.
Option 2 Set Design
Candidates will make a scale model of a set design for an extract from a published play, which includes one
scene change. Candidates must give a presentation based on their scale model to explain their vision for
the design, its relationship to the chosen extract and demonstrate an appreciation of the dimensions and
performance possibilities of the performance space. The presentation can take the form of a talk, a website,
a podcast, etc., and must last no more than 10 minutes.
Option 3 Costume Design
Candidates will make a model of one character’s costume, and produce detailed designs for two other
costumes, all from the same published play. Candidates must give a presentation based on their model
and the other two designs. This will explain their vision for the designs, how they relect the historical and
cultural context of the play and demonstrate an understanding of the technical aspects of the designs. The
presentation can take the form of a talk, a website, a podcast, etc., and must last no more than 10 minutes.
Option 4 Mask Design
Candidates will make a completed mask for one character, and produce detailed designs for two other
masks, all from the same published play or chosen tradition. Candidates must give a presentation based
on their completed mask and the other two designs. This will explain their vision for the designs, how
they relect the historical and cultural context of the play/theatrical event, e.g. pantomime or carnival, and
demonstrate an understanding of the technical aspects of the designs. The presentation can take the form
of a talk, a website, a podcast, etc., and must last no more than 10 minutes.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

17

Marking criteria for Component 2

Part 1: Duologue
Number
of marks
18–20

15–17

12–14

9–11

6–8

3–5

1–2

0

18



A sophisticated interpretation of the playwright’s intentions: a convincing and entirely justiiable
setting and sensitive choice of costume.



A very well-paced and absorbing performance that is completely convincing and communicates
clearly and effectively to its audience; excellent and appropriate differentiation in emotional intensity.



Exceptional level of technique such that the performance appears effortless.



Complete awareness of the status of the part at all times in relation to the partner.



A very good interpretation of the playwright’s intentions, with nuance and detail in selecting setting
and costume.



A well-paced and conident performance that is highly polished and communicates clearly to its
audience; clear differentiation in emotional intensity.



A very good level of technique, strong enough to cover occasional minor slips.



Mostly aware of the status of the part in relation to the partner.



A good interpretation of the playwright’s intentions, covering all essential aspects and selecting
appropriate setting and costume.



A performance with effective pacing that is well-rehearsed and sustains the audience’s interest,
although at times more impact is needed; generally assured levels of emotional intensity.



A proicient level of technique; slips are not obtrusive.



Often aware of the status of the part in relation to the partner.



Many of the playwright’s intentions are realised, usually in a literalistic manner, and the costume and
setting neither help nor hinder the performance.



The performance is mostly well prepared, and allows the audience to follow the action; can handle
obvious changes of emotion.



A variable level of technique; slips are evident but not destabilising.



Occasionally aware of the status of the part, but seldom able to move the action along.



Some of the playwright’s intentions are apparent in the approach, and the costume and setting are
broadly appropriate but possibly uninspired.



The performance demonstrates some preparation and is generally luent; it engages the audience at
key moments but there is room for greater differentiation.



Technique appropriate to much of the piece; there are several moments of uncertainty.



Often looks to the partner to take the lead.



The playwright’s intentions are hindered rather than helped by the approach, and the setting and
costume are questionable.



The performance demonstrates a measure of preparation and there are occasional moments where
the audience is engaged, but the pacing is mundane.



Technical strengths are occasionally apparent but their impact is undermined by the number of slips.



There is a hint of leadership in the partnership, but there is an overriding sense of dependence on
the partner.



The playwright’s intentions emerge occasionally through the performance; the choice of costume
and setting is simplistic (2) or ill-conceived (1).



The performance is largely unprepared, or its delivery lacklustre, either of which is frustrating for the
audience.



Technical strengths are greatly outweighed by technical weaknesses.



The candidate is dependent on the other performer throughout; little indication of leadership.



Work that is unworthy of credit at this level.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Marking criteria for Component 2

Part 2, Option 1: Monologue
Each monologue should be marked separately out of 20. Add the two marks together and divide by two to
give an average mark. Half-marks should be rounded up to the nearest whole number.
Number
of marks
18–20

15–17

12–14

9–11

6–8

3–5

1–2

0



A sophisticated interpretation of the playwright’s intentions with points of real originality.



A very well-paced and absorbing performance that is completely convincing and communicates
clearly and effectively to its audience; excellent and appropriate differentiation in emotional
intensity.



Exceptional level of technique such that the performance appears effortless.



A very good interpretation of the playwright’s intentions with nuance and attention to detail.



A well-paced and conident performance that is highly polished and communicates clearly to its
audience; clear differentiation in emotional intensity.



A very good level of technique, strong enough to cover occasional minor slips.



A good interpretation of the playwright’s intentions, covering all essential aspects.



A performance with effective pacing that is well-rehearsed and sustains the audience’s interest,
although at times more impact is needed; generally assured levels of emotional intensity.



A proicient level of technique; slips are not obtrusive.



Many of the playwright’s intentions are realised, usually in a literalistic manner.



The performance is mostly well prepared, and allows the audience to follow the action; can handle
obvious changes of emotion.



A variable level of technique; slips are evident but not destabilising.



Some of the playwright’s intentions are apparent in the approach.



The performance demonstrates some preparation and is generally luent; it engages the audience at
key moments but there is room for greater differentiation.



Technique appropriate to much of the piece; there are several moments of uncertainty.



The playwright’s intentions are hindered rather than helped by the approach.



The performance demonstrates a measure of preparation and there are occasional moments where
the audience is engaged, but the pacing is mundane.



Technical strengths are occasionally apparent but their impact is undermined by the number of
slips.



The playwright’s intentions emerge occasionally through the performance.



The performance is largely unprepared, or its delivery lacklustre, either of which is frustrating for the
audience.



Technical strengths are greatly outweighed by technical weaknesses.



Work that is unworthy of credit at this level.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

19

Marking criteria for Component 2

Part 2, Option 2: Set Design
Number
of marks
18–20

15–17

12–14

9–11

6–8

3–5

1–2

0

20



A sophisticated interpretation of the playwright’s intentions: a convincing and entirely justiiable
concept with points of real originality.



An outstanding realisation of the concept that is entirely suited to its intended performance space.



Exceptional technical skills entirely appropriate to the realisation of all aspects of the design.



A very good interpretation of the playwright’s intentions, with nuance and detail in the overall
concept.



Adept realisation of the concept, very well suited to its intended performance space.



Very good technical skills, equal to the demands of the piece but with scope for some further
reinement.



A good interpretation of the playwright’s intentions; the overall concept is appropriate and covers all
essential aspects.



A capable realisation of the concept that is mostly suited to its intended performance space but
with some questionable details.



Technical skills are well suited to the central demands of the work with scope for the development
of more advanced skills.



Many of the playwright’s intentions are apparent and the concept is broadly appropriate but possibly
literalistic/uninspired.



A balance of strengths and weaknesses in the realisation of the design; generally suited to its
intended performance space.



Suficient technical skills to realise the design in general terms although some aspects need to be
further reined.



The playwright’s intentions are generally apparent within the concept, but with no attempt at
interpretation.



Uneven realisation that demonstrates a lack of coherence and/or reinement; basic aspects are
suited to its intended performance space.



Some technical skills are evident, but the inal effect appears laboured and possibly messy.



The playwright’s intentions are hindered rather than helped by the approach, the concept is
awkward, fragmentary or lopsided, and the ideas are confusing.



Unvarying, perhaps monotonous, realisation of the work which is mostly unsuited to its intended
performance space.



Suficient technical skills to realise some aspects of the design but much is incomplete or
ineffectively made.



The playwright’s intentions emerge occasionally although the concept is simplistic (2) or illconceived (1).



The realisation is marred by a number of features, all of which reveal insuficient preparation; the
design is unsuited to its performance space.



There are one or two technical strengths, but these are outweighed by the many weaknesses.



Work that is unworthy of credit at this level.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Marking criteria for Component 2

Part 2, Option 3: Costume Design
Number
of marks
18–20

15–17

12–14

9–11

6–8

3–5

1–2

0



A sophisticated interpretation of the playwright’s intentions: a convincing and entirely justiiable
concept with points of real originality.



An outstanding realisation of the concept that is entirely suited to its intended performance space.



Exceptional technical skills entirely appropriate to the realisation of all aspects of the design.



A very good interpretation of the playwright’s intentions, with nuance and detail in the overall
concept.



Adept realisation of the concept, very well suited to its intended performance space.



Very good technical skills, equal to the demands of the piece but with scope for some further
reinement.



A good interpretation of the playwright’s intentions; the overall concept is appropriate and covers all
essential aspects.



A capable realisation of the concept that is mostly suited to its intended performance space but
with some questionable details.



Technical skills are well suited to the central demands of the work with scope for the development
of more advanced skills.



Many of the playwright’s intentions are apparent and the concept is broadly appropriate but possibly
literalistic/uninspired.



A balance of strengths and weaknesses in the realisation of the design; generally suited to its
intended performance space.



Suficient technical skills to realise the design in general terms although some aspects need to be
further reined.



The playwright’s intentions are generally apparent within the concept, but with no attempt at
interpretation.



Uneven realisation that demonstrates a lack of coherence and/or reinement; basic aspects are
suited to its intended performance space.



Some technical skills are evident, but the inal effect appears laboured and possibly messy.



The playwright’s intentions are hindered rather than helped by the approach, and the concept is
awkward, fragmentary or lopsided and the ideas are confusing.



Unvarying, perhaps monotonous, realisation of the work which is mostly unsuited to its intended
performance space.



Suficient technical skills to realise some aspects of the design but much is incomplete or
ineffectively made.



The playwright’s intentions emerge occasionally although the concept is simplistic (2) or illconceived (1).



The realisation is marred by a number of features, all of which reveal insuficient preparation; the
design is unsuited to its performance space.



There are one or two technical strengths, but these are outweighed by the many weaknesses.



Work that is unworthy of credit at this level.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

21

Marking criteria for Component 2

Part 1, Option 4: Mask Design
Number
of marks
18–20

15–17

12–14

9–11

6–8

3–5

1–2

0

22



A sophisticated interpretation of the playwright’s intentions: a convincing and entirely justiiable
concept with points of real originality.



An outstanding realisation of the concept that is entirely suited to its intended performance space.



Exceptional technical skills entirely appropriate to the realisation of all aspects of the design.



A very good interpretation of the playwright’s intentions, with nuance and detail in the overall
concept.



Adept realisation of the concept, very well suited to its intended performance space.



Very good technical skills, equal to the demands of the piece but with scope for some further
reinement.



A good interpretation of the playwright’s intentions; the overall concept is appropriate and covers all
essential aspects.



A capable realisation of the concept that is mostly suited to its intended performance space but
with some questionable details.



Technical skills are well suited to the central demands of the work with scope for the development
of more advanced skills.



Many of the playwright’s intentions are apparent and the concept is broadly appropriate but possibly
literalistic/uninspired.



A balance of strengths and weaknesses in the realisation of the design; generally suited to its
intended performance space.



Suficient technical skills to realise the design in general terms although some aspects need to be
further reined.



The playwright’s intentions are generally apparent within the concept, but with no attempt at
interpretation.



Uneven realisation that demonstrates a lack of coherence and/or reinement; basic aspects are
suited to its intended performance space.



Some technical skills are evident, but the inal effect appears laboured and possibly messy.



The playwright’s intentions are hindered rather than helped by the approach, and the concept is
awkward, fragmentary or lopsided and the ideas are confusing.



Unvarying, perhaps monotonous, realisation of the work which is mostly unsuited to its intended
performance space.



Suficient technical skills to realise some aspects of the design but much is incomplete or
ineffectively made.



The playwright’s intentions emerge occasionally although the concept is simplistic (2) or illconceived (1).



The realisation is marred by a number of features, all of which reveal insuficient preparation; the
design is unsuited to its performance space.



There are one or two technical strengths, but these are outweighed by the many weaknesses.



Work that is unworthy of credit at this level.

Cambridge International Pre-U Drama and Theatre (Principal) 9801. Syllabus for examination in 2017.

Marking criteria for Component 4

Marking criteria for Component 4
Component 4 is marked out of 40, divided as follows:
AO1 Communicate knowledge and understanding of the nature and interpretation of drama and theatre
using appropriate vocabulary
20 marks
AO3 Analyse and critically evaluate aspects of drama and theatre, making independent decisions and
judgements, within appropriate cultural, historical, stylistic and theoretical contexts.
20 marks
Candidates will produce an essay of 3000 to 3500 words on a subject of their own choice, although the
essay must not be based on any of the set plays listed for Component 1 or any of the plays offered by the
candidate in Component 2.
Examiners will check that approval has been granted for the 500-word proposal for the project, already
submitted to Cambridge.
The focus of the essay should always be a direct engagement with drama and/or theatre and,
throughout, should demonstrate the candidate’s ability in critical thinking. Candidates are therefore expected
to evaluate their sources of information, organise, argue and make connections, and base all judgements on
dramatic and/or theatrical evidence.

Presentation of Performance Investigation
Examiners will take into account the presentation of the candidates, and the extent to which the work
follows the following stylistic framework.


Essays should normally be word-processed.



Headings, footnotes and bibliography will not cou