Video transcript
Kia ora and welcome.
This webcast is intended to provide guidance on the requirements for Drama standards 91214 and 91513.
Specifically, this webcast will focus on the use of symbolism in devised drama. Moderation shows that symbolism is often described clearly in the Statement of Intention yet remains obscure in performance. For coherent drama, meaning must be communicated through the performance itself.
Symbolic use of props, costume, set, lighting, movement, and sound needs to be visible, activated, and purposeful for a new audience.
A common issue is that a symbolic idea stays at the level of concept. Here, 鈥榓ctivated鈥� means it鈥檚 realised through what happens on stage through action, interaction, repetition, or focus.
Symbols should be discovered in performance, not decoded from the Statement of Intention. If symbolism remains conceptual, audiences are often unsure what it鈥檚 meant to communicate.
For example, a student might say, 鈥淢y character wears a yellow scarf to show fading optimism.鈥�
On its own, colour symbolism rarely reads clearly on stage. If the scarf is never noticed, handled, or contrasted, its meaning remains invisible. Without action that draws attention to it鈥攁djusting it, passing it to another character, or discarding it at a key moment鈥攖he audience is unlikely to connect it to an emotional shift.
A suitcase representing emotional baggage becomes meaningful if the character drags it, struggles with it, or keeps returning to it during key emotional sequences.
A notebook representing secrets is clearer when the character guards it, refuses to let others see it, or tears out pages in a moment of crisis.
A ticking clock showing pressure is effective when the sound grows louder as tension rises or stops abruptly at a turning point.
A low drone symbolising fear works when actors respond physically, freezing, shrinking, or shifting their movement quality.
Symbolic use of space becomes clear through repetition, such as consistently moving to a higher level during conflict or returning to a corner of the stage to show isolation.
A pounamu pendant becomes meaningful when the character touches it during moments of doubt, holds it tightly when gathering courage, or removes it only when feeling disconnected from their ancestors or sense of identity.
Effective symbolism can be developed through repetition, by returning to the symbol at key dramatic turning points; through interaction, where the symbol shifts relationships, status, or power; through contrast and focus, using deliberate changes in light, sound, pace, or stillness to draw attention; and through integration, where the symbol is embedded within the action rather than relying on design choices alone.
A simple activity to develop symbolic clarity is the 60-second Symbol in Action challenge. This quick activity helps students test whether their symbolic choices are genuinely legible in performance.
Symbolism must be realised in performance to be understood.
Assessors can consider these questions.
Explanations in the Statement of Intention do not compensate for unclear stage action.
For more explanation and examples of what is required for this aspect, see the exemplars on the 星空传媒 website.
Further assessor support for the internal achievement standards in Drama can be found in our assessor support catalogue, available on the 星空传媒 website.
Thank you.
Effective use of symbolism in devised drama (04:34 mins)
This webcast focuses on the use of symbolism in devised drama and provides guidance on the requirements for Drama standards 91214 and 91513
Video transcript
Kia ora and welcome.
This webcast is intended to provide guidance on the requirements for Drama standards 91214 and 91513.
Specifically, this webcast will explore the requirement for the drama to realise its intention or concept solely through performance.
Moderation continues to indicate that devised drama performances often rely too heavily on the accompanying Statement of Intention or Concept to communicate key ideas. While teachers and peers who are 鈥榗lose to the work鈥� may already understand the intended themes and messages, these are not consistently realised to a new audience through performance alone.
To produce the coherent work required for Merit, the drama needs to 鈥榮tand alone鈥� from the written statement and clearly realise the intended concept.
Students need to ensure elements such as role, time, place, and situation are communicated. Simple, early cues鈥攕uch as spatial arrangement, projected image, props, dialogue, and action鈥攈elp to anchor audience understanding.
So, what does this mean for classroom practice? Let鈥檚 look at how students can set up clarity early.
Students need to devise brief, targeted expository moments that establish the critical circumstances of the drama, especially when nonverbal or highly physical styles dominate. A possible activity is described here.
A concise opening exchange can quickly signal who the characters are, define their relationship, and hint at the central conflict. A 鈥榦ne-sentence wonder鈥� can work here鈥攁 one-line announcement that sets up the situation and characters. For example: 鈥淭he shop girls knew that striking would not please Mrs. Roberts, but what choice did they have?鈥�
This orients an audience unfamiliar with the devised drama with vital information at the outset.
Teachers can enable students to realise their ideas by using an 鈥業ntentions to Dramatic Action鈥� activity.
Sharing sequences with the wider group helps test the clarity of dramatic action for an audience coming in with no prior knowledge of the performers鈥� intentions.
Outside-eye feedback is also essential in strengthening coherence. Observers can help identify unclear character relationships and symbolic choices or transitions that disrupt pacing.
Firstly, are the drama elements clearly visible? We should be able to identify who the roles are and how space, mood, tension鈥攚hatever they鈥檝e chosen鈥攁re developed as active tools to communicate meaning.
Next, does the performance stand on its own? In other words, can a new audience understand what鈥檚 going on without needing the written explanation?
It is also important to consider whether the exposition is purposeful. Do we get just enough setup to understand the situation?
Outside eyes help test whether the dramatic action is reading clearly and whether the intention is landing.
Some theatre forms, such as Artaudian techniques, can create powerful sensory or visual experiences. However, if style takes precedence over clearly communicating the ideas, the audience may find it difficult to grasp the intention or fully understand the concept.
Further assessor support for the internal achievement standards in Drama can be found in our assessor support catalogue available on the 星空传媒 website.
Kia ora and thank you.
Realising an intention or concept solely through performance (4:02 mins)
This webcast explores the requirement in Drama standards 91214 and 91513 for the drama to realise its intention or concept solely through performance
Video transcript
Kia ora and welcome.
This webcast is intended to provide guidance on the requirements for the Devising and Scriptwriting standards.
Specifically, this webcast will focus on appropriate contexts for NCEA Drama assessment.
Moderation shows that drama often engages with complex and challenging subject matter. While this is a key strength, it also requires responsibility.
When considering stimuli for devising drama or discussing contexts for scriptwriting, teachers need to actively provide guidance to ensure the wellbeing of students, teachers, and audiences.
Devising and scripting invite students to explore human experience and conflict. Problems arise when contexts are sensationalised, insufficiently guided, or too close to lived experience.
Moderation evidence shows that trauma鈥慺ocused or shock鈥慸riven work can compromise wellbeing and rarely strengthens assessment evidence.
Purposeful, well-chosen contexts consistently lead to stronger work.
From an assessment perspective, work centred on mental illness continues to raise wellbeing and quality concerns, even when informed by research. Theatre making at school is not therapy.
Unrelentingly bleak work limits dramatic impact and audience engagement.
Where sexual, violent, or deeply personal themes are proposed, teachers and students should consider what they are offering an audience, and whether secondary school drama is the appropriate medium.
Real-world issues can be explored successfully through distanced or stylised approaches that allow multiple viewpoints.
Epic theatre uses frame distancing effectively by using conventions that distance audiences from the societal issue, but still convey the issue.
An eyewitness shows how a car accident happened. The focus isn鈥檛 on emotion, it鈥檚 on understanding the causes and who鈥檚 responsible.
The actors don鈥檛 become the characters; instead, they present them in a way that keeps the audience aware and thinking critically, so they can make up their own minds.
Frame distancing is another useful tool when content is sensitive.
Frame distancing helps us think about how close or distant a role is from an event or issue.
More distanced roles often provide greater safety, allowing students to explore challenging ideas without being overwhelmed.
They can also show respect for culturally significant or sensitive subject matter.
As Gavin Bolton describes, students can be 鈥榩rotected into feeling鈥� 鈥� engaging ethically without emotional risk.
This is frame distancing 鈥� shifting roles, contexts, and perspectives so students explore ideas and themes for creating and scripting drama without characters being placed inside traumatic events.
Importantly, distance does not mean less emotional engagement, and closer is not necessarily better.
This table shows how the same conventions operate differently in separate assessments. In devising, they support exploration and wellbeing. In scriptwriting, they function as deliberate, assessable craft choices.
This often leads to multiple perspectives, clearer dramatic purpose, stronger structure, and more convincing evidence.
Moderation consistently shows stronger outcomes when contexts are culturally responsive, and stories are focused on transformation and hope and/or the overcoming of obstacles.
For guidance on culturally responsive assessment, please see the online short course available on 星空传媒鈥檚 P奴take.
Please see the references below for more information on Frame Distance to keep our learners safe.
Kia ora and thank you.
Appropriate contexts for NCEA Drama assessment (4:50 mins)
This webcast guides teachers on how to help students with the Devising and Scriptwriting standards. This includes making sure that the subject matter is appropriate for and supports the wellbeing of students and potential audiences. It also addresses boundaries and balance for drama contexts.
Video transcript
Kia ora and welcome.
This webcast is intended to provide guidance about accessing 星空传媒 Assessor Support for Drama.
Specifically, this webcast will show what resources are available to support Drama internal assessment, where to find them, and how to access them.
Firstly, go to the 星空传媒 Home page.
Then click on 鈥楽ubjects鈥�.
Then scroll down to the list of subjects to find Drama.
Once on the Drama page you can find a wealth of information to support you. Here is a look at what you can find as you scroll down the page. You can also use the links on the right if you already know what you are looking for.
You can find and download all the standards for Drama at each level.
As you scroll down the page you will also find resources of interest regarding both internal and external assessment.
At the bottom of the page you will find a link to important internal assessment resources.
At the top of the list is the link to exemplars. Annotated exemplars are extracts of student evidence, with commentary, that explain key parts of a standard.
Clarification documents are created to help assessors understand the current requirements of the standards. These documents unpack and explain the language and requirements of the standard.
The Remote Assessment Matrix and Alternative Evidence Gathering Templates are for use when normal internal assessment practices are not possible.
Webcasts are online presentations designed to be short and focused on a specific aspect of the standard that has been identified during external moderation.鈥嬧�� There are three webcasts available providing guidance for Drama assessors. 鈥楨ffective Symbolism in Devised Drama鈥� and 鈥楻ealising an Intention Solely through Performance鈥� support facilitation of the devising standards. The third webcast discusses wellbeing and contexts for NCEA Drama.
The National Moderator鈥檚 Report is an important read. It gives feedback on general issues and trends that have been identified during moderation in the previous year.
The Request Clarification option allows Principal鈥檚 Nominees and Heads of Department to submit an online form to ask moderators specific questions about how to interpret an internally assessed standard.
By scrolling to just below the previous section, you will see a link to the Ministry of Education site where you can find the Conditions of Assessment for each standard.
These are important documents which address authenticity expectations and help ensure consistency in assessment practice.
Let鈥檚 focus on what matters most.
For each level you are teaching, download and keep these four key documents together:
The Achievement Standard
The Clarifications
The Conditions of Assessment
The National Moderator鈥檚 Report
And you will of course need an Assessment task. You can choose one from the TKI resources or write your own.
It鈥檚 useful to print or save all these documents in one place for quick reference during planning and teaching.
Back at the top of the page, there is a link that takes you to a dedicated Assessor Support area for internal assessment which contains more resources and information.
Take your time to look through this page and click on the links to see the resources available. You will find information about online learning modules, events and presentations, requesting speakers at national conferences, generic and subject-specific support, and the Assessor Practice Tool.
Of special interest may be the online Drama modules. There are three modules designed to support the facilitation of the 91513 Devise a Drama to Realise a Concept standard. We also offer an online Making Assessment Judgements workshop, which covers the Level 2 and Level 3 scriptwriting standards (91220 and 91519), as well as the Level 3 Drama Practitioner standard (91516).
Also available here is a link to the Assessor Practice Tool, or APT, along with video instructions on how to access it.
The APT provides samples of student evidence for assessors to practice making assessment judgements. Participants can assess complete samples of student evidence, assign a grade, and see commentary from a moderation panel.
In summary, remember that the Drama page on the 星空传媒 website will facilitate access to all the resources 星空传媒 has to offer for assessors. These resources are designed to help you to understand, and gain confidence with, NCEA Internal Assessment.
Kia ora and thank you.
Assessor support for Drama (5:58 mins)
This webcast covers what resources Drama assessors can get for internal assessments, where to find the resources, and how to access them.