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Assessment Portfolio

Chelsea Byrne

Department of Education and Teaching, University of Maryland Global Campus

EDTP645-9080: Subject Methods and Assessment

Dr. Thomas Scheira

November 23, 2021

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Contents
Assessment 1: Higher Order Multiple Choice Test (Key) ................................................................................................... 3
Passage 1 ....................................................................................................................................................................... 3
Passage 2 ....................................................................................................................................................................... 5
Assessment 2: Lower-Level Multiple Choice Test (Key) .................................................................................................... 7
Assessment 3: True/False Elements of Greek Drama Test ................................................................................................ 9
Assessment 4: Essay Questions ....................................................................................................................................... 10
Essay Rubric ................................................................................................................................................................. 11
Assessment 5: Short Answer Questions .......................................................................................................................... 12
Assessment 6: Matching Vocabulary (Key) ...................................................................................................................... 13
Assessment 7: Cooperative Learning Dramatic Performance Assessment ..................................................................... 14
Dramatic Performance Rubric ..................................................................................................................................... 15
References ....................................................................................................................................................................... 17

Assessment 1: Higher Order Multiple Choice Test (Key)
Passage 1
Read the passage below from Antigone (Sophocles, ca. 441 C.E./2002) and answer the corresponding questions.
Multiple choice questions = 2 points each.
CHORAGOS: [As ANTIGONE enters guarded.]
But I can no longer stand in awe of this,
Nor, seeing what I see, keep back my tears.
Here is Antigone, passing to that chamber
660 Where all find sleep at last.
ANTIGONE: [Strophe 1]
Look upon me, friends, and pity me
Turning back at the night’s edge to say
Good-by to the sun that shines for me no longer;
Now sleepy Death
665 Summons me down to Acheron, that cold shore:
There is no bridesong there, nor any music.
CHORUS:
Yet not unpraised, not without a kind of honor,
You walk at last into the underworld;
Untouched by sickness, broken by no sword.
670 What woman has ever found your way to death?
ANTIGONE: [Antistrophe 1]
How often I have heard the store of Niobe
Tantalos’ wretched daughter, how the stone
Clung fast about her, ivy-close: and they say
The rain falls endlessly
675 And rifting soft snow; her tears are never done.
I feel the loneliness of her death in mine.
CHORUS:
But she was born of heaven, and you
Are woman, woman-born. If her death is yours,
A mortal woman’s, is this not for you
680 Glory in our world and in the world beyond?
3
1. What does the choragos’ reaction to seeing Antigone
suggest about his feelings regarding her fate?
a. He is ashamed of her because of her hubris.
b. He is overcome with emotion at the realization she
will die.
c. He withdraws his support of Creon and is thinking of
ways to save her.
2. Why is it significant that there is no “bridesong”?
a. We would hear bridesong in a comedy, and this play is
a tragedy.
b. Antigone expected to marry in the afterlife.
c. Antigone had been betrothed, but will die before she
was able to marry.
3. How does the first antistrophe answer the issues raised in
the first strophe?
a. The strophe explains Antigone’s fate, while the
antistrophe reveals her sadness and regret.
b. The strophe identifies where she is going and the
antistrophe maps her path along the way.
c. The strophe claims Antigone’s death is heroic, while
the antistrophe rebuts that it is a fair punishment.
4. How would the Ancient Greeks have understood the
concept of “glory” (line 680) in the context of a tragic
play?
a. Only those who die in battle gained glory.
b. It is an honor bestowed by Dionysus, patron of the
theater festival.
c. The quest for glory was associated with hubris and
the reason for one’s demise.

ANTIGONE: [Strophe 2]
You laugh at me. Ah, friends, friends,
Can you not wait until I am dead? O Thebes,
O men many-charioted, in love with Fortune,
Dear spring of Dirce, sacred Theban grove,
685 Be witnesses for me, denied all pity,
Unjustly judge! and think a word of love
For her whose path turns
Under dark earth, where there are no more tears.
CHORUS:
You have passed beyond human daring and come at last
690 Into a place of stone where Justice sits.
I cannot tell
What shape of your father’s guilt appears in this.
ANTIGONE: [Antistrophe 2]
You have touched it at last: that bridal bed
Unspeakable, horror of son and mother mingling:
695 Their crime, infection of all our family!
O Oedipus, father and brother!
Your marriage strikes from the grave to murder mine.
I have been a stranger here in my own land:
All my life
700 The blasphemy of my birth has followed me.
CHORUS:
Reverence is a virtue, but strength
Lives in established law: that must prevail.
You have made your choice,
Your death is the doing of your conscious hand.
ANTIGONE: [Epode]
705 Then let me go, since all your words are bitter,
And the very light of the sun is cold to me.
Lead me to my vigil, where I must have
Neither love nor lamentation; no song, but silence.
4
5. What is the effect of the figurative language
device in the phrase “Unjustly judge!” (line
686)?
a. The allusion to Hades as a judge reinforces
the injustice of her death.
b. The oxymoron emphasizes the contrast
between injustice of men’s laws and the
justice of the gods.
c. Alliteration in the phrase makes her
speech sound impressive to the chorus.
6. According to lines 693-700, how does Antigone
perceive her father Oedipus’s role in her fate?
a. Oedipus inspired Antigone’s loyalty to her
family which led her rebellion and
punishment.
b. He always treated her like a stranger,
which made her lash out in bitterness.
c. His incestuous relationship cursed
Antigone to her death.
7. In the context of the whole play, what is the
situational irony regarding the fact that
Antigone will have “neither love, nor
lamentation” (line 708) when she dies?
a. She will be unmourned like her brother
Polyneices, and his burial is why she was
punished.
b. She expected all of Thebes to mourn her
loss, but everyone hates her.
c. The gods were supposed to support her,
but none of them intervened.

Passage 2
Read the passage below from Antigone (Sophocles, ca. 441 C.E./2002) and answer the corresponding
questions. Multiple choice questions = 2 points each.
8. What is strange about the way the birds act
TEIRESIAS:
Listen, Creon:
I was sitting in my chair of augury, at the place
Where the birds gather about me. They were all a-chatter,
As is their habit, when suddenly I heard
785 A strange note in their jangling, a scream, a
Whirring fury; I knew that they were fighting,
Tearing each other, dying
In a whirlwind of wings clashing. And I was afraid.
I began the rites of burnt-offering at the altar,
790 But Hephaistos failed me: instead of bright flame,
There was only the sputtering slime of the fat thigh-flesh
Melting: the entrails dissolved in gray smoke
The bare bone burst from the welter. And no blaze!
This was a sign from heaven. My boy described it,
795 Seeing for me as I see for others.
I tell you, Creon, you yourself have brought
This new calamity upon us. Our hearths and altars
Are stained with the corruption of dogs and carrion birds
That glut themselves on the corpse of Oedipus’ son.
800 The gods are deaf when we pray to them, their fire
Recoils from our offering, their birds of omen
Have no cry of comfort, for they are gorged
With the thick blood of the dead.
O my son,
These are no trifles! Think: all men make mistakes,
805 But a good man yields when he knows his course is wrong,
And repairs the evil. The only crime is pride.
Give in to the dead man, then: do not fight with a corpse–
What glory is it to kill a man who is dead?
Think, I beg you:
810 It is for your own good that I speak as I do.
You should be able to yield for your own good.
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during Teiresias’ divination?
a. The birds begin to fight, which Teiresias
takes as a bad omen.
b. The birds do not seem to notice Teiresias is
there and continue chattering away.
c. The birds turn on him, and Teiresias must
fight them off.
9. What does it mean that “Hephaistos failed”
Teiresias?
a. As a god more powerful than men,
Hephaistos refused to be bound by
Teiresias’ black magic.
b. As the god of fire, Hephaistos showed his
rejection of the offering by refusing to burn.
c. As patron of oracles, Hephaistos tried plead
with the gods on Teiresias’ behalf but could
not sway their favor.
10. What is ironic about the news Teiresias gives
Creon about the situation of the Theban
people?
a. Instead of their offerings being burned, they
are carried to the heavens by the birds.
b. Creon’s refusal to allow Polyneices to be
buried to preserve order has made the gods
angry.
c. Because the bodies of the dead were left
out, the birds now have an appetite for
human flesh.
11. What rhetorical appeal does Teiresias use in
lines 807-809?
a. Ethos, because he is referencing his
authority as a prophet.
b. Pathos, because he knows Creon will do
anything to attain glory.
c. Logos, because winning against a dead body
is ridiculously unsatisfying.
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CREON: 12. How does Creon respond to Teiresias’

It seems that prophets have made me their especial province.
All my life long I have been a kind of butt for dull arrows
Of doddering fortune-tellers!
815 No, Teiresias:
If your birds––if the great eagles of God himself
Should carry him stinking bit by bit to heaven,
I would not yield. I am not afraid of pollution:
No man can defile the gods.
Do what you will,
820 Go into business, make money, speculate
In India gold or that synthetic gold from Sardis,
Get rich otherwise than by my consent to bury him.
Teiresias, it is a sorry thing when a wise man
Sells his wisdom, lets out his words for hire!
suggestion that he “yield for [his] own good”
(line 811)?
a. He says he will only yield if eagles make
the prophecy.
b. He still refuses to bury Polyneices even if
the birds that ate his body did so to bring
his body to heaven.
c. He is glad that Teiresias has taken special
care to give him council.
13. In lines 819-824, Creon ascribes Teiresias’
message to what motive?
a. An opportunity to profit.
b. A strong desire to please the gods.
c. A desire to save Creon from himself.

The following 2 questions ask you to compare information from passages 1 and 2.

14. How does Antigone’s reactions to the Chorus compare to Creon’s reactions to Teiresias?
a. Both Antigone and Creon refuse to swallow their pride and reverse course.
b. Both Antigone and Creon accuse others of betraying them.
c. Both Antigone and Creon reject the advice they are given because the Chorus and
Teiresias are old.
15. What is the difference between the way glory is discussed in Passage 1 (line 680) and Passage 2
(line 808)?
a. The Chorus thinks Antigone’s quest for glory is foolish, while Teiresias believes that
gaining glory will make Creon a better person.
b. The Chorus rejects that glory is possible to attain, while Teiresias affirms the importance
of glory in achieving a good afterlife.
c. The Chorus believes Antigone will gain glory in death, while Teiresias believes that Creon
will fail to gain glory by struggling against the dead.
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Assessment 2: Lower-Level Multiple Choice Test (Key)

Directions: Select the figurative language technique for each example given.

1. “…Damnation rises behind each child Like a wave cresting out of the black northeast…”
a. Allusion
b. Idiom
c. Simile

2. “Like father, like daughter…”

a. Metaphor
b. Idiom
c. Apostrophe

3. “O tomb, vaulted bride-bed in eternal rock, soon I shall be with my own again where
Persephone welcomes the thin ghost underground…”
a. Allusion
b. Verbal irony
c. Simile

4. “Gentlemen: I have the honor to inform you that our Ship of State, which recent storms have
threatened to destroy, has come safely to harbor at last, guided by the merciful wisdom of
Heaven.”
a. Metaphor
b. Equivocation
c. Personification

5. “Twisting a great dust-storm up from the earth, a black plague of the heavens, filling the plain,
ripping the leaves off every tree in sight, choking the air and sky.”
a. Idiom
b. Imagery
c. Verbal irony

6. CREON: “Say [the words], say them! Only remember: I will not pay you for them.” TEIRESIAS:
“No, you will find them too costly.”
a. Imagery
b. Allusion
c. Equivocation

7. “O Iacchos, son of Kadmeian Semele, O born of the Thunder! Guardian of the West, Regent of
Eleusis’ plain…”
a. Apostrophe
b. Paradox
c. Metaphor
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8. “Your edict, King, was strong, but all your strength is weakness itself against the immortal
unrecorded laws of God.”
a. Paradox
b. Imagery
c. Apostrophe

9. “Our good Creon is coming here to announce it publicly; and the penalty –– Stoning to death I
the public square.”
a. Personification
b. Verbal Irony
c. Simile

10. “Against our seven gates in a yawning ring, the famished spears came onward in the night.”
a. Paradox
b. Personification
c. Equivocation
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Assessment 3: True/False Elements of Greek Drama Test

1. TRUE/FALSE - The arrows in the picture above point to the skene, two aisles by which the actors

enter the circular stage.

2. TRUE/FALSE - The antistrophe is the first stanza in a choral ode.

3. TRUE/FALSE - Odes are sung exclusively by the choragus.

4. TRUE/FALSE - Many Ancient Greek plays end with an exodus, a departure of the characters from

the stage.

5. TRUE/FALSE - Tragic heroes fall from grace due to their hamartia, or tragic flaw.

6. TRUE/FALSE - Plays were performed in Athens in a festival dedicated to Dionysus.

7. TRUE/FALSE - Each playwright would submit one tragedy and a satyr play.

8. TRUE/FALSE - Only men were allowed to vote on the best play of the festival.

9. TRUE/FALSE - An Ancient Greek play often had as many as 10 actors onstage.

10. TRUE/FALSE - Plays often included divine intervention in their plays, which they called hubris,

literally meaning “god in the machine.”

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Assessment 4: Essay Questions

Directions: Write a multi-paragraph essay (about 250-500 words) answering ONE of the following three
questions. You do NOT have to quote the text. Instead, paraphrase examples from the text to prove
your point. Essay = 18 points.

1. Some feminist critics herald Antigone as an icon of female resistance to a male-dominated

world. Others argue that Antigone’s ultimate death reinforces patriarchal beliefs about female
rebellion. How do you interpret Antigone using a feminist lens? Argue your position using
evidence from the text.

2. How does social power feature in Antigone? Apply the Marxist lens to explain Sophocles’
message regarding where power comes from and how power should and should not be used.

3. New historicism posits that the historical context under which a text is written and received
influences the interpretation of a play. How would the Ancient Greek’s have interpreted the
message of the play differently than Americans would today? Use your knowledge of Antigone,
Greek history, and today’s society to compare and contrast the Ancient Greek view with the
modern American view.
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Essay Rubric

Incomplete or Emerging Proficient Strong Exemplary

Irrelevant (12-13) (14-15) (16-18) (19-20)
(0-11)
The response is The response shows The response shows The response shows The response shows
completely limited partial adequate comprehensive
incorrect, irrelevant understanding of understanding of understanding of understanding of
to the question, the content or the content or the content and the content and
incomplete or too question. The question. The question. The question. The
vague. response is related response is response integrates response is
to the question, but general and partially knowledge to insightful and
offers inadequate or answers the answer the completely
sparse support and question. question. integrates
misses most parts of Addresses a few Addresses most knowledge to
the question. aspects of the aspects of the thoroughly answer
Demonstrates question. question. the question.
minimal knowledge Demonstrates Demonstrates Addresses all
of literary theory partial knowledge of adequate aspects of the
and the text. The literary theory and knowledge of question.
response rests the text. The literary theory and Demonstrates
entirely on response parrots the text. The comprehensive
perspectives from perspectives from response references knowledge of
class, including no class with some some perspectives literary theory and
original analysis. original analysis. from class, but the text. The
Significant Misconceptions includes mostly their response references
misconceptions interfere with own analysis. Minor perspectives from
interfere with understanding. misconceptions do class as a foundation
understanding. not interfere with to explain their own
understanding. analysis. Minimal
misconceptions do
not interfere with
understanding

Rubric adapted from MSDE’s “4 Point Rubric for Content CRs” (2019) used for HSAs.
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Assessment 5: Short Answer Questions

Directions: Answer the questions below using 1-2 complete sentences per question.

4. What did the Oracle of Delphi prophesize would happen to Oedipus? (2 points)

Scoring:
• 1 point for mentioning he would kill his father
• 1 point for mentioning he would marry his mother

5. How did Oedipus become king of Thebes? (3 points)

Scoring:
• 1 point for mentioning his unwitting killing of king Laius
• 1 point for mentioning his solving of the Sphinx’s riddle saved Thebes
• 1 point for mentioning how the people of Thebes offered Oedipus the widowed Jocasta’s
hand in marriage

6. Why does a plague befall Thebes, and how does Oedipus try to fix this problem? (2 points)

Scoring:
• 1 point for mentioning the plague happens because King Laius’ murderer has not been
found.
• 1 point for mentioning that Oedipus investigates the murder

7. What happens to Oedipus and Jocasta when they find out about their incestuous relationship?
(3 points)

Scoring:
• 1 point for mentioning that Jocasta hangs herself
• 1 point for mentioning that Oedipus gouges out his eyes
• 1 point for explaining how Oedipus is exiled/wanders the desert

8. Draw a family tree showing how the following characters are related: Oedipus, Ismene, Creon,
Polyneices, Jocasta, Eteocles, Eurydice, Haemon, Antigone. Please indicate
marriages/engagements, siblings, and parent/child relationships. (7 points)

Scoring:
• 1 point for identifying Oedipus and Jocasta as married (but mother and son)
• 1 point for identifying Jocasta and Creon as brother and sister
• 1 point for identifying Creon and Eurydice as married
• 2 points for identifying Antigone, Polyneices, Ismene, and Eteocles as the children of
Oedipus/Jocasta
• 1 point for identifying Haemon as the child of Creon/Eurydice
• 1 point for identifying Haemon and Antigone as engaged/betrothed
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Assessment 6: Matching Vocabulary (Key)

Directions: Use the words in the word bank to the right to fill in the blanks in the sentences
below. No word will be used more than once. 1 point each. Word Bank:
Anarchy
1. Ancient Greeks had to give offerings to the gods to show their ____(piety)____ an
important value in their society. Blasphemy

2. Polyneices delivered a speech to ____(rouse)____ the troops of Argos, boosting their Condemn
morale for the battle ahead.
Defer
3. Because the brothers were fighting over the throne, the kingdom descended into
____(anarchy)____ and chaos. Dirge

4. The battle was a ___(vile)____ sight, with blood-stained earth and terrible screams. Edict

5. After the battle, the vultures __(sated)__ themselves eating the bodies of the fallen Endured
soldiers.
Insolent
6. To restore order, Creon issued a(n) ____(edict)____ forbidding anyone from burying a
traitor. Implacable

7. The sisters Antigone and Ismene had __(endured)____ the difficult loss of both of their Lament
brothers, their father, and their mother in a short time.
Piety
8. Ismene followed the law, believing it safer to ___(defer)____ to the authority of the
king than risk disobeying. Rouse

9. On the other hand, Antigone made a grave __(transgression)____ against the law, Sated
disobeying sprinkling dirt as a burial.
Transgression
10. Creon’s anger at Antigone’s betrayal was ___(implacable)____, and his stubbornness
was unshakable. Vile

11. Some of the Thebans prayed to the gods to forgive Creon’s ___(blasphemous)_____
decree, worried that they would be divinely punished for refusing Polyneices burial.

12. To punish Antigone, Creon chose to ____(condemn)____ her to be buried alive in her own tomb.

13. Creon was angered that Haimon could be so ____(insolent)_____ as to talk back to his own
father.

14. After Antigone’s death, chanting rose in the streets as the funeral procession sung a(n)
______(dirge)_______ lamenting her loss.

15. In the end, Creon could not help but ___(lament)_____ his fate as he mourned the loss of his
wife and son.
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Assessment 7: Cooperative Learning Dramatic Performance Assessment

During our drama unit, we will be reading the play Antigone by Sophocles to explore Greek tragedy. However, plays are not just meant to be read; they are
to be performed and experienced. At the end of our Antigone unit, you will perform a scene from the play in collaboration with a group. This project will
require long term planning, collaboration, and application of procedural skills. The steps in the project are as follows:

1. Auditions
2. Creating a production calendar
3. Character analysis and mask making
4. Scene blocking
5. Rehearsal
6. Performance
7. Reflection

You will also be expected to select/create costumes and use props to create a set. I understand that you may not have unlimited funds, so please ask for my
assistance if you need help or advice for this aspect of production.

Please note the areas of the project that are graded individually and by group. If there is a problem with your group’s ability to collaborate (such as an
uncooperative teammate, inconsistent attendance, disrespectful attitudes, etc.), I expect you to be proactive in communicating to resolve the issue. If you
cannot resolve the issue with your own efforts, please communicate with me to set up a mediation meeting.

Your final performance will be graded according to the rubric on the following page.

Dramatic Performance Rubric
Exemplary - 4
Body and Uses a variety of blocking
Movement techniques to add interest
(individual) to the scene.
Movement appears natural
and matches the lines as the
actions unfold.
Gestures and facial
expressions are purposeful,
clear, and true to character.
Voice and Articulation is clear.
Lines Projects voice so that all in
(individual) the audience can hear while
allowing for variation in
volume to evoke emotion.
Tempo and rhythm of
speech are varied to reveal
and evoke emotion.
Lines are memorized but
delivery is fluid and natural.
Character Stays in character
Development throughout the whole
and Focus performance.
(individual) Focuses past any mistakes in
cues or mishaps with the
set/choreography.
Analysis of the character
matches the text.
Strong - 3
Uses blocking techniques to
add interest to the scene.
Movement appears
somewhat natural and
matches the lines as the
actions unfold.
Gestures and facial
expressions are true to
character but
overexaggerated or unclear
in purpose.
Articulation is mostly clear;
only 1-2 words are unclear.
Projects voice so that most
in the audience can hear
while allowing for some
variation in volume to evoke
emotion.
Tempo and rhythm of
speech are varied to reveal
and evoke emotion.
Lines are mostly memorized,
and any fumbles do not
detract from the scene.
Delivery may be stiff.
Stays in character
throughout most of the
performance.
One or two breaks in focus
during any mistakes in cues
or mishaps, recovers
quickly.
Analysis of the character
mostly matches the text.
Proficient - 2
Uses some blocking
techniques to add some
interest to the scene.
Movement is stiff at times
and sometimes matches the
lines as the actions unfold.
Gestures and facial
expressions are basic and
may be overexaggerated or
unclear in purpose.
Articulation is somewhat
clear; a few words are
misspoken or unclear.
Projects voice so that most
in the audience can hear.
Does not vary projection to
evoke emotion.
Tempo and rhythm of
speech show minor
variation to reveal and
evoke emotion.
Lines are partially
memorized. Some fumbles
detract from the scene, but
actor makes a recovery.
Delivery may be stiff.
Stays in character
throughout some of the
performance.
Multiple breaks in focus
during any mistakes in cues
or mishaps; some difficulty
recovering.
Analysis of the character
somewhat matches the text.
15
Emerging - 1
Uses little to no blocking
toad interest to the scene.
Movement is often stiff and
often does not match the
lines.
Gestures and facial
expressions are absent or
unclear.
Articulation is unclear and
many words misspoken or
unclear.
Does not project voice so
that all of the audience can
hear.
Tempo and rhythm of
speech do not vary.
Lines are not memorized.
Many fumbles detract from
the scene and recovery is
inadequate.
Does not stay in character
during most of the
performance.
Multiple breaks in focus
during any mistakes in cues
or mishaps; little attempt at
recovery.
Analysis of the character
does not match the text.

Boldly embodies a unique
interpretation of the
character based on
inference from the text and
directorial purpose.
Set and Set is constructed creatively
Details to immerse the audience in
(group) time and place of the scene.
Stage is uncluttered.
Placement and use of props
is consistent and intentional.
Costuming is detailed and
precise, matching the
characters and the scene.
Ensemble Group works together to
and create a cohesive
Collaboration production.
(group) Engages in pro-social
behavior (helping, sharing,
offering support, etc.)
consistently.
Group is responsive to each
other in set up, during the
performance, and in take-
down. Group uses
communication and
maintains respect to
organize performance effort.
Embodies a unique
interpretation of the
character based on
inference from the text.
Only adds a little directorial
spin on character.
Set is constructed creatively
to reveal time and place,
though it may not be
immersive.
Stage has some background
elements and props, but
may be cluttered or sparse.
Placement and use of props
is mostly intentional.
Costuming is appropriate to
the characters and the
scene and includes some
attention to detail.
Group works together to
create a cohesive
production, but may include
some lone wolf elements.
Engages in pro-social
behavior (helping, sharing,
offering support, etc.) most
of the time.
Group is mostly responsive
to each other in set up,
during the performance,
and in take-down. Group
has one or two lapses in
communication though
maintains respect to
organize performance
effort.
Embodies an interpretation
of the character based
directly on the text. Does
not include a unique spin.
Set construction reveals
time and place with basic
elements.
Stage has a few background
elements and props, or is
overcluttered.
Placement and use of props
is haphazard.
Costuming is basic, but
remains appropriate to the
characters and the scene.
Group works somewhat
collaboratively in
production, but may include
lone wolf elements or lapses
in cohesion.
Engages in pro-social
behavior (helping, sharing,
offering support, etc.) part
of the time.Group is
somewhat responsive to
each other in set up, during
the performance, and in
take-down. Group has some
lapses in communication
though maintains respect to
organize performance
effort.
16
Embodies an interpretation
of the character based only
superficially on the text.
Does not include a unique
spin.
Set construction is confusing
and does not clearly
establish time and place.
Stage has very few or
background elements and
props.
Costuming is inadequate,
incomplete, or
inappropriate to the
characters and the scene.
Group works does not work
collaboratively to create a
cohesive production
Engages in pro-social
behavior (helping, sharing,
offering support, etc.) in a
limited capacity.
Group is often responsive to
each other in set up, during
the performance, and in
take-down. These processes
are chaotic. Group has many
lapses in communication
and struggled to maintain
respect. Performance effort
is disorganized.
 17

References
Maryland State Department of Education. (15 October 2019). 4 point rubric for content CRs.
https://maryland.onlinehelp.cognia.org/wp-content/uploads/sites/15/2019/10/4-Point-Rubric-for-BCRs-
8.29.19-1.pdf