Digital Grades - Speech and Drama and Performing Text Syllabus Specifications

DIGITAL GRADES:
SPEECH AND DRAMA

AND PERFORMING TEXT
Syllabus specifications
for solo exams
from November 2020
KEEP UP TO DATE
Please check trinitycollege.com/digital-drama-grades to make sure you are using the current version
of the syllabus specifications and for the latest information about our digital graded exams.
Trinity accepts entries for its exams on the condition that candidates conform to the requirements of the
appropriate syllabus. Any amendments to the requirements will be published and advertised via our website.
DIGITAL GRADES:
SPEECH AND DRAMA
AND PERFORMING TEXT
Syllabus specifications
for solo exams
from November 2020
Charity number England & Wales | 1014792

Charity number Scotland | SC049143
Patron | HRH The Duke of Kent KG
trinitycollege.com
Copyright © 2020 Trinity College London
Published by Trinity College London
Online edition, May 2021
Contents
3 / Welcome
4 / Trinity’s digital graded Speech and Drama and Performing Text exams
5 / Employability and learning skills
6 / Recognition and progression route
8 / Learning outcomes and assessment criteria: Speech and Drama, Performing Text | 2017 syllabus
10 / Exam requirements: Speech and Drama | 2017 syllabus
14 / Exam requirements: Performing Text | 2017 syllabus
17 / Attainment descriptors: Speech and Drama and Performing Text | 2017 syllabus
19 / Learning outcomes: Speech and Drama | 2020 syllabus
20 / Exam requirements, assessment criteria and attainment descriptors: Speech and Drama | 2020 syllabus
38 / Exam guidance
46 / Health and Safety
47 / General guidance and policies
48 / Summary of process and details of how to submit your exam for assessment
49 / Speech and Drama and Performing Text resources
ABOUT TRINITY COLLEGE LONDON

Trinity College London is a leading international exam board and independent education charity that has been
providing assessments around the world since 1877. We specialise in the assessment of communicative and
performance skills covering music, drama, combined arts and English language. With over 850,000 candidates a
year in more than 60 countries worldwide, Trinity qualifications are specifically designed to help students progress.
Our aim is to inspire teachers and learners through the creation of assessments that are enjoyable to prepare for,
rewarding to teach and that develop the skills needed in real life.
At the heart of Trinity’s work is the belief that effective communicative and performance skills are life enhancing,
know no boundaries and should be within reach of us all. We exist to promote and foster the best possible
communicative and performance skills through assessment, content and training that is innovative, personal
and authentic.
Welcome
Welcome
Welcome to Trinity College London’s syllabus specifications for Speech and Drama and Performing Text digital
graded exams, containing details of Initial to Grade 8 exams. The Speech and Drama tasks are based on the ‘from
2017’ and ‘from 2020’ exam specifications, and the Performing Text tasks on the ‘from 2017’ specifications. Small
updates have been made to the tasks to ensure their suitability for digital assessment.
The digital graded exams enable candidates to record their performance at a place and time of their choice and
then submit the video recording via our online platform to be assessed by our expert examiners. The exams have
the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements,
with the same certificate and UCAS points awarded as for the face-to-face exams.
Designed for digital
Responsive to a changing world, these exams have been designed to support teaching, learning and assessment
through a digital medium.
Your performance, your choice
Sitting alongside our face-to-face graded exams, digital exams provide even more choice and flexibility in how a
regulated graded qualification can be achieved.
Digital support content
Comprehensive online resources provide support to candidates and teachers throughout their digital exam journey.
ABOUT THESE SYLLABUS SPECIFICATIONS

This document covers the Speech and Drama and Performing Text requirements with the following validity:
Syllabus Validity
Speech and Drama | 2017 syllabus Until 31 July 2021
Performing Text | 2017 syllabus Until 31 July 2021
Speech and Drama | 2020 syllabus No current end date
IMPORTANT INFORMATION
1. To take this assessment you must have access to:
◗ A high-quality audio-visual recording device with enough storage for your performance (eg a good-quality
mobile phone, tablet, laptop or video camera)
◗ The internet — to access any stimulus material required, eg sight-reading, and to upload your complete exam
including the supporting documentation
2. Stimulus material: For certain key skills tasks it is necessary to access stimulus material, eg sight-reading from the
website. See the guidance on pages 40–42 for further details. Stimulus materials change every two weeks. During
the two-week validity period of the stimulus the candidate must do the following: access the stimulus; use that
stimulus for this task; film their performance; upload the video of their whole exam for assessment.
3. Reflective response: For solo grades, candidates give an impromptu response to set questions in the reflection
task. The set questions and guidance for the reflective task are on pages 42–45. Before you begin filming your exam
you should ensure you have made a note of these questions to refer to as you undertake this task.
4. All performances must be submitted as one continual performance (this includes all pieces and any key skills tasks
such as sight-reading, and the reflective response). Start the recording before your first piece, and do not stop
or pause the video until you have completed all parts of the assessment. Any evidence of editing will result in a
syllabus infringement and your exam will not be assessed.
5. You can be given assistance to film your performance and another person can be present to operate your backing
tracks (if applicable).
6. Audio and video must be recorded simultaneously and no pre- or post-production techniques should be applied
to the video.
7. Filming options are available for solo exams where an additional performer is involved. Further information about
this is on page 39.
8. You may not enter the same performance video for the same exam more than once, unless Trinity requires you to
resubmit your video (eg for technical reasons). You may not share your performance video on social media, or use
it for any other exam entries, either with Trinity College London or any other exam board.
Please refer to page 48 for details on the process of preparing for and submitting your digital graded exam
for assessment including details of what information to upload with your video. 3
Trinity’s digital graded Speech and Drama and Performing Text exams
Trinity’s digital graded Speech and Drama

and Performing Text exams
OBJECTIVE OF THE QUALIFICATIONS WHO THE QUALIFICATIONS ARE FOR
Trinity’s graded Speech and Drama and Performing Text Although there is a natural progression through
exams are designed to support candidates to develop a Trinity’s Speech and Drama and Performing Text
range of transferable 21st century skills that can have grades from Initial to Grade 8 and then on to the
a positive impact in both education and the workplace. diplomas, candidates may enter at any level. There is
The exams assess the following skills through a range no requirement to have passed lower grades before
of contexts: entering for an exam. There is no upper age limit, but
the following age ranges are provided as guidance
◗ Performance
and show the minimum age advised for each stage.
◗ Planning and preparation
◗ Verbal and non-verbal communication Grade(s)/exam level Age of candidate
◗ Interpersonal Initial 5 years and over
◗ Critical thinking and problem-solving Grade 1 7 years and over
◗ Research and reflection
Grades 2–3 8 years and over
Furthermore, by working towards these exams, a range
of other skills not assessed directly are developed Grades 4–5 12 years and over
that are highly valued by schools and employers: Grades 6–8 16 years and over
self-motivation, ability to learn and adjust, working to
deadlines, organisational skills and flexibility.
Trinity is committed to making its exams accessible
to all and each candidate is treated individually when
LEVELS OF THE QUALIFICATIONS
considering how assessments can be adapted for those
Each exam is assigned a level in accordance with the with special needs. Find out more at
Regulated Qualifications Framework (RQF) in England trinitycollege.com/drama-csn
and Northern Ireland. These levels are:
ENGLISH LANGUAGE EXPECTATIONS
RQF level Grade(s) Level
FOR DRAMA EXAMS
Entry level Initial Initial Trinity’s graded Speech and Drama and Performing
Text exams are conducted in English. They assess how
Level 1 Grades 1–3 Foundation
candidates use language as a tool for communicating
Level 2 Grades 4–5 Intermediate and performing in particular contexts, rather than
assessing the fluency of the language itself.
Level 3 Grades 6–8 Advanced
We recommend that candidates have a level of
English language proficiency of at least B1 on the
ATTAINMENT BANDS CEFR (Common European Framework of Reference
The exams are marked out of 100. Candidates’ results for languages). As the exams are more demanding
correspond to different attainment levels as follows: of language as the levels advance, CEFR level B2 is
suggested from Grade 3, and C1 for Grades 6 and
Marks received Attainment level above. More information on the CEFR can be found at
85 or more Distinction trinitycollege.com/CEFR-level-descriptors
Candidates’ use of English must be intelligible to the
75–84 Merit
examiner, although they are not required to conform
65–74 Pass linguistically to any particular model of pronunciation
or usage.
64 and below Below Pass
HOW TO ENTER FOR AN EXAM
Guidance and details on how to enter all the
qualifications covered in this document can
be found at trinitycollege.com/digital-drama-grades
4
Employability and learning skills
Employability and learning skills

Employability skills — a key component of 21st century skills — can be defined as the transferable skills that can have
a positive impact in education and the workplace, and these key skills are integrated into these specifications to
help candidates develop on many levels.
SKILLS MEANING HOW TRINITY SPEECH AND DRAMA AND

PERFORMING TEXT EXAMS SUPPORT THIS
Communication ◗ The ability to explain what you mean Candidates build their communication skills through
and interpersonal in a clear and concise way the performance of material, working on vocal and
skills ◗ To act upon key information/ physical skills that convey meaning, character and
instructions story to an audience.
Through the reflection task, candidates develop their
skills through responding articulately to questions
provided, as well as self-analysis.
Creativity ◗ The ability to apply knowledge from The performance-based tasks support candidates in
many different areas to solve a task building their creativity as they realise material for
◗ The ability to develop creative performance, making interpretive choices.
responses to challenges and
in doing so create original
and imaginative solutions
Working under ◗ The ability to manage the workload The challenge of the exam environment, the
pressure and that comes with deadlines requirement to prepare thoroughly, together with tasks
to deadlines that require candidates to respond quickly to new
information are an excellent measure of this skill area.
Organisation ◗ The ability to be organised and Being prepared and organised in the exam room is a
skills methodical key part of the assessment. Candidates are expected
◗ The ability to plan work to meet to research and prepare their performance pieces
deadlines and targets and take responsibility for the hard-copy information
and equipment required for the exam.
◗ The ability to monitor progress
of work to ensure deadlines are met
Critical thinking ◗ The ability to analyse material and Through rehearsing and preparing for the
skills deconstruct it to understand how its performance-based tasks, candidates hone their
specific impact is achieved through critical thinking and analytical skills.
language and meaning
Confidence ◗ Belief in one’s own ability to The experience of preparing for both performance
successfully complete a task and the exam itself can build candidates’ belief in
themselves and their own abilities.
5
Recognition and progression route

RECOGNITION AND UCAS POINTS REGULATED TITLES AND QUALIFICATION NUMBERS
Trinity College London is an international exam board Qualification
regulated by Ofqual (Office of Qualifications and Title
number
Examinations Regulation) in England, CCEA Regulation
SPEECH AND DRAMA
in Northern Ireland and by Qualifications Wales. Various
Initial: TCL Entry Level Award in Graded
arrangements are in place with governmental education
Examination in Speech and Drama
authorities worldwide.
(Entry 3) (Initial) 601/0854/X
All graded solo qualifications are on the Regulated
Qualifications Framework (RQF) and a list of the regulated Grade 1: TCL Level 1 Award in Graded
titles and numbers for these qualifications is opposite. Examination in Speech and Drama (Grade 1) 501/1969/2
In the UK, Trinity’s Grade 6–8 Speech and Drama and Grade 2: TCL Level 1 Award in Graded
Performing Text qualifications are eligible for UCAS Examination in Speech and Drama (Grade 2) 501/1972/2
(Universities and Colleges Admissions Service) points for Grade 3: TCL Level 1 Award in Graded
those applying to colleges and universities, as follows: Examination in Speech and Drama (Grade 3) 501/1973/4
Grade 6
UCAS POINTS Grade 4: TCL Level 2 Certificate in Graded
PASS 8 | MERIT 10 | DISTINCTION 12 Examination in Speech and Drama (Grade 4) 501/1971/0
Grade 7 Grade 5: TCL Level 2 Certificate in Graded

UCAS POINTS Examination in Speech and Drama (Grade 5) 501/1970/9
PASS 12 | MERIT 14 | DISTINCTION 16
Grade 6: TCL Level 3 Certificate in Graded
Grade 8 Examination in Speech and Drama (Grade 6) 501/2068/2
UCAS POINTS
PASS 24 | MERIT 27 | DISTINCTION 30
Examination in Speech and Drama (Grade 7) 501/2075/X
See trinitycollege.com/UCASdrama for further details.
TIMING OF THE EXAMS Examination in Speech and Drama (Grade 8) 501/2073/6
The maximum time allowed for each exam task is

the time available to the candidate to demonstrate PERFORMING TEXT
the widest range of skills they can, and candidates Initial: TCL Entry Level Award in Graded
are advised to make full use of this. Examination in Performing Text (Entry 3)
(Initial) 601/0853/8
The exams are designed to allow sufficient time for
setting up and presenting all tasks. Grade 1: TCL Level 1 Award in Graded
Examination in Performing Text (Grade 1) 501/1956/4
Grade 2: TCL Level 1 Award in Graded

Grade 3: TCL Level 1 Award in Graded






6
DURATION OF STUDY (TOTAL QUALIFICATION TIME)

All regulated qualifications are assigned a total qualification time. This should be used as guidance only.
Total qualification time is an estimate of the average time a candidate spends with a teacher (guided learning hours)
added to the average time spent learning independently. It is recognised that the amount of time needed to commit
to a qualification will depend on each individual’s level of experience and ability.
Level of regulated Guided learning hours Independent learning hours Total qualification time
qualification (GLH) (ILH) (TQT) (hours)
Initial 8 32 40
Grade 1 12 48 60
Grade 2 18 62 80
Grade 3 18 82 100
Grade 4 24 106 130
Grade 5 24 126 150
Grade 6 30 140 170
Grade 7 30 160 190
Grade 8 48 202 250
QUALIFICATION ACHIEVEMENT LEVELS WHERE THE QUALIFICATIONS COULD LEAD

FOR EXAMS The Trinity exams in Speech and Drama and Performing
RQF* EQF** Text offer progression routes towards:
Speech and Drama
Level Level ◗ Diplomas in performing or teaching offered by Trinity
or other awarding organisations
6 6 LTCL
◗ Courses in drama or literature at further and higher
5 education institutions
4/5
4 ATCL ◗ Employment as a result of increased performance,
Grade 8 presentation and communication skills
3 4 Grade 7
Grade 6
Grade 5
2 3
Grade 4
Grade 3
1 2 Grade 2
Grade 1
Entry Level 3 1 Initial
* Regulated Qualifications Framework

** E uropean Qualifications Framework
7
2017 syllabus
Learning outcomes and assessment criteria: Speech and Drama, Performing Text | 2017 syllabus
Learning outcomes and assessment criteria:

Speech and Drama, Performing Text | 2017 syllabus
The Learning outcomes and assessment criteria provide information on the following:
◗ Learning outcomes: Describe the learning that a candidate will expect to undertake while preparing for the exam
and the skills/abilities they should be able to demonstrate because of this learning.
◗ Assessment criteria: Describe the standards to be met and what is expected from a candidate during the exam.
INITIAL (RQF Entry Level 3)

LEARNING OUTCOMES ASSESSMENT CRITERIA
The learner will: The learner can:
1. E
mploy appropriate vocal and 1.1 Perform with some awareness of an audience, clearly and generally
physical resources to communicate accurately and with some variations in pace, pitch and volume
with an audience
2. Respond appropriately to the content 2.1 D

emonstrate evidence of preparation of — and engagement with —
and meaning of the material being contrasting materials in performance
presented
3. A
dopt and sustain a role using body Demonstrate some ability to use body and space to complement
3.1
and space (where appropriate) vocal performance appropriately
GRADES 1–3 (RQF Level 1)

1. E
mploy appropriate physical and vocal 1.1 Produce a performance that demonstrates understanding and
resources to engage an audience thoughtful interpretation with a free and fluent delivery, a
through performance sense of spontaneity, and conscious awareness of an audience,
sustaining these qualities to the end
1.2 Perform from memory, audibly and clearly and mostly accurately
2. Respond to the quality, form and 2.1 Demonstrate creative engagement with the materials and
content of the material being presented careful preparation
3. A
dopt and sustain a role using space 3.1 Create and convey mood (eg humour, fear) through variations in
creatively and effectively volume, pace and pitch
3.2 Make appropriate use of body and space to complement
vocal performance
GRADES 4–5 (RQF Level 2)

1. E
mploy appropriate physical and vocal 1.1 Demonstrate a personal and imaginative interpretation in which there
resources to engage an audience is reasonably consistent application of developing technical skills
through an imaginative and sustained 1.2 Perform in an audible and clear manner with appropriate
performance articulation (eg volume, pitch, pace, rhythm, style, dynamics),
leading to a secure, accurate and sustained performance, which
also conveys a sense of spontaneity
2. Respond sensitively to the quality, 2.1 Support intentions in performance by demonstrating a sound
form and content of the material understanding of material
being presented 2.2 Show clear evidence of sensitivity to and considerable control of
the material, which is grounded in effective preparation
3. A
dopt and sustain a role using 3.1 Communicate shades of meaning and contrasts, for example, of
space creatively and effectively characterisation and mood
to enhance meaning 3.2 Combine the use of voice, body and space effectively to enhance
8 meaning and interpretation and to engage an audience
2017 syllabus
Learning outcomes and assessment criteria: Speech and Drama, Performing Text | 2017 syllabus
GRADES 6–8 (RQF Entry Level 3)

1. E
mploy appropriate integrated physical and 1.1 Perform with confidence, clarity and a sense of
vocal resources to engage an audience in a ownership of the material
performance that shows a sense of ownership 1.2 Consciously integrate knowledge, understanding and
skills in a secure and sustained performance
2. Respond with authority and mature 2.1 Demonstrate mature understanding of the material
understanding to the quality, form and 2.2 Demonstrate authority and control through relevant
content of the material being presented and thorough preparation
3. A
dopt and sustain a role using space 3.1 Combine skilful and appropriate use of voice, body and
creatively and effectively to convey space with imaginative response and flair, to engage an
complexity of meaning audience wholeheartedly
3.2 Demonstrate a discriminating and sensitive personal
interpretation of the material, which conveys complexity
and range of meaning (eg in mood, atmosphere,
characterisation, feeling)
9
2017 syllabus
Exam requirements: Speech and Drama | 2017 syllabus
Exam requirements:
Speech and Drama | 2017 syllabus
The exam components break down as follows across the grades. For further guidance on the tasks see pages 38–45.
INITIAL MAXIMUM MAXIMUM

The candidate: MARKS TIME
1. T
ells or acts out all or part of an original, traditional or contemporary (written
after 1979) story either from memory, or in the candidate’s own words (accuracy 40 Task 1–2
of recall is not tested in this task).
4 minutes
2. Performs a poem from memory. 40
3. G
ives an impromptu response to set questions, reflecting on the meaning of the
performed pieces and the candidate’s favourite stories. At this level a teacher or
20 3–4 minutes
care-giver can ask the candidate the questions. (Guidance for the reflection task
is on pages 42–43. The set questions are on page 43.)
GRADE 1 MAXIMUM MAXIMUM

1. Performs a prose passage or extract from a play or story from memory. 30
Task 1–3
6 minutes
3. Performs a prepared mime. 20
4. Gives an impromptu response to set questions, reflecting on the meaning of the

performed pieces and the candidate’s ideas on presenting a mime. At this level
20 3–4 minutes
a teacher or care-giver can ask the candidate the questions. (Guidance for the
reflection task is on pages 42–43. The set questions are on page 43.)

Task 1–3
6 minutes
3. Performs a prepared mime. 20
4. EITHER reads at sight a passage of prose. The prose passage to be used is

published on the Trinity website and changed every two weeks. During the two-
week validity period of the stimulus the candidate must do the following: access
the prose stimulus; use that stimulus for this task; film their performance;
upload the video of their whole exam for assessment. Full details on how to
access the prose passage and guidance on how to prepare and respond to the
task are on page 40. 20 2 minutes
OR invents and tells a story based on a picture. The picture to be used is published
on the Trinity website and changed every two weeks. During the two-week validity
period of the stimulus the candidate must do the following: access the picture
stimulus; use that stimulus for this task; film their performance; upload the video
of their whole exam for assessment. Full details on how to access the picture and
guidance on how to prepare and respond to the task are on pages 40–41.
5. Gives an impromptu response to set questions, reflecting on the meaning and mood
of the performed pieces and the candidate’s ideas about what makes a good story. 3–4
20
At this level a teacher or care-giver can ask the candidate the questions. (Guidance minutes
10 for the reflection task is on pages 42–43. The set questions are on page 43.)
2017 syllabus

2. Performs a poem from memory. 20 Task 1–3

8 minutes
3. P
erforms a prepared mime based on a theme arising from one of the prepared
20
pieces from tasks 1 or 2.

task are on page 40. 20 2 minutes
OR invents and tells a story based on a picture. The picture to be used is published
on the Trinity website and changed every two weeks. During the two-week validity
period of the stimulus the candidate must do the following: access the picture
of their whole exam for assessment. Full details on how to access the picture and
guidance on how to prepare and respond to the task are on pages 40–41.
5. Gives an impromptu response to set questions, reflecting on the meaning and

mood of the performed pieces and the use of pausing and emphasis in the
3–4
work presented. At this level a teacher or care-giver can ask the candidate the 20
minutes
questions. (Guidance for the reflection task is on pages 42–43. The set questions
are on page 43.)

1. Performs a prose passage from memory. 20
Task 1–3
9 minutes
3. Performs an extract from a play from memory. 20

task are on page 40.
20 3 minutes
OR invents and tells a story using four specific words. The words to be included
are published on the Trinity website and changed every two weeks. During the
two-week validity period of the stimulus the candidate must do the following:
access the word stimulus; use that stimulus for this task; film their performance;
access the word group and guidance on how to prepare and respond to the task
are on pages 40–41.
5. Gives an impromptu response to set questions, reflecting on the meaning

and context of the performed pieces and how variations in phrasing and pace
20 4 minutes
contributed to their performance. (Guidance for the reflection task is on pages
42–43. The set questions are on page 44.)
11
2017 syllabus

1. Performs a prose passage from memory. 20
Task 1–3
11 minutes
3. Performs an extract from a play from memory. 20

task are on page 40.
20 3 minutes
OR invents and tells a story using five specific words. The words to be included
access the word group and guidance on how to prepare and respond to the task
are on pages 40–41.

context of the performed pieces and how variations in vocal techniques and
20 4 minutes
delivery contributed to their performance. (Guidance for the reflection task is
on pages 42–43. The set questions are on page 44.)

6. Performs an extract from a play written after 1950 from memory. 20
8. Performs a passage of prose, contrasting in mood with tasks 1 and 2, 12 minutes
20
from memory.
9. EITHER reads at sight a passage of prose or verse. The prose/verse passage
to be used is published on the Trinity website and changed every two weeks.
During the two-week validity period of the stimulus the candidate must do
the following: access the prose/verse stimulus; use that stimulus for this task;
film their performance; upload the video of their whole exam for assessment.
Full details on how to access the prose/verse passage and guidance on how to
prepare and respond to the task are on page 40. 20 3 minutes
OR invents and tells a story using six specific words. The words to be included
upload the video of their whole exam for assessment. (See pages 40–41 for the
set questions and guidance on response.)
preparation of the performed pieces, the specific challenges or performing the
different styles of writing, and the contribution of breathing and relaxation to 20 5 minutes
safe and effective performance. (Guidance for the reflection task is on pages
12
2017 syllabus

1. P
erforms an extract from a play written before 1900 from memory — another
20
performer may be involved in either task 1 or task 4.
3. Performs a contrasting passage of prose from memory. 20 18 minutes
4. Performs a piece of their own choosing from memory, which may be the candidate’s
20
original writing — another performer may be involved in either task 1 or task 4.
5. Gives an impromptu response to set questions, reflecting on the meaning,
preparation and interpretation of the performed pieces, the different styles
5–6
of writing required, and the contribution of resonance and articulation to safe 20
minutes
and effective performance. (Guidance for the reflection task is on pages 42–43.
The set questions are on page 44.)

1. P
erforms from memory a linked continuous programme of four contrasting
performance pieces, of which three should be different literary forms from the
following list:
◗ An extract from a play written before 1980
◗ An extract from a play written after 1979
80 20 minutes
◗ A passage of prose
◗ A poem or an extract from a poem (lyric, narrative or satirical)
◗ A piece of reportage
One of the performance pieces may be the candidate’s original writing — another
performer may be involved in one of the pieces.
2. Gives an impromptu response to set questions, reflecting on the selection, meaning,
context and interpretation of the performed pieces, as well as the rehearsal
6–7
processes, and the vocal and physical techniques employed in their preparation 20
minutes
and performance. (Guidance for the reflection task is on pages 42–43. The set
questions are on page 45.)
13
2017 syllabus
Exam requirements: Performing Text | 2017 syllabus
Exam requirements:
Performing Text | 2017 syllabus
The exam components break down as follows across the grades. For further guidance on the tasks please
see pages 38–45.
INITIAL MAXIMUM MAXIMUM

1. T
ells or acts out all or part of an original, traditional or contemporary (written
after 1979) story either from memory, or in the candidate’s own words (accuracy 40
of recall is not tested in this task).
Task 1–2
4 minutes
the prose stimulus; use that stimulus for this task; film their performance; upload
the video of their whole exam for assessment. Full details on how to access the 40
prose passage and guidance on how to prepare and respond to the task are on
page 40.
OR performs a poem from memory.
3. G
performed pieces and the candidate’s favourite stories. At this level a teacher or 3–4
20
care-giver can ask the candidate the questions. (Guidance for the reflection task minutes
is on pages 42–43. The set questions are on page 43.)

1. Performs a poem or a passage of prose from memory. 40 Task 1–2
2. Delivers a prepared reading of a passage of prose or a poem. 40 6 minutes
3. G
performed pieces and the candidate’s ideas about reading aloud to an audience. 3–4
20
At this level a teacher or care-giver can ask the candidate the questions. (Guidance minutes
for the reflection task is on pages 42–43. The set questions are on page 43.)

1. Performs a poem or a passage of prose from memory. 30 Task 1–2
2. Delivers a prepared reading of a poem or a contrasting passage of prose. 30 6 minutes
3. R
eads at sight a passage of prose. The prose passage to be used is published on
the Trinity website and changed every two weeks. During the two-week validity
period of the stimulus the candidate must do the following: access the prose
20 2 minutes
of their whole exam for assessment. Full details on how to access the prose
passage and guidance on how to prepare and respond to the task are on page 40.

mood of the performed pieces and the ways in which they contrast. At this level 3–4
20
a teacher or care-giver can ask the candidate the questions. (Guidance for the minutes
reflection task is on pages 42–43. The set questions are on page 43.)
14
2017 syllabus

2. Performs a poem or a passage of prose from memory, contrasting in content and Task 1–3
20
style with task 1. 8 minutes
3. Delivers a prepared reading of a passage of prose or a news item as if for TV or radio. 20
4. Reads at sight a passage of prose. The prose passage to be used is published on
20 2 minutes

context of the performed pieces and the use of pausing and emphasis in the
3–4
work presented. At this level a teacher or care-giver can ask the candidate the 20
minutes
questions. (Guidance for the reflection task is on pages 42–43. The set questions
are on page 43.)

1. Performs a poem or an extract from a poem from memory. 20
2. Performs a passage of prose containing direct speech from memory. 20 Task 1–3
3. D
elivers a prepared reading from a magazine or newspaper of a report or article 9 minutes
20
on a sporting or cultural event.
20 3 minutes

context of the performed pieces and how variations in phrasing and pace
20 4 minutes
contributed to their performance. (Guidance for the reflection task is on pages

MARKS TIME
The candidate:
2. Performs a passage of prose containing direct speech from at least two characters, Task 1–3
20
from memory. 11 minutes
3. Delivers a prepared reading of a passage of romantic, historical or science fiction. 20
20 3 minutes

context of the performed pieces and how variations in vocal techniques and delivery
20 4 minutes
contributed to their performance. (Guidance for the reflection task is on pages 42–43.
The set questions are on page 44.) 15
2017 syllabus

1. Performs a poem or an extract from a poem written before 1700 from memory. 20
2. Delivers all or part of a persuasive speech or public address, originally given by a Tasks 1–3
20
significant historic or living figure, from memory. 12 minutes
3. Performs a passage of humorous verse or prose from memory. 20
20 3 minutes

preparation of the performed pieces, the specific challenges or performing the
different styles of writing, and the contribution of breathing and relaxation to 20 5 minutes
safe and effective performance. (Guidance for the reflection task is on pages

1. Performs from memory EITHER a sonnet OR a piece of original writing. 20
2. Performs a passage of humorous prose from an 18th or 19th century novel
20
from memory. Tasks 1–4
3. P
erforms a passage written for political, religious or ceremonial purposes 18 minutes
20
from memory.
4. Delivers a prepared reading of a description of a person, place or event. 20
5. Gives an impromptu response to set questions, reflecting on the meaning,
preparation and interpretation of the performed pieces, the different styles
5–6
of writing required, and the contribution of resonance and articulation to safe 20
minutes
and effective performance. (Guidance for the reflection task is on pages 42–43.

1. P
erforms from memory a linked continuous programme of four contrasting
performance pieces, of which three should be different literary forms from the
following list:
◗ A poem or an extract from a poem (lyric, narrative or satirical) 80 20 minutes
◗ Language/speech written for political, religious or ceremonial purposes
◗ An extract from a play
One of the performance pieces may be the candidate’s original writing — another
performer may be involved in one of the pieces.
2. Gives an impromptu response to set questions, reflecting on the selection,

meaning, context and interpretation of the performed pieces, as well as the
6–7
rehearsal processes, and the vocal and physical techniques employed in their 20
minutes
preparation and performance. (Guidance for the reflection task is on pages 42–43.
16
2017 syllabus
Attainment descriptors: Speech and Drama and Performing Text | 2017 syllabus
Attainment descriptors: Speech and Drama and

Performing Text | 2017 syllabus
The attainment descriptors are split into Distinction, Merit, Pass and Below Pass and describe the level of skill a
candidate would need to meet to be awarded a particular result in the exam.
Initial (RFQ Entry level) Foundation (Grades 1–3, RQF Level 1)
Distinction Work that demonstrates an imaginative Work that demonstrates sustained

(85–100 marks) response to the text, conveyed with delivery, some sense of spontaneity and
enthusiasm and some spontaneity. a conscious awareness of an audience.
Meaning will be communicated clearly, There will be evident command of
mainly accurately and expressively. There appropriate technical skills, and a keen
will be some awareness of an audience. awareness of the performance demands
Understanding and a sense of personal and the meaning and quality of the
interest will be evident in conversation. chosen material.
Merit Work that demonstrates a good level of Work of some originality with a thoughtful
(75–84 marks) understanding, audibility and vocal clarity, and fluent response to the performance
delivered with some confidence and demands of the chosen material. A good
fluency. Pace, pitch and volume may lack level of audibility and clarity, enhanced by
sufficient variation and purpose at times suitable variations in dynamics, pace
to fully sustain an effective performance. and pitch.
Pass Work that demonstrates a degree of Work that demonstrates understanding and
(65–74 marks) purposeful preparation and some ability to learning of the text. Although the range
engage an audience. The skills required to of performance skills may be somewhat
invest the material with expressiveness and limited, there will be basic audibility and
variety may be limited, but basic audibility clarity and some imaginative response to
and some understanding will be evident. the chosen material.
Below Pass Work in which vocal skills are inadequate Work that shows significant limitations in
(0–64 marks) to convey meaning effectively. The performing, learning and understanding.
performance will lack audibility, clarity There may be evidence of inadequate
and/or fluency. Meaning may also be preparation and an inability to relate to
unclear and there may be an apparent the chosen material.
reluctance to engage in conversation.
17
2017 syllabus
Attainment descriptors: Speech and Drama and Performing Text | 2017 syllabus
Intermediate (Grades 4–5, RFQ Level 2) Advanced (Grades 6–8, RQF Level 3)
Distinction Work that demonstrates a secure, Work that achieves richness and a sense
(85–100 marks) accurate and sustained response to the of total performance through a synthesis
chosen material. A sense of spontaneity of advanced performance skills at a level
and personal involvement will be achieved of sustained excellence. Sophistication
through the employment of a wide range of interpretation will be demonstrated
of performance skills that engage an through a sense of originality and a
audience effectively. wholly independent response to the
material performed.
Merit Work that demonstrates a considerable Work that demonstrates understanding

(75–84 marks) level of control of the material and a through a mature and imaginative
relatively wide range of performance skills. commitment to the material. This will result
There will be appropriate establishment in a performance of some complexity, using
of mood and character and a level of a wide range of advanced performance
sensitivity to the needs of an audience. skills effectively.
Pass Work that demonstrates a reasonable Work that demonstrates some evidence of
(65–74 marks) control of the chosen material and a mature understanding presented with an
range of appropriate performance skills. element of identification with the material.
There will be some attempt to engage an Performance skills are integrated and used
audience and convey a sense of personal with some assurance.
involvement in the ideas communicated.
Below Pass Work that may show lack of preparation Work in which some skills may be evident
(0–64 marks) and control of performance skills (even but they are insufficiently integrated or
though some may be evident). At best, contain significant lapses in technical
the performance may be sporadic in its achievement. There may be inadequate
attempt to communicate effectively. preparation and inappropriate response to
the material.
18
2020 syllabus
Learning outcomes: Speech and Drama | 2020 syllabus
Learning outcomes:
Learning outcomes describe the learning that a candidate will expect to undertake while preparing for the exam and the
skills/abilities they should be able to demonstrate because of this learning. The learning outcomes are listed below.
On successful completion of this exam, the candidate will be able to:
Initial and ◗ Perform pieces using vocal and physical skills and the performance space in response to
Grade 1 the material
◗ Respond appropriately to set questions on prepared material
Grades 2 ◗ Perform pieces using vocal and physical skills and the performance space in response to
and 3 the material
◗ Engage with unprepared material, showing ability to sight-read a text or create a story from a
picture, understanding and conveying meaning
◗ Respond appropriately to set questions on prepared material with understanding
Grades 4, ◗ Perform a variety of material using vocal and physical skills and the performance space in
5 and 6 response to the material
◗ Engage with unprepared material, showing ability to sight-read a text or create a story from a
series of words, understanding and conveying meaning
Grade 7 ◗ Perform a variety of material using vocal and physical skills and the performance space in
response to the material
◗ Engage with unprepared material with thought and imagination
Grade 8 ◗ Perform a variety of material using vocal and physical skills and the performance space in
response to the material
◗ Engage with unprepared material with creativity and spontaneity
19
2020 syllabus
Exam requirements, assessment criteria and attainment descriptors: Speech and Drama | 2020 syllabus
Exam requirements, assessment criteria

and attainment descriptors:
The exam components break down as follows across the grades. For further guidance on the tasks please consult
the Speech and Drama Syllabus from 2020.
INITIAL
EXAM DURATION
8 minutes
EXAM REQUIREMENTS FURTHER INFORMATION MARKS
Task 1: Performance ◗ The story can be published or

The candidate tells or acts out an extract from a story, either unpublished.
from memory or in the candidate’s own words (accuracy of ◗ Guidance for the performance task 40
recall is not tested in this task). is on pages 38–39.
(maximum time: 2 minutes)
Task 2: Performance ◗ Guidance for the performance task

The candidate performs a poem from memory. is on pages 38–39. 40
Task 3: Reflection ◗ Guidance for the reflection task is

The candidate gives an impromptu response to set questions, on pages 42–43.
reflecting on the performed pieces including their meaning. ◗ The set questions are on page 43. 20
At this level a teacher or care-giver can ask the candidate
the questions.
(maximum time: 3–4 minutes)
20
2020 syllabus
ASSESSMENT CRITERIA
During the exam, the candidate will:
◗ Perform audibly, clearly and where required, accurately

Technical skills
◗ Demonstrate some ability to use body and space as appropriate for the material
Engagement with
◗ Demonstrate understanding of the material
the material
Communication
◗ Demonstrate an awareness of audience
with the audience
◗ Demonstrate basic competence in delivering a performance Performance
ATTAINMENT DESCRIPTORS
Distinction ◗ The work presented was audible, clear and accurate (where required) most of the time. There
was some imaginative use of vocal and physical skills to support characterisation
and/or narrative.
◗ There was some awareness of audience and competence in delivering a performance.
◗ There was a clear understanding of the material shown when reflecting on the work.
Merit ◗ The work presented was audible, clear and accurate (where required) most of the time. There
was some vocal and physical skills to support characterisation and/or narrative.
◗ There was a basic awareness of audience and some competence in delivering a performance.
◗ There was a reasonably secure understanding of the material shown when reflecting on the
work.
Pass ◗ The work presented was audible, clear and accurate (where required) some of the time. There
was some use of vocal and physical skills to support characterisation and/or narrative.
◗ There was a basic awareness of audience.
◗ There was some understanding of the material shown when reflecting on the work.
Below Pass ◗ The work presented was hesitant and lacked audibility and/or clarity. There was little or no
attempt to use body and space.
◗ There was little or no awareness of audience.
◗ There was a very limited understanding of the material shown when reflecting on the work.
21
2020 syllabus
GRADE 1
EXAM DURATION
10 minutes

The candidate performs ONE of the following from memory: is on pages 38–39.
◗ An extract from a play or a monologue from a book of
40
monologues

The candidate performs ONE of the following from memory: is on pages 38–39.
◗ A mime 40
◗ A poem

reflecting on the performed pieces including their content ◗ The set questions are on page 43.
and meaning. At this level a teacher or care-giver can ask the 20
candidate the questions.
ASSESSMENT CRITERIA
◗ Perform audibly, clearly and accurately

◗ Demonstrate variations in pace, pitch and volume to communicate meaning, narrative
and, where appropriate, character Technical skills
◗ Demonstrate the ability to use body and space to communicate meaning, narrative and,
where appropriate, character
Engagement with
◗ Demonstrate understanding of the material
the material
Communication
with the audience
◗ Demonstrate basic competence in delivering a performance Performance
22
2020 syllabus
Distinction ◗ The work presented was audible, clear and accurate throughout. There was good use of vocal
and physical skills to support characterisation and/or narrative.
◗ There was a consistent awareness of audience and a good level of confidence in delivering a
performance throughout.
◗ The candidate was able to reflect with some confidence on the work, demonstrating a clear
understanding of the material.
Merit ◗ The work presented was audible, clear and accurate most of the time. There was some good
use of vocal and physical skills to support characterisation and/or narrative.
◗ There was an awareness of audience and confidence in delivering a performance most of
the time.
◗ The candidate was able to reflect well on the work, demonstrating a reasonable
Pass ◗ The work presented was audible, clear and accurate some of the time. There was some use
of vocal and physical skills to support characterisation and/or narrative.
◗ There was an awareness of audience and confidence in delivering a performance some of
the time.
◗ The candidate was able to reflect on the work, demonstrating some understanding of
the material.
Below Pass ◗ The work presented was hesitant and lacked audibility and/or clarity, with little evidence of
preparation. There was little or no attempt to use body and space appropriate to the material.
◗ There was little or no awareness of audience.
◗ There was a limited understanding of the material shown when reflecting on the work.
23
2020 syllabus
GRADE 2
EXAM DURATION
12 minutes
Tasks 1–2: Performance ◗ The pieces performed should

The candidate performs TWO pieces chosen from the following be different forms, eg a prose
list from memory: extract and poem.
Each piece
◗ An extract from a play or a monologue from a book of ◗ Guidance for the performance
will be
monologues task is on pages 38–39.
awarded
◗ A passage of prose marks out
◗ A poem of 30
◗ A mime
Task 3: Key Skills ◗ Full details on how to access the

The candidate chooses and undertakes ONE of the following: prose passage and guidance on
how to prepare and respond to
◗ Reads at sight a passage of prose. The prose passage to be
the task are on page 40.
used is published on the Trinity website and changed every
two weeks. During the two-week validity period of the stimulus ◗ Full details on how to access the
the candidate must do the following: access the prose stimulus; picture and guidance on how to
use that stimulus for this task; film their performance; upload prepare and respond to the task
the video of their whole exam for assessment. are on pages 40–41.
20
◗ Invents and tells a story based on a picture. The picture to
be used is published on the Trinity website and changed
every two weeks. During the two-week validity period of the
stimulus the candidate must do the following: access the
picture stimulus; use that stimulus for this task; film their
performance; upload the video of their whole exam
for assessment.

reflecting on the performed pieces including their content ◗ The set questions are on page 43.
and meaning and the candidate’s ideas about what makes a 20
good story. At this level a teacher or care-giver can ask the
24
2020 syllabus
ASSESSMENT CRITERIA

◗ Demonstrate the ability to use body and space to communicate the meaning, narrative
and, where appropriate, character
◗ Demonstrate understanding of the material, including meaning, and what makes a good story
Engagement with
◗ Demonstrate the ability to engage with unseen material — inventing a story from a picture the material
or bringing text to life as appropriate
Communication
with the audience
◗ Demonstrate confidence in delivering a performance Performance
Distinction ◗ The work presented was audible, clear and accurate throughout and there was good use of vocal
and physical skills to support characterisation and/or narrative.
◗ The candidate was able to sight-read or invent a story with confidence and coherence most
of the time.
◗ There was a consistent awareness of audience and a good level of confidence in delivering a
performance throughout.
◗ The candidate was able to reflect with confidence on the work, demonstrating a good level
of understanding of the material.
Merit ◗ The work presented was audible, clear and accurate most of the time and there was some good
◗ The candidate was able to sight-read or invent a story with confidence and coherence most of
the time.
◗ There was an awareness of audience and confidence in delivering a performance most of the
time.
◗ The candidate was able to reflect with some confidence on the work, demonstrating a reasonable
Pass ◗ The work presented was audible, clear and accurate most of the time and there was some use
of vocal and physical skills appropriate to the material.
◗ The candidate was able to sight-read or make up a story with some coherence and clarity.
◗ There was an awareness of audience and confidence in delivering a performance some of the
time.
◗ The candidate was able to reflect with some confidence on the work, demonstrating some
Below Pass ◗ The work presented was hesitant and lacked audibility, clarity and/or accuracy. There was little
use of body within the space appropriate to the material and little evidence of preparation.
◗ There was a struggle to sight-read or invent a story, resulting in the sense of the material being
lost.
◗ There was limited awareness of audience.
◗ There was a limited understanding of the material and/or a reluctance or inability to reflect on the
discussion topics.
25
2020 syllabus
GRADE 3
EXAM DURATION
14 minutes
Tasks 1–2: Performance ◗ The pieces performed should be

The candidate performs TWO pieces chosen from the following different forms, eg a poem and
list from memory: a prose extract.
Each piece
◗ An extract from a play or a monologue from a book of ◗ Guidance for the performance
will be
monologues task is on pages 38–39.
awarded
◗ A passage of prose marks out
◗ A poem of 30
◗ A mime

◗ Reads at sight a passage of prose. The prose passage to be how to prepare and respond to
used is published on the Trinity website and changed every two the task are on page 40.
weeks. During the two-week validity period of the stimulus the ◗ Full details on how to access the
candidate must do the following: access the prose stimulus; use picture and guidance on how to
that stimulus for this task; film their performance; upload the prepare and respond to the task
video of their whole exam for assessment. are on pages 40–41. 20
◗ Invents and tells a story based on a picture. The picture to be
used is published on the Trinity website and changed every two
weeks. During the two-week validity period of the stimulus the
candidate must do the following: access the picture stimulus;
use that stimulus for this task; film their performance; upload
the video of their whole exam for assessment.
Task 4: Reflection ◗ Guidance for the reflection task

The candidate gives an impromptu response to set questions, is on pages 42–43.
reflecting on the performed pieces including their content, ◗ The set questions are on page
meaning and mood and the use of pause and emphasis in the 43. 20
work presented. At this level a teacher or care-giver can ask the
26
2020 syllabus
ASSESSMENT CRITERIA

◗ Demonstrate variations in pace, pitch and volume to communicate the meaning, narrative
◗ Demonstrate the ability to use body and space to communicate meaning, narrative and,
◗ Demonstrate understanding of the material including meaning, mood, and how pause and
emphasis is used
Engagement with
◗ Demonstrate some choices of interpretation
the material
◗ Demonstrate the ability to engage with unseen material — inventing a story from a
picture or bringing a text to life as appropriate
◗ Demonstrate the ability to engage an audience, communicating the meaning and mood of Communication
the material with the audience
◗ Demonstrate confidence in delivering a performance Performance
Distinction ◗ The work presented was audible, clear and accurate throughout. There was some expressive
◗ The candidate was able to sight-read or invent a story creatively and coherently.
◗ There was a confident ability to engage the audience, communicating meaning and mood
throughout with an appearance of ease.
◗ The candidate was able to reflect with confidence on the work, demonstrating a secure
Merit ◗ The work presented was audible, clear and accurate most of the time. There was some good use
of vocal and physical skills, used to support characterisation and/or narrative.
◗ The candidate was able to sight-read or invent a story with some creativity and coherence.
◗ There was a good awareness of audience, communicating meaning and mood with an
appearance of ease and confidence most of the time.
◗ The candidate was able to reflect with some confidence on the work, demonstrating a good level
Pass ◗ The work presented was audible, clear and accurate some of the time. There was some use of
vocal and physical skills to support characterisation and/or narrative.
◗ The candidate was able to sight-read or invent a story with some coherence and clarity.
◗ There was an awareness of audience, communicating meaning and mood with an appearance
of ease and confidence some of the time.
◗ The candidate was able to reflect with some confidence on the work, demonstrating a
reasonable understanding of the material.
Below Pass ◗ The work presented was hesitant and lacked audibility, clarity and/or accuracy, showing little
evidence of preparation. There was little use of body within the space appropriate to the material.
◗ There was a struggle to sight-read or invent a story, resulting in the sense of the material being lost.
◗ There was limited ability to engage the audience and/or there was a lack of confidence in
delivering a performance.
◗ There was a limited understanding of the material and/or a reluctance or inability to reflect on the
discussion topics.
27
2020 syllabus
GRADE 4
EXAM DURATION
16 minutes
Tasks 1–3: Performance ◗ At least two of the three pieces

The candidate performs THREE pieces chosen from the should be different forms, eg a
following list from memory: poem and a prose extract. Each piece
◗ An extract from a play ◗ One piece should be written in a will be
colloquial style. awarded
◗ Guidance for the performance marks out
◗ A poem of 20
task is on pages 38–39.
◗ A passage of reportage

◗ Reads at sight a passage of prose. The prose passage to be how to prepare and respond to
used is published on the Trinity website and changed every two the task are on page 40.
weeks. During the two-week validity period of the stimulus the ◗ Full details on how to access the
candidate must do the following: access the prose stimulus; use picture and guidance on how to
that stimulus for this task; film their performance; upload the prepare and respond to the task
video of their whole exam for assessment. are on pages 40–41. 20
◗ Invents and tells a story using four specific words. The words
to be included are published on the Trinity website and changed
stimulus the candidate must do the following: access the prose
stimulus; use that stimulus for this task; film their performance;
upload the video of their whole exam for assessment.

reflecting on the performed pieces including the content, ◗ The set questions are on page 44. 20
meaning, mood and context of the pieces; the vocal and
physical aspects of characterization; and how variations in
phrasing and pace contributed to the performance.
28
2020 syllabus
ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills appropriate to the material to deliver a
clear and accurate performance
Technical skills
and, where appropriate, character
◗ Demonstrate effective use of body and space to communicate meaning, narrative and,
◗ Demonstrate understanding of the material including meaning, mood, context and the
use and value of phrasing and pace in performance
Engagement with
◗ Demonstrate some choices of interpretation
the material
◗ Demonstrate the ability to engage with unseen material either by inventing a story from
words or bringing a text to life as appropriate
◗ Demonstrate the ability to engage an audience, communicating the meaning and mood Communication
of the material with the audience
◗ Deliver and sustain a secure and accurate performance with some sense of spontaneity Performance
Distinction ◗ The work presented was audible, clear and accurate and had a sense of fluency throughout.
There was an expressive use of integrated vocal and physical skills to support characterisation
and/or narrative and there were imaginative choices of interpretation.
◗ The candidate was able to sight-read or invent a story with confidence, sense and fluency.
◗ There was a confident ability to engage the audience, communicating meaning and mood
with a sense of spontaneity, delivering a secure and accurate performance throughout.
◗ The candidate was able to reflect with confidence on the work, demonstrating a secure
Merit ◗ The work presented was audible, clear and accurate and had a sense of fluency most of the time.
There was a variety of integrated vocal and physical skills to support characterisation and/or
narrative and clear choices of interpretation.
◗ The candidate was able to sight-read or invent a story with confidence, sense and fluency most of
the time.
◗ There was an ability to engage the audience, communicating meaning and mood with a sense of
spontaneity, delivering a secure and accurate performance most of the time.
◗ The candidate was able to reflect with some confidence on the work, demonstrating a good level
Pass ◗ The work presented was audible, clear and accurate and had a sense of fluency some of the time.
There was a range of vocal and physical skills to support characterisation and/or narrative and
some clear choices of interpretation.
◗ The candidate was able to sight-read or invent a story with some confidence, sense and fluency
some of the time.
◗ There was an awareness of audience, communicating meaning and mood, delivering a secure and
accurate performance some of the time.
◗ The candidate was able to reflect on the work, demonstrating a reasonable understanding of
the material.
Below Pass ◗ The work presented lacked audibility, clarity and/or accuracy, showing little evidence of
preparation. A limited range of vocal and physical skills was demonstrated.
◗ There was a struggle to sight-read or invent a story, resulting in the sense of the material being lost.
◗ There was limited awareness of audience and/or there was a lack of confidence in delivering
a performance.
◗ The candidate demonstrated little ability to reflect with understanding on the work presented.
29
2020 syllabus
GRADE 5
EXAM DURATION
18 minutes
Tasks 1–3: Performance ◗ At least two of the three

The candidate performs THREE pieces chosen from the following pieces should be different
list from memory: forms, eg a poem and a prose
extract. Each piece
◗ An extract from a play will be
◗ A passage of prose containing direct speech ◗ One piece should be written in
awarded
a non-colloquial style. marks out
◗ A poem
◗ Guidance for the performance of 20
◗ A speech or a passage from a speech given by a significant,
real-life figure
Task 4: Key Skills ◗ Full details on how to access

The candidate chooses and undertakes ONE of the following: the prose/poetry passage and
◗ Reads at sight a passage of prose or poetry. The prose passage to guidance on how to prepare
be used is published on the Trinity website and changed every two and respond to the task are on
weeks. During the two-week validity period of the stimulus the page 40.
candidate must do the following: access the word prose/poetry ◗ Full details on how to access
stimulus; use that stimulus for this task; film their performance; the word group and guidance
upload the video of their whole exam for assessment. on how to prepare and respond 20
◗ Invents and tells a story using five specific words. The words to the task are on pages 40–41.
to be included are published on the Trinity website and changed
stimulus the candidate must do the following: access the word
stimulus; use that stimulus for this task; film their performance;
upload the video of their whole exam for assessment.

reflecting on the performed pieces including the content, meaning, ◗ The set questions are on page
20
mood and context of the pieces; and how variations in vocal 44.
techniques and delivery contributed to the performance.
30
2020 syllabus
ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills appropriate to the material to deliver an
imaginative and accurate performance
◗ Demonstrate variations in volume, pace, pitch and rhythm to communicate meaning,
Technical skills
narrative and, where appropriate, character
◗ Demonstrate effective use of body and space to communicate meaning, narrative and,
◗ Demonstrate understanding of the material including meaning, mood, context and the use
of variations in vocal technique in performance
Engagement with
◗ Demonstrate clear choices of interpretation
the material
◗ Demonstrate the ability to engage with unseen material with some creativity, either by
inventing a story from words or bringing a text to life as appropriate
◗ Deliver and sustain a secure, accurate and engaging performance with spontaneity Performance
Distinction ◗ The work presented was audible, clear and accurate and had a sense of fluency throughout.
Expressive vocal modulation and imaginative physical skills were used in an integrated way
and with control to support characterisation and/or narrative throughout. There were some
imaginative choices of interpretation.
◗ The candidate was able to sight-read or make up a story with confidence, sense and
fluency throughout.
◗ There was a confident ability to engage the audience, communicating meaning and mood with
a sense of spontaneity, delivering a secure and accurate performance throughout.
◗ The candidate was able to reflect with confidence on the work, demonstrating a mature
Merit ◗ The work presented was audible, clear and accurate and had a sense of fluency most of the time.
Expressive vocal modulation and imaginative physical skills were used in an integrated way and
with control to support characterisation and/or narrative most of the time. There were some clear
choices of interpretation.
◗ The candidate was able to sight-read or make up a story with some confidence, sense and fluency.
◗ There was a confident ability to engage the audience, communicating meaning and mood with
a sense of spontaneity, delivering a secure and accurate performance most of the time.
◗ The candidate was able to reflect with some confidence on the work, demonstrating a secure
Pass ◗ The work presented was audible, clear and accurate and had a sense of fluency some of the time.
There was a range of vocal modulation integrated with some effective physical skills to support
characterisation and/or narrative some of the time. There were some clear choices of interpretation.
◗ The candidate was able to sight-read or make up a story with some imagination.
◗ The candidate engaged the audience, communicating meaning and mood with some appearance
of ease and confidence, delivering a secure and accurate performance some of the time.
◗ The candidate was able to reflect on the work, demonstrating a good level of understanding of
the material.
Below Pass ◗ The work presented lacked audibility, clarity and/or accuracy, showing little evidence of
preparation. A limited range of material and performance skills was demonstrated.
◗ The candidate struggled to sight-read or make up a story, with little sense of the material or narrative.
◗ There was limited ability to engage the audience and/or there was a lack of confidence in
delivering a performance.
◗ The candidate demonstrated little ability to reflect with understanding on the work presented.
31
2020 syllabus
GRADE 6
EXAM DURATION
20 minutes
Tasks 1–3: Performance ◗ All three pieces should be

different forms, eg a poem,
The candidate performs THREE pieces chosen from the following
an extract from a play and a
list from memory:
speech. Each piece
◗ Each piece should contrast in will be
◗ A passage of prose containing direct speech period and/or culture. awarded
◗ A passage of verse ◗ Guidance for the performance marks out
◗ A poem task is on pages 38–39. of 20
◗ A speech or a passage from a speech given by a significant
real-life figure

The candidate chooses and undertakes ONE of the following: the prose/poetry passage and
◗ Reads at sight a passage of prose or poetry. The prose/poetry guidance on how to prepare
passage to be used is published on the Trinity website and and respond to the task are on
changed every two weeks. During the two-week validity period page 40.
of the stimulus the candidate must do the following: access ◗ Full details on how to access
the prose/poetry stimulus; use that stimulus for this task; the word group and guidance
film their performance; upload the video of their whole exam on how to prepare and
20
for assessment. respond to the task are on
◗ Invents and tells a story using six specific words. The words to be pages 40–41.
included are published on the Trinity website and changed every
two weeks. During the two-week validity period of the stimulus
the candidate must do the following: access the word stimulus;
use that stimulus for this task; film their performance; upload the
video of their whole exam for assessment.
Task 5: Reflection ◗ Guidance for the reflection

The candidate gives an impromptu response to set questions, task is on pages 42–43.
reflecting on the performed pieces including the content, ◗ The set questions are on
meaning, mood and context of the pieces; their preparation; the page 44. 20
specific challenges of performing the different styles of writing;
and the contribution of breathing and relaxation to safe and
effective performance.
32
2020 syllabus
ASSESSMENT CRITERIA
◗ Integrate a range of vocal and physical performance skills appropriate to the material to
deliver an imaginative and accurate performance
◗ Demonstrate variations in volume, pace, pitch and rhythm to communicate meaning,
Technical skills
narrative and, where appropriate, character
◗ Demonstrate effective use of body and space to communicate the meaning of the
material and, where appropriate, character
◗ Demonstrate a secure understanding of the material, including being able to reflect on

own performance with some maturity, the use of variations in vocal techniques, and the
contribution of breathing and relaxation Engagement with
◗ Demonstrate clear and creative choices of interpretation the material
◗ Demonstrate the ability to engage with unseen material with creativity either by
inventing a story from words or bringing text to life as appropriate
◗ Deliver an emotionally sustained performance with accuracy and spontaneity Performance
Distinction ◗ The work presented a synthesis of wide-ranging vocal and physical skills used accurately and creatively
to support characterisation and/or narrative. There were clear and creative choices of interpretation.
◗ The candidate was able to work with unseen material with confidence, maintaining coherence,
fluency and a sense of ease throughout.
◗ There was a confident ability to engage the audience and a sense of spontaneity and assurance,
delivering a secure and accurate performance throughout.
◗ The candidate was able to reflect in a thoughtful and considered way on the work, demonstrating
a mature understanding of the material.
Merit ◗ The work presented a wide range of integrated vocal and physical skills used accurately and
imaginatively to support characterisation and/or narrative. There were clear and creative choices
of interpretation.
◗ The candidate was able to work with unseen material with confidence, maintaining sense and
fluency throughout.
◗ There was a confident ability to engage the audience and a sense of spontaneity, delivering a
secure and accurate performance most of the time.
◗ The candidate was able to reflect with some maturity on the work, demonstrating a secure
Pass ◗ The work presented a range of integrated vocal and physical skills used accurately and with some
imagination to support characterisation and/or narrative. There were some clear and creative
choices of interpretation.
◗ The candidate was able to work with unseen material, bringing it to life with sense and fluency
most of the time.
◗ There was some confidence in engaging the audience and the appearance of ease, delivering a
secure and accurate performance some of the time.
◗ The candidate was able to reflect on the work, demonstrating a secure understanding of the material.
Below Pass ◗ The work, while showing some vocal and physical skills, was not sufficiently integrated and had limited
range. There were few clear choices of interpretation and limited creativity.
◗ The candidate struggled to work with unseen material, with lapses of sense and fluency.
◗ There was a lack of confidence in communicating with the audience and/or in delivering a
performance with a sense of ownership.
◗ The candidate demonstrated limited understanding of the material, lacking depth, opinion and
detailed knowledge.
33
2020 syllabus
GRADE 7
EXAM DURATION
23 minutes
Tasks 1–3: Performance ◗ All three pieces should be

The candidate performs THREE pieces chosen from the following different forms, eg a poem,
list from memory: an extract from a play and a
passage of prose.
◗ The pieces should contrast in Each piece
◗ A passage of prose containing direct speech from two will be
period and/or culture.
or more characters awarded
◗ One extract may be a piece of
◗ A poem marks out
unpublished writing.
◗ A passage of reportage of 20
◗ Another performer may be
◗ A passage written for political, religious or ceremonial purposes involved in one of the pieces.
(maximum time: 13 minutes) ◗ Guidance for the performance

The candidate discusses how a piece of unseen text (prose prose/poetry passage, the set
or poetry) can be realised for performance in relation to set questions and guidance on how
questions. The prose/poetry passage to be used is published on the to prepare and respond to the
Trinity website and changed every two weeks. During the two-week task are on page 41.
20
validity period of the stimulus the candidate must do the following:
access the prose/poetry stimulus; use that stimulus for this task;
film their performance; upload the video of their whole exam
for assessment.
Task 5: Reflection ◗ Guidance for the reflection

The candidate gives an impromptu response to set questions, task is on pages 42–43.
reflecting on the performed pieces including the content, ◗ The set questions are on
meaning, mood and context of the pieces; their preparation page 44. 20
and interpretation; the specific challenges of performing the
different styles of writing; and the contribution of resonance
and articulation to safe and effective performance.
34
2020 syllabus
ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills within a range of material to deliver an
imaginative and accurate performance
◗ Employ a wide range of vocal skills — volume, pitch, pace, rhythm, style and modulation —
Technical skills
to support and enhance performance, narrative and, where appropriate, character
◗ Demonstrate effective use of the performance space, moving with sustained purpose to
communicate meaning, narrative and, where appropriate, character
◗ Demonstrate a clear understanding of the material, including being able to reflect with
maturity on the contribution of resonance and articulation, and the specific challenges
related to performing the different styles Engagement with
the material
◗ Demonstrate some persuasive choices of interpretation
◗ Engage with a thoughtful response and creativity on unseen material
of the material with dramatic impact and authority with the audience
◗ Deliver an integrated, emotionally sustained, vocally and physically engaged programme

Performance
that displays a creative response to the material
Distinction ◗ The work presented a synthesis of wide-ranging and integrated vocal and physical skills used
accurately and imaginatively to support characterisation and/or narrative. There were bold
and original choices of interpretation and a sense of personal, emotional investment.
◗ There was an assured, confident ability to engage the audience and a sense of spontaneity
and authority, delivering a secure and accurate performance throughout.
◗ The candidate was able to reflect confidently and with maturity on the work, demonstrating an
in-depth and intelligent understanding of the material.
Merit ◗ The work presented a wide range of integrated vocal and physical skills used accurately
and imaginatively to support characterisation and/or narrative. There was an imaginative
connection to the material and clear and persuasive choices of interpretation.
◗ There was a confident ability to engage the audience and a sense of spontaneity, delivering
a secure and accurate performance throughout.
◗ The candidate was able to reflect confidently on the work, demonstrating a full understanding
of the material.
Pass ◗ The work presented a range of integrated vocal and physical skills used accurately and
with imagination to support characterisation and/or narrative. There were some clear and
persuasive choices of interpretation.
◗ There was a confident ability to engage the audience, delivering a secure and accurate
performance most of the time.
◗ The candidate was able to reflect on the work, demonstrating a secure understanding of
the material.
Below Pass ◗ The work presented, while showing some vocal and physical skills, was not sufficiently integrated
and had a limited range. There were few clear choices of interpretation and limited creativity.
◗ There was little evidence of control and/or preparation and limited ability to communicate
and engage the audience.
◗ The candidate demonstrated limited understanding of the material, lacking knowledge, depth
of opinion and detail.
35
2020 syllabus
GRADE 8
EXAM DURATION
26 minutes
Tasks 1–3: Performance ◗ All of the pieces should be

The candidate performs a continuous programme of THREE different forms and contrast
pieces from memory: in mood, eg a poem, an extract
◗ An extract from a play written in prose from a play and a passage
of prose.
◗ An extract from a play written in verse Each piece
◗ The pieces should contrast in will be
◗ A passage of narrative prose
period and/or culture. awarded
◗ A poem or an extract from a poem (narrative, lyrical or satirical) marks out
◗ One extract may be a piece of
◗ A passage of reportage unpublished writing. of 20
◗ A passage written for political, religious or ◗ Another performer may be
ceremonial purposes involved in one of the pieces
(maximum time: 14 minutes) ◗ Guidance for the performance

The candidate works on a piece of unseen text (prose, poetry or a the prose/poetry/speech
speech) realizing it for performance in relation to set instructions. passage, the set instructions
The text to be used is published on the Trinity website and changed and guidance on how to prepare
every two weeks. During the two-week validity period of the and respond to the task are on 20
stimulus the candidate must do the following: access the prose/ page 41.
poetry/speech stimulus; use that stimulus for this task; film their
performance; upload the video of their whole exam for assessment.

reflecting on the performed pieces including the content, ◗ The set questions are on page
meaning, mood and context of the pieces; their selection and 45. 20
interpretation; the rehearsal processes; and the vocal and physical
techniques employed in their preparation and performance.
36
2020 syllabus
ASSESSMENT CRITERIA
◗ Integrate vocal and physical performance skills within a range of material leading to an
imaginative programme that is cohesively linked
◗ Employ a wide range of vocal skills, with appropriate articulation, volume, pitch, pace,
rhythm, style and modulation to support and enhance performance, narrative and, where
Technical skills
appropriate, character
◗ Demonstrate effective use of the performance space, moving with sustained purpose to
communicate meaning, narrative and, where appropriate, character
◗ Demonstrate the ability to respond to direction given
◗ Demonstrate an in-depth and imaginative understanding of the material including an ability
to reflect on own performance with maturity and to clearly articulate artistic choices
Engagement
◗ Demonstrate performance choices that show evidence of independent interpretation and
with the material
a sense of ownership
◗ Demonstrate a creative and spontaneous response to unseen material
◗ Demonstrate the ability to engage an audience, fully communicating the meaning and Communication
mood of the material with dramatic impact and authority with the audience
◗ Demonstrate the ability to deliver a sustained, coherent and fluent performance
Performance
programme of depth and originality
Distinction ◗ The work presented a complete synthesis of wide-ranging integrated vocal and physical skills
used accurately and creatively to support characterisation and/or narrative. There were clear and
creative choices of interpretation, an imaginative and original connection to the material and a
total sense of ownership. There was a complete sense of personal and emotional investment.
◗ There was a seemingly effortless and assured ability to engage the audience fully, delivering
a secure and accurate performance of spontaneity and authority throughout.
◗ The candidate was able to reflect confidently and with maturity on the work, demonstrating a
comprehensive and insightful understanding of the material.
Merit ◗ The work presented a wide range of integrated vocal and physical skills used accurately and
imaginatively to support characterisation and/or narrative. There were some clear and creative
choices of interpretation and a sense of originality and ownership.
◗ There was an assured, confident ability to engage the audience fully, delivering a secure and
accurate performance with spontaneity and authority most of the time.
◗ The candidate was able to reflect confidently and with some maturity on the work, demonstrating
an in-depth understanding of the material.
Pass ◗ The work presented a wide range of integrated vocal and physical skills used accurately to
support characterisation and/or narrative. There was an imaginative connection to the material,
some clear and original choices of interpretation and some sense of ownership.
◗ There was a confident ability to engage the audience, delivering a secure and accurate
performance with some spontaneity and authority.
◗ The candidate was able to reflect confidently on the work, demonstrating some in-depth
Below Pass ◗ The work, while showing some vocal and physical skills, was not sufficiently integrated and had limited
range. While some interpretive choices were made, there was little sense of originality or ownership.
◗ The programme lacked coherence. There was little evidence of control and/or preparation, limited
ability to communicate and engage fully with the audience and little sense of ownership.
◗ The candidate demonstrated limited knowledge of the material, lacking depth, opinion and
detailed knowledge.
37
Exam guidance
Exam guidance
GENERAL GUIDANCE opportunity to explore emotions, moods and atmosphere
Duration of pieces and performance programmes outside their immediate experience, eg from other periods
or cultures. The material should contain a variety of
When compiling their performance programmes,
expressive vocabulary and meaning, as well as offering
candidates may combine shorter and longer pieces to
some opportunity for interpretative choices.
fit the time allowed. Candidates should ensure that their
performances are of sufficient length to allow them the Grades 4–5
fullest opportunity to demonstrate the skills required. The length and complexity of the material should be
Dress code, costume and staging devices substantial enough to convey some development,
both in terms of authors’ intentions and candidates’
There is no set dress code for Trinity drama exams.
interpretation and performance. The material should
Candidates should wear comfortable clothing that
be sufficiently complex to provide some internal
allows them to move in the appropriate way for their
contrast and range, for example in terms of theme,
chosen pieces. There is no requirement to use costumes.
character, situation or mood, and provide opportunity for
If candidates wish to make use of them, they should
candidates to begin to explore more universal themes,
ensure that their use does not cause the exam to
eg family, survival, peer pressure, justice. The material
overrun. Candidates will not be given additional credit for
should contain a stylistic variety of language and literary
performing with these.
form and include subtleties of vocabulary and meaning
Role gender to provide the opportunity for a variety of approaches
Candidates can perform male or female roles regardless and interpretative choices.
of their gender identification. Grades 6–8
The length and complexity of the material should be
PERFORMANCE TASKS
sufficient to enable variety and range of presentation to
The purpose of these tasks is to encourage candidates be demonstrated and sustained. It should be drawn from
to develop their performance skills alongside building an authors past and present, and from different periods
awareness and understanding of different literary forms. and cultures that provide opportunity for engagement
Candidates develop their skills in being able to: with different genres and styles, contrast of themes,
◗ Memorise and perform material settings, characters and mood. The material should
◗ Adopt and sustain a role enable the candidate to engage with complex emotions,
universal themes and require analysis and reflection in
◗ Understand and interpret a text
the preparation of performance, presenting challenge in
◗ Bring a text to life, integrating physical and vocal skills terms of physical and vocal requirements.
to enhance performance and communicate meaning to
the audience For examples of suitable material at each level,
see Trinity’s online anthology — trinitycollege.com/
Published and unpublished material anthology
Unless otherwise stated, all performance pieces should
Prose and play extracts
be taken from published works (not self-published).
At Grades 7 and 8, the candidates can present a piece Where candidates are required to perform ‘an extract
of unpublished work. This acknowledges the wealth from a play’, at Intermediate (Grades 4–5) and Advanced
of material that is available, often in digital form, that (Grades 6–8) levels this must be a speech/extract from a
may not have been through the traditional peer check/ longer work rather than from a book of speeches, so the
publishing house approval process. This can be a piece candidates can demonstrate understanding of the context
of the candidate’s own writing or from someone else. of the extract in performance and in the discussion.
When selecting a piece, candidates should keep in Editing material
mind that it should present opportunities for different
Extracts may be edited, for example to remove
interpretations, and for displaying the range of vocal
subsidiary characters, but the overarching structure,
and physical skills required at the grade the candidate
sense and dramatic development must remain clear.
is being assessed for.
In solo performances, candidates should avoid playing
Selecting material a single character in a scene in which dramatic
The candidate’s age, level of maturity and capabilities development depends largely on verbal interaction
should be considered carefully when selecting the material. with one or more other characters who remain — in the
context of a solo performance — invisible and inaudible.
Initial–Grade 3 Candidates should not attempt to play multiple
The length and complexity of the material should be characters within a scene unless this is specifically
sufficient to allow candidates to show their ability to related to the style and content of the play.
establish and sustain their performance and interpretation.
The content of the material should offer candidates the
38
Exam guidance
Drama periods Delivery of monologues/play extracts

When we refer to drama periods, we refer to an interval Monologues and extracts from plays should be
of time in the past that is meaningful because of its performed as though on stage, particularly in terms
overall characteristics and context. Therefore, when of focus, sightlines, positioning, movement and
candidates are asked to perform works taken from engagement with an imagined audience.
different periods, they are expected to take a piece
Mime
from a particular period of time that is considered to be
a movement such as Caroline, Realism, Greek Theatre or Mime is an effective way of encouraging students to
Modern Indian. Candidates should familiarise themselves develop their acting skills in terms of body language
with the features of the play that make it characteristic (posture, movements, gestures, etc) and for them
of the period in which it was written, and its context. to gain a greater awareness of its importance as a
form of communication. It tests candidates’ ability to
Colloquial/non-colloquial produce a performance that demonstrates a thoughtful
‘Colloquial’ describes language as it is informally used interpretation, purposeful use of body and space, a
in a person’s contemporary idiomatic everyday speech. sense of spontaneity and conscious awareness of
For instance: ‘Hiya Jenny, how’s it going?’ is an informal audience. Mimes can be delivered in silence or to music/
colloquial greeting, but ‘Hello Jenny, how are you soundscape. Further guidance on mime can be found at
today?’ is more formal, and does not use contractions trinitycollege.com/drama-resources
and idiomatic language.
Additional performers
Material written in a colloquial style will typically be In Speech and Drama and Performing Text exams
written in an informal, natural, conversational style where an additional performer is taking part for specific
and be recognisable as natural speech. Idioms are performance pieces, two video recording options are
always changing, and an idiomatic style of the 1920s available: candidates can perform together in the
using vogue words may well sound out of place, same location (eg a school, studio or public centre);
non-colloquial or ironic used in conversation today, or candidates can use a video-conferencing (VC)
such as ‘Spiffing!’ But a text from the 1920s may application (eg Teams or Zoom), to record themselves
very well use the colloquialisms of its day, which performing together. If using a VC application, check
are of course contemporary to its period. Such a the sound and picture quality for both performers in
text can be considered colloquial even though those advance of recording the exam, to ensure that they are
colloquialisms are no longer current for us. For this of similar level/quality.
reason some scenes in Shakespeare can be considered
colloquial — generally those in prose. Material written For VC recording, It is not necessary for both performers
in a non-colloquial style will typically use some form to attempt to create the perception that they are facing
of heightened or stylised language that is outside each other during the performance. They can instead
the contemporary idiom of its day. All verse drama look at the audience (camera). Both candidates should
is considered to be non-colloquial because there is a ensure that they can be clearly seen by the camera. This
heightening and shaping of style. All drama in blank includes ensuring that each candidate can be seen from
verse — as written by Shakespeare or Marlowe, for head down to at least knee level to enable assessment
instance — is non-colloquial, even though some of of the candidates’ use of body and space to create
the verse may contain colloquial elements. Marlowe’s character and support the narrative.
Tamburlaine and Shakespeare’s dramatic blank verse The VC format Zoom focuses equally on both candidates
can be considered non-colloquial. So is modern verse for the duration of the performance. Therefore, both
drama, such as T S Eliot’s Murder in the Cathedral. It is candidates need to be actively engaged throughout the
important to note that, in asking students to perform piece; being clearly attentive, listening and responding
an extract written in a colloquial style, the aim is to to the offer from the other candidate and ensure
encourage their development of their acting skills by
performance energy has a physical root as well as vocal.
working on material which does not present overly
Think carefully about the staging of the piece and where
demanding linguistic or contextual challenges, dealing
possible choose scenes that can be adapted to a VC format,
with situations, feelings and characters that have a
eg scenes that don’t require a lot of physical interaction.
sense of familiarity and contemporary relevance.
For examples of non-colloquial work, go to trinitycollege. Continuous programmes
com/drama-resources Grade 8
Delivery of poetry/verse Candidates at this advanced level are putting together
a programme of pieces, and so effectively creating
A number of styles may be adopted for the effective
ONE performance comprised of different components.
delivery of poetry and verse and there are no set rules.
The way in which the pieces are linked is entirely up to
The delivery is both a vocal and a physical engagement
the candidates. For example, a few sentences of original
with an imagined audience. The performance may
text might be used to address any linked themes of the
be enhanced by some relaxed and contained body
pieces chosen, or the characters’ connections in some
movement, gesture and facial expression that stem
way. Any stage business should be included in this
organically from the context.
39
Exam guidance
linking. Alternatively, the candidates could remain ‘in Candidates should avoid:
character’ throughout the performance and link each ◗ Rehearsing, polishing and fixing the reading
piece with a continuous monologue, in character. We are
◗ Being concerned over ‘mistakes’ or the piece taking a
inviting candidates to think more imaginatively than ‘and
new path during the recording
for my next piece’ and to think about the performance
as a whole, sustaining their performance throughout. ◗ Reading from phones or other electronic devises that
Please note any linking material will not be marked by may hinder their delivery
the examiner.
HOW TO PREPARE FOR THIS TASK
KEY SKILLS TASKS When preparing for this task at Grades 2 and 3, the
TASK: READ AT SIGHT A PASSAGE candidate should practise selecting and reading sections
Speech and Drama 2017 & 2020 Grade 2–6 of text at random and quickly connecting with that
moment in the plot. They should have a sense of how
Performing Text 2017 Initial, Grades 2–6
the characters and the environment being created
TASK OBJECTIVE within the text can be lifted from the page to engage
The objective of the task is for the candidate to the audience vocally, as well as with eye contact.
demonstrate their ability to engage with, and develop At higher grades, the candidate should approach the
a creative response to, time-bound stimulus material. task methodically, reading through the piece to gain
The task encourages the candidate to begin developing a sense of the style and punctuation as it will provide
their skills in approaching a text for the first time, to guidance on the delivery. Ask: What is happening in
connect with it and bring the language to life. At higher the piece? What is the message/theme? Are there any
grades, the aim of this task is to provide the candidate changes in tone that could be acknowledged vocally?
with the opportunity to progress the skill of reading Remember to look up from the page while reading to
at sight begun at Grades 2 and 3. During the task, the open the performance to the audience.
candidate demonstrates their ability and confidence in Examples of sight-reading pieces are at
being able to connect quickly with text, structure and trinitycollege.com/digital-drama-grades
language. The examiner looks for a developing sense
of vocal and physical ease, along with a capability to TASK: INVENTS AND TELLS A STORY BASED ON A
involve the listener by bringing the writing alive through PICTURE OR A GROUP OF WORDS
recitation In the assessment, examiners are looking for Speech and Drama 2017 & 2020 Grades 2–6
evidence of: fluency, comprehension and confidence;
response to the style of writing and, at higher grades, TASK OBJECTIVE
choices of interpretation; an ability to communicate The objective of the task is for the candidate to
character, sense of place and mood; and engagement demonstrate their ability to engage with, and develop
with the audience. a creative response to, time-bound stimulus material.
WHAT THE CANDIDATE NEEDS TO DO It provides the candidate with an opportunity to
demonstrate their imagination and creativity in
To prepare for this task, the candidate should go to basic storytelling skills. The format of the task allows
trinitycollege.com/key-skills-tasks-grades and download the candidate to freely explore a text without the
the sight-reading passage for their grade and then constraints of working from memory and supports
prepare their response. The sight-reading passage is engagement with material that is led by their own
changed every two weeks. During the two-week validity original response.
period of the stimulus the candidate must do the
following: access the sight-reading stimulus; use that In the assessment, examiners are looking for evidence
stimulus for this task; film their performance; upload of: a story that is creative and imaginative and that is
the video of their whole exam for assessment. The presented with a sense of ownership; appropriateness
candidate should begin the task by stating the title of to age and culture; a sense of ease, performance and
the piece they will be reading. confidence; elements of instinctiveness and originality.
Candidates should: WHAT THE CANDIDATE NEEDS TO DO

◗ Allow skills gained in practice to guide their work Story-telling is used to explore and discover new ideas
rather than trying to recreate a rehearsed reading related to the given stimulus, therefore preparation
◗ Be encouraged to explore the text and find new ideas should involve plenty of spontaneous work, securing the
during the recording of their submission techniques and skills involved for the tasks.
◗ Engage with a sense of ‘performing to the room’, or to To prepare for this task, the candidate should go to
an imagined audience, rather than to the camera alone trinitycollege.com/key-skills-tasks-grades and download
the picture or group of words for their grade and then
prepare their story. The storytelling stimulus is changed
every two weeks. During the two-week validity period of
the stimulus the candidate must do the following: access
40
Exam guidance
the picture/group of words; use that stimulus for this Grade 7

task; film their performance; upload the video of their Ability to respond with accurate and thoughtful answers
whole exam for assessment. that have not just been learnt in relation to the text; ability
The candidate should begin the task by reading out the to speak with ownership; learning, clarity and freedom.
words or showing to the camera/describing the picture Grade 8
they used as the stimulus for the story.
As Grade 7 with the addition of: ability to give
Candidates should: demonstrations that show a sense of ease, openness
◗ Allow skills gained in practice to guide their work and progression; an engagement of thoughts and ideas
rather than trying to remember a rehearsed scenario shown in an unconstrained manner.
◗ Be encouraged to explore the stimulus and find new
WHAT THE CANDIDATE NEEDS TO DO
ideas during the recording of their submission
To prepare for this task, the candidate should go to
◗ Challenge themselves to work in the live moment and
trinitycollege.com/key-skills-tasks-grades and download
embrace the element of surprise as they creatively
the text for their grade and then prepare their response.
explore the material
The format of response varies depending on the grade
Candidates should avoid: (see below for further details). The candidate may
◗ The need to polish or fix a final piece for assessment. have notes with them in the exam to refer to. The text
◗ Being concerned over ‘mistakes’ or the piece taking a stimulus is changed every two weeks. During the two-
new path during the actual filming week validity period of the stimulus the candidate must
do the following: access the text; use that stimulus for
HOW TO PREPARE FOR THIS TASK this task; film their performance; upload the video of
When preparing for the picture task, teachers should their whole exam for assessment. The candidate should
encourage their students to use their imagination and begin the task by stating the title of the piece they will
improvisational skills, engaging with the thoughts, be reading.
situation or environment depicted in a picture. Find Candidates should:
pictures to practise with and develop confidence in the
ability to quickly invent a story/situation related to the ◗ Maintain a rapport and sense of addressing an
image. There should be structure to the story and a audience throughout.
sense of engagement with the audience throughout. Candidate should avoid:
When using a group of words to create a story, practise ◗ Reading responses from full written notes. Any notes
creating scenarios within a time constraint. Play with should only be written in the form of key words or
different approaches, always being fully aware of phrases and may be used as prompts.
performance skills, engagement with the words and
Grade 7
the audience. Think about structure: How will you start
your story? Is there an interesting ‘hook’ to bring your The candidate discusses how a piece of unseen text
audience into the narrative? What is the point to your (prose or poetry) can be realised for performance in
story? What do you want your audience to get out of it? relation to the following set questions.
And, of course, how will you end your story? Both questions 1 and 2 should be addressed in the
Examples of pictures and word groups for storytelling response, and the total time for the task should not exceed
are at trinitycollege.com/digital-drama-grades 4 minutes. Candidates can sit or stand for their response.
1. T
alk about your first impressions of this text.
TASK: DISCUSS/WORK ON AN UNSEEN TEXT
Speech and Drama 2020 Grades 7–8
Suggested topics to cover in the response to this
TASK OBJECTIVE question are below.
The objective of the task is for the candidate to
These topics are a guide — the examiner will be looking
demonstrate their ability to engage with, and develop
for a personal response with spontaneity rather than a
a creative response to, time-bound stimulus material.
researched and rehearsed speech.
It provides the candidate with an opportunity to
demonstrate their skill of analysing a text, and their ◗ What do you think the text is about?
understanding of the challenges involved with bringing ◗ What words or phrases stood out on first reading —
the piece to life for performance. Through this, the why do you think that was?
candidate can develop a connection with language and
structure, and competence in being able to articulate ◗ How would you describe the style and mood?
an understanding of various styles of writing. In the ◗ How has the writer involved the listener or audience
assessment, examiners are looking for evidence of: in the piece (eg language, rhythm, repetition, stage
directions, dramatic tension)?
41
Exam guidance
2. Talk about what you could do in performance to REFLECTION TASK

engage an audience in the text. How would you The candidate reflects on the performances they have
use your voice or body to support this? Give at just given, giving impromptu responses to set questions.
least two examples. The questions are listed on pages 43–45.
Grade 8 TASK OBJECTIVE
The candidate works on a piece of unseen text (prose, In all solo exams, candidates are given the opportunity
to demonstrate knowledge and understanding of their
poetry or a speech) realising it for performance in
performed pieces and relevant aspects of performance
relation to the following set instructions. In this task
skills. The objective of the reflection task is to explore
the candidate is required to discuss the text in relation
candidates’ understanding of the pieces they have
to the two questions below. They should illustrate their
performed and, where appropriate, to encourage them
discussion by performing at least two extracts from the
to articulate their thoughts in such areas as meaning,
text, standing and moving as the performance requires. context and character development. At higher levels,
1. T
alk about your first impressions of this text. this could also include performance techniques, the
(maximum time: 2 minutes) processes of rehearsal, and their journey from choosing
the material to their performance in the exam.
Suggested topics to cover in the response to this
question are below. In the assessment, examiners are looking for evidence
of: understanding of and accuracy on the given subjects/
These topics are a guide — the examiner will be looking
pieces/skills; ability to speak with confidence and, at
for a personal response with spontaneity rather than a
higher grades ability to speak with authority, assurance
researched speech.
and depth; and evidence of a natural thought process
◗ What is the main message in the text? rather than a prepared speech.
◗ What do you notice about the language and style?
WHAT THE CANDIDATE NEEDS TO DO
◗ What does the writer reveal about either themselves
The questions the candidate should respond to are
(poem) or the plot (prose) or the character (speech)?
listed below (pages 43–45). The candidate can use
◗ Who do you think was the intended audience? notes to refer to during their response. However,
◗ How has the writer involved the listener or audience this is not a performance — the candidate should not
in the piece (eg language, rhythm, repetition, stage memorise, or have a scripted, word-for-word response
directions, dramatic tension)? to the questions. Any use of notes should support an
immediate and reflective response to the performances
2. Choose a section of the text that you consider to be they have just given.
the most significant. Explain why you have made your
selection and demonstrate how you could engage an Once the candidate has completed their performances
audience using voice, body and space. and any key skills tasks, they should move straight on to
(maximum time: 2 minutes) the reflective response. For Initial to Grade 3, a teacher
or care-giver can ask the candidate the questions during
HOW TO PREPARE FOR THIS TASK the recording to facilitate a response. The teacher
or care-giver can provide one prompt per question if
When preparing for this task teachers should
necessary, eg to re-word the question if a clarification is
encourage their students to explore a range of writing.
needed or to encourage a response. The objective of the
Practise analysing the piece in a methodical way.
task is for the candidate to have a thoughtful response
Consider the following:
to their performance work, as well as demonstrating
◗ What is the title of the piece? — this will offer insight insights and understanding of the material they have
into the message/themes. just performed.
◗ How has the piece been structured? The candidate should aim to talk about two or more
◗ For poetry, what are the challenges presented by the of their performed pieces rather than focusing on one
structure and rhythm of the piece? piece only.
◗ For prose, does it include character dialogue? Candidates should begin each section by reading out
◗ From what point of view is the piece presented, eg is it the question they are about to respond to. Guide times
written in the first person? are provided for the responses and candidates can use a
clock to assist in keeping to time.
◗ What is the mood and tone of the piece?
Candidates should:
◗ Where are the significant words and phrases?
◗ Approach the reflection as a one-to-one conversation
Being able to engage with and articulate ideas, and offer with somebody who has just watched their work, this
thoughts, are all elements that are assessed in this task. should be relaxed and spontaneous and addressed to
Examples of unseen texts are at trinitycollege.com/ the camera
digital-drama-grades
42
Exam guidance
◗ Remember this is an opportunity to express their Grade 2

acquired knowledge and understanding of their (Total time for the task: a minimum of 3 and a maximum
chosen pieces and should be an authentically of 4 minutes)
personal reflection
Guide length of response for each question is
Candidates should avoid: 40 seconds to 1 minute. While responses might vary in
◗ Reading responses from a written script — short-form length, the candidate should aim to make full use of the
notes, with key words or phrases, can be used but total time allocated for the task.
reading throughout from a page or other device will The candidate (or teacher/care-giver) chooses TWO
limit a candidate’s ability to engage with the task or THREE of the following questions to respond to.
◗ Rehearsing and memorising a pre-written reflection The teacher or care-giver can ask the candidate the
— this will hinder a candidate’s ability to reflect on questions on camera to facilitate the response if preferred:
the performance they have just given and limit their 1. W
hat did you enjoy about the performances you have
ability to engage with the task just given and the pieces/items you chose?
2. How were the characters or performed pieces
SET QUESTIONS
different from each other? How did you show that
Initial to the audience?
(Total time for the task: a minimum of 3 and a maximum 3. Choose one of your performed pieces and talk about
of 4 minutes) what makes the story or subject matter interesting
to you.
40 seconds to 1 minute. While responses might vary in 4. How did you show the audience what your character
length, the candidate should aim to make full use of the felt when you were performing?
total time allocated for the task. 5. Which piece did you have to practise the most
and why?
The candidate (or teacher/care-giver) chooses TWO
or THREE of the following questions to respond to. Grade 3
The teacher or care-giver can ask the candidate the (Total time for the task: a minimum of 3 and a maximum
questions on camera to facilitate the response if preferred: of 4 minutes)
1. W
hat did you enjoy about the performances you have
just given?
40 seconds to 1 minute.
2. What did you decide was the most important moment
in either your task 1 or task 2 performance? The candidate (or teacher/care-giver) chooses TWO
or THREE of the following questions to respond to.
3. Choose one of your performances and talk about what
The teacher or care-giver can ask the candidate
happened in the story or to the character.
the questions on camera to facilitate the response
4. What piece did you have to practise most? Why? if preferred:
Grade 1 1. H
ow do you feel your performances went?
(Total time for the task: a minimum of 3 and a maximum What were you most pleased with?
of 4 minutes) 2. Choose one of your pieces and talk about how the
character’s or narrator’s feelings changed.
40 seconds to 1 minute. While responses might vary in 3. Choose one of your pieces and explain what makes
length, the candidate should aim to make full use of the the story or subject matter interesting to you.
total time allocated for the task. 4. Describe the imaginary surroundings in one
of your pieces.
While responses might vary in length, the candidate
should aim to make full use of the total time allocated 5. What did you consider to be the funniest or most
for the task. dramatic moment in your pieces? What vocal
or physical skills did you use to show that to the
The candidate (or teacher/care-giver) chooses TWO audience?
or THREE of the following questions to respond to.
6. How were your performances different from each other?
The teacher or care-giver can ask the candidate
How did you show that to your imagined audience?
the questions on camera to facilitate the response
if preferred: Grade 4
1. W
hat did you enjoy about the performances you have (Total time for the task: 4 minutes)
just given? Guide length of response for each question is
2. Choose one of your performances and talk about 50 seconds to 1 minute 15 seconds. While responses
what happened in the story or to the character. Did might vary in length, the candidate should aim to make
anything change? full use of the total time allocated for the task.
3. What piece did you have to practise the most? Why? The candidate chooses THREE or FOUR of the following
4. How did you show the audience what your character questions to respond to:
felt when you were performing? 43
Exam guidance
1. How do you feel your performances went? Grade 6

2. Choose one of your pieces and talk about how the (Total time for the task: 5 minutes)
character’s or narrator’s feelings changed.
3. Describe the imaginary surroundings in one of 1 minute 15 seconds. While responses might vary in
your pieces. length, the candidate should aim to make full use of the
4. Talk about how the skills you worked on preparing for total time allocated for the task.
today helped your performance.
The candidate chooses FOUR of the following questions
5. What did you consider to be the funniest or to respond to:
most dramatic moment in your pieces? What
1. W
hich of the performed pieces/demonstrations did
vocal or physical skills did you use to show that
you find the most challenging and why?
to the audience?
2. How did you use your voice and/or body to show
6. How were your performances different from
the contrasting styles in your performance to
each other? How did you show that to your
the audience?
imagined audience?
3. Choose one of your extracts. How does it fit in to the
Grade 5 overall story/plot arc of the piece?
(Total time for the task: 4 minutes) 4. How did you decide on your staging for one of your
Guide length of response for each question is performed pieces? What other options did you try?
50 seconds to 1 minute 15 seconds. While responses 5. What new skills have you learned in your preparation
might vary in length, the candidate should aim to make for today, and how did you apply them in your
full use of the total time allocated for the task. performance?
The candidate chooses THREE or FOUR of the following 6. Talk about the ways in which you can take
questions to respond to: responsibility for a safe and effective performance.
1. H
ow successful do you think your performances Grade 7
were? What went well? (Total time for the task: minimum of 5 and a maximum
2. How did the writing or musical style and language/ of 6 minutes)
lyrics help you to create your characters?
3. How did you employ your voice or body to show 1 minute 15 seconds to 1 minute 30 seconds. While
key moments or dramatic development in one of responses might vary in length, the candidate should
your pieces? aim to make full use of the total time allocated for the
4. What happens either before or after one of the task. The candidate chooses FOUR of the following
extracts from a piece you performed? questions to respond to:
5. How did the skills that you worked on for your 1. T
alk about the contrasts in the writer’s/composer’s
performances affect your understanding of either a approach to communicating with an audience.
performed piece or stagecraft in general?
2. What choices did you make about the character’s
6. Talk about the environment you imagined for one motivation in one of your performed pieces?
of your pieces and how that influenced your staging
3. Were there any challenges in combining vocal and
choices during your preparation.
physical techniques to realise the style/genre in any
of the pieces you performed today? How did you work
on them in rehearsal?
4. How does the extract you performed in one of the
pieces fit in to the overall story/plot arc?
5. What skills have you developed most in preparation for
today? How did you apply them in your performance?
6. Talk about the process of staging your pieces,
your imagined surroundings and how you made
your decisions.
44
Exam guidance
Grade 8
(Total time for the task: a minimum of 6 and a maximum
of 7 minutes)
1 minute 30 seconds to 1 minute 45 seconds. While
responses might vary in length, the candidate should
aim to make full use of the total time allocated for the task.
The candidate chooses FOUR of the following questions
to respond to:
1. T
alk about how you chose your pieces for today’s
performance, and how you balanced the contrasts in
mood and style.
2. How did your understanding of the writer, composer or
genre influence your interpretation and performance?
3. How does the extract you performed in one of the
pieces fit in to the overall story/plot arc of the piece?
4. What have you learned about your own strengths
and limitations during your preparation for today’s
performance?
5. How have you developed your physical and vocal skills
during the preparation for today’s performance?
6. How did you prepare yourself physically and
emotionally for your performance programme today?
What are the key points that you have learned to help
you sustain a performance?
45
Health and Safety
Health and Safety

Candidates should have a knowledge of basic health FACILITIES
and safety. This includes but is not limited to the following: ◗ Stage floors, rehearsal spaces, studios, etc should be
VOICE AND BODY kept clear, dry, and free from splinters and nails, and all
◗ Ensure that the body and voice are properly warmed performers should be made familiar with the layout of
up before performance. any set and/or furniture.
◗ Performers should not undertake anything that is ◗ All passageways should be clear and clean, with all
beyond their physical or vocal capabilities. cables marked or covered and taped. All backstage
areas and passageways should be lit adequately.
COSTUMES, MAKE-UP, PROPS ◗ All possible steps should be taken to keep temperatures
reasonably cool in hot weather and reasonably warm
◗ Any costumes should be tailored to the age and size
in cold weather and to ensure draughts are kept to a
of the performer and should not hinder movement
minimum. Rest and rehearsal areas should be at an
unreasonably. All costumes should be either flame
acceptable ambient temperature.
resistant or treated with a flame retardant.
◗ Routes from backstage to the stage or set should be
◗ Attention should be paid to hygiene issues when using
rehearsed so that performers know the safe route
make-up, for example by cleaning applicators. Make
and are aware of any technical obstacles, areas of
sure any make-up artist or designer is aware of any
reduced lighting and masking (curtains, boards, flats,
allergy/skin conditions the performer has and, when
etc). Performers should take note of any changes in the
performers apply their own make-up, the performer
set including changes to the floor surface and to the
should check the ingredients of the products.
location of electric cables.
◗ The age, size and physical fitness of the individual
should be taken into account when hand props are FIRE
constructed and used. Props should be checked for
◗ Fire drills should be routinely scheduled, especially
rough edges, chips, loose material or other potential
when someone is new to the environment.
hazards before being used in order to prevent injury.
◗ Performers should ensure they know the emergency
◗ Performers should be given detailed handling
drills, escape routes and assembly points.
instructions about the props and given time to
familiarise themselves with their use.
◗ Weapons should only be given to performers once it
has been determined that they are knowledgeable in
their safe and proper use. Whenever weapons are to be
used in a performance, the scene should be carefully
choreographed in order to minimise risks.
◗ The storage and use of weapons must fully comply
with safety and police regulations.
46
General guidance and policies
General guidance and policies

SAFEGUARDING AND CHILD PROTECTION EXAM INFRINGEMENTS
Trinity is fully committed to safeguarding and protecting All exam infringements will be referred directly to
the candidates that we work with. All posts, including Trinity’s central office by the examiner. Exam reports
examiners, are subject to a safer recruitment process, may be withheld until the outcome of any referral has
including the disclosure of criminal records and vetting been considered by Trinity. Depending on the severity of
checks. Our safeguarding policies and procedures are the infringement, marks may be deducted or, in extreme
regularly reviewed and promote safeguarding and safer cases, the exam may be invalidated.
working practice across all parts of our work.
MALPRACTICE
EQUAL OPPORTUNITIES Trinity requires its registered exam centres to report
Trinity is committed to providing equality of opportunity any suspected malpractice by candidates, teachers or
and treatment for all, and will not unlawfully or unfairly examiners. In situations where a centre is found to be
discriminate directly or indirectly on the basis of any inadequate or to be guilty of malpractice, either in terms
characteristic. of provision of facilities or in administration, the exam
centre may be required to suspend all of its activities
REASONABLE ADJUSTMENT relating to Trinity exams until the cause of the problem
Trinity is committed to creating an inclusive is identified and rectified, if appropriate. In extreme
environment where candidates with special needs are circumstances, the centre may have its registered centre
able to demonstrate their skills and feel welcomed. We status withdrawn.
aim to make our exams accessible to all. We treat each In the very rare cases or circumstances where a centre
candidate individually when considering how we can or individual may be suspected of malpractice, Trinity
achieve this aim, recognising that requirements vary. will aim to minimise any inconvenience caused to any
Candidates can be assured that we do not compromise affected candidate, and would like to thank candidates,
on the standard of marking or allow the quality of teachers and centre staff for their kind co-operation in
exams to be affected in any way. reporting any suspected incident of cheating, thereby
All provision is tailored to the particular needs of each assisting Trinity in upholding the quality and integrity
candidate. In order to be most beneficial, as full an of its exam process.
explanation as possible of the required provision should
be given. The need and request for provision should be RESULTS REVIEW AND APPEALS PROCEDURE
made on the appropriate form available to download Anyone who wishes to question their exam result should
from trinitycollege.com/drama-csn. For enquiries please refer to trinitycollege.com/results-enquiry for full
contact drama-csn@trinitycollege.com details of our results review and appeals process.
DATA PROTECTION CERTIFICATE OF SPECIAL MERIT

Trinity is registered as a Data Controller with the Candidates who have passed Grades 1–8 solo and/or
Information Commissioner’s Office in the United pair exams either in a single subject strand (eg Speech
Kingdom under data protection legislation. Please and Drama) or any combination from the following
see trinitycollege.com/data-protection for the most qualification suites: Acting, Speech and Drama,
up-to-date information about Trinity’s data protection Performance Arts, Musical Theatre, Communication
procedures and policies. Skills, can apply for a Certificate of Special Merit. Those
who have achieved a Distinction at every grade will have
CUSTOMER SERVICE the words ‘with Distinction’ added to their Certificate of
Trinity is committed to providing a high-quality Special Merit.
service for all our users from initial enquiry through To apply for a Certificate of Special Merit, please contact
to certification. Full details of our customer service drama@trinitycollege.com
commitment can be found at trinitycollege.com/
customer-service
47
Summary of process and details of how to submit your exam for assessment
Summary of process and details of how to

submit your exam for assessment
SUMMARY OF PROCESS
1. Prepare your performance pieces.
2. For key skills tasks that require stimulus material, eg storytelling/sight-reading, the stimulus must be accessed
from the website. The stimulus material is changed every two weeks. During the two-week validity period of the
stimulus the candidate must do the following: access the word required stimulus; use that stimulus for this task;
film their performance; upload the video of their whole exam for assessment. Further details about the key skills
tasks are on are on pages 40–42.
3. Ensure you have made a note of the questions required for the reflection task. Further information about the
reflection task is on pages 42–44.
4. Film your performance of the pieces and your response to the key skills tasks and reflection tasks in one
continuous take. Filming guidelines can be found at trinitycollege.com/drama-filming-guidance
5. Upload your complete exam, including the supporting files (see below for more information).
DETAILS OF HOW TO SUBMIT YOUR EXAM FOR ASSESSMENT

Please read the following closely before you make your submission to our online platform via trinitycollege.com/
digital-drama-grades:
◗ Full details of how to film your performance, what should be in shot and how to upload your files can be found at
trinitycollege.com/digital-drama-grades
◗ You can be given assistance to film your exam and another person can be present to operate your backing tracks
(if applicable).
◗ Play back your video to ensure that the sound and visual quality is sufficient for an examiner to mark it.
◗ Ensure your video is one continuous recording of all your performance pieces, key skills tasks and your reflective
response from start to finish, and you have not edited this into different sections or paused or stopped the video
at any point. Only submit one take of your complete exam.
◗ Audio and video must be recorded simultaneously and no pre- or post-production techniques should be applied.
◗ Your files should be labelled with your name, subject, grade and edition of the syllabus (eg 2017), for example:
ForenameSurname_Speech&Drama_Grade4_2017.
◗ Do not delete your exam video until you have received your feedback and certificate, just in case there are any
technical issues and you are required to resubmit.
◗ You may not enter the same performance video for the same exam more than once, unless Trinity requires you
to resubmit your video.
◗ You may not share your performance video on social media, or use it for any other exam entries, either with
Trinity College London or any other exam board.
WHAT TO UPLOAD WITH YOUR DRAMA EXAM VIDEO

Candidates are required to upload the following information with the video of their exam — please note
that your performances cannot be marked without this information.
The submission form (available at trinitycollege.com/digital-drama-grades) which provides details of:
◗ The exam that is being entered for
◗ The candidate’s name for their exam
◗ A list of the pieces being performed in order of performance and the name of the author/composer
◗ The key skills task stimulus (where relevant)
In addition to the submission form, candidates are required to upload:
◗ The text of the performed pieces set out in the published format and lineation — the script should also show
where any edits have been made
◗ The script of any devised pieces
48
Speech and Drama and Performing Text resources
Speech and Drama and Performing Text resources

A wide range of resources to support teaching and learning is available at trinitycollege.com/drama-resources
Digital resources are available to support teaching and learning, including advice and content on:
◗ Preparing for your exam
◗ Performance technique
◗ Choosing performance pieces
Trinity also provides a free online anthology at trinitycollege.com/anthology, which offers a diverse and
international range of example pieces, giving teachers and candidates the structure and inspiration needed to
build performance programmes.
For further help you can contact the drama support team at Trinity’s central office at drama@trinitycollege.com,
or find the contact details of your local representative at trinitycollege.com/worldwide
Facebook Twitter YouTube

/TrinityCollegeLondon @TrinityC_L /TrinityVideoChannel
49

Digital Grades - Speech and Drama and Performing Text Syllabus Specifications

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DIGITAL GRADES:

SPEECH AND DRAMA

Charity number England & Wales | 1014792

ABOUT TRINITY COLLEGE LONDON

ABOUT THESE SYLLABUS SPECIFICATIONS

Trinity’s digital graded Speech and Drama

Employability and learning skills

SKILLS MEANING HOW TRINITY SPEECH AND DRAMA AND

Recognition and progression route

Grade 7 Grade 5: TCL Level 2 Certificate in Graded

The maximum time allowed for each exam task is

Grade 2: TCL Level 1 Award in Graded

Grade 3: TCL Level 1 Award in Graded

Grade 4: TCL Level 2 Certificate in Graded

Grade 5: TCL Level 2 Certificate in Graded

Grade 6: TCL Level 3 Certificate in Graded

Grade 7: TCL Level 3 Certificate in Graded

Grade 8: TCL Level 3 Certificate in Graded

DURATION OF STUDY (TOTAL QUALIFICATION TIME)

Grade 4 24 106 130

Grade 5 24 126 150

Grade 6 30 140 170

Grade 7 30 160 190

Grade 8 48 202 250

QUALIFICATION ACHIEVEMENT LEVELS WHERE THE QUALIFICATIONS COULD LEAD

* Regulated Qualifications Framework

Learning outcomes and assessment criteria:

INITIAL (RQF Entry Level 3)

2. Respond appropriately to the content 2.1 D

GRADES 1–3 (RQF Level 1)

GRADES 4–5 (RQF Level 2)

GRADES 6–8 (RQF Entry Level 3)

Exam requirements: Speech and Drama | 2017 syllabus

INITIAL MAXIMUM MAXIMUM

GRADE 1 MAXIMUM MAXIMUM

4. Gives an impromptu response to set questions, reflecting on the meaning of the

GRADE 2 MAXIMUM MAXIMUM

4. EITHER reads at sight a passage of prose. The prose passage to be used is

Exam requirements: Speech and Drama | 2017 syllabus

GRADE 3 MAXIMUM MAXIMUM

2. Performs a poem from memory. 20 Task 1–3

4. EITHER reads at sight a passage of prose. The prose passage to be used is

5. Gives an impromptu response to set questions, reflecting on the meaning and

GRADE 4 MAXIMUM MAXIMUM

4. EITHER reads at sight a passage of prose. The prose passage to be used is

5. Gives an impromptu response to set questions, reflecting on the meaning

Exam requirements: Speech and Drama | 2017 syllabus

GRADE 5 MAXIMUM MAXIMUM

4. EITHER reads at sight a passage of prose. The prose passage to be used is

5. Gives an impromptu response to set questions, reflecting on the meaning and

GRADE 6 MAXIMUM MAXIMUM

Exam requirements: Speech and Drama | 2017 syllabus

GRADE 7 MAXIMUM MAXIMUM

GRADE 8 MAXIMUM MAXIMUM

Exam requirements: Performing Text | 2017 syllabus

INITIAL MAXIMUM MAXIMUM

GRADE 1 MAXIMUM MAXIMUM

GRADE 2 MAXIMUM MAXIMUM

4. Gives an impromptu response to set questions, reflecting on the meaning and

Exam requirements: Performing Text | 2017 syllabus

GRADE 3 MAXIMUM MAXIMUM

5. Gives an impromptu response to set questions, reflecting on the meaning and

GRADE 4 MAXIMUM MAXIMUM

5. Gives an impromptu response to set questions, reflecting on the meaning and

* Regulated Qualifications Framework

2. Respond appropriately to the content 2.1 D

4. Gives an impromptu response to set questions, reflecting on the meaning of the

4. EITHER reads at sight a passage of prose. The prose passage to be used is

4. EITHER reads at sight a passage of prose. The prose passage to be used is

5. Gives an impromptu response to set questions, reflecting on the meaning and

4. EITHER reads at sight a passage of prose. The prose passage to be used is

5. Gives an impromptu response to set questions, reflecting on the meaning

4. EITHER reads at sight a passage of prose. The prose passage to be used is

5. Gives an impromptu response to set questions, reflecting on the meaning and

4. Gives an impromptu response to set questions, reflecting on the meaning and

5. Gives an impromptu response to set questions, reflecting on the meaning and

5. Gives an impromptu response to set questions, reflecting on the meaning and

5. Gives an impromptu response to set questions, reflecting on the meaning and

5. Gives an impromptu response to set questions, reflecting on the meaning and

2. Gives an impromptu response to set questions, reflecting on the selection,

2. Talk about what you could do in performance to REFLECTION TASK

1. How do you feel your performances went? Grade 6