GCE TEACHER GUIDANCE
LL3 Internal Assessment
LL3 Analysing and Producing Performance Texts
Updated March 2010
We are grateful to the centres which provided us with the examples of
students’ work which appear in this booklet as work-in-progress responses to
the new LL3 internal assessment unit.
This document has been updated and replaces previously published LL3 unit
Guidance. It has been compiled from material previously published in the Teacher
Guide, material distributed at INSET and from examples of students’ work.
Notable additions to this guide are:
•
•
•
Candidate 2 trialled response for LL3A (pages 10-13)
Principal Moderator comments on Candidate 2’s response (page 14)
Guidance on low, mid and high band marks in the section assessment grids
(pages 5 and 20)
Key Information
The focus of this coursework unit is on texts produced for performance. It encourages the
development of extended formal essay-writing skills, independent research and creative
writing linked to performance.
Requirements:
Candidates are required to produce a folder of work divided into two sections. For Section A
they will study two dramatic texts, one of which must be Shakespeare, and for Section B
they will write two original performance texts and evaluate one of them. The folder of work
for this unit, as for LL2, should be approximately 3000 words.
Reminder!
Centres must nominate for approval both texts to be studied for LL3 Section A:
Dramatic texts in context:
•
•
one play by Shakespeare selected for detailed study;
one play/performance text by another dramatist/writer.
The texts must be nominated to WJEC by the end of December 2009 by emailing
this nomination form LL3 Nomination of texts for approval 2010.doc by
attachment to [email protected]
Section A: Dramatic texts in context - 40 marks
Relevant assessment objectives: AO1, AO2, AO3
1500 words approximately
The Shakespeare text selected should be the focus of students’ detailed study, as this
should be regarded as the ‘core’ text. The second drama/performance text can be by any
author other than Shakespeare, and from any time period. It can also be a screenplay/play
script for a film/play that has already been produced/performed. This text should be regarded
as the ‘partner’ text, and so the study of this text will be broader in focus and should
illuminate the Shakespeare study. To reiterate, essays should deal with the nominated
texts in terms of a two thirds/one third split in favour of the Shakespeare.
It is important to remember that AO3 is double weighted in this unit:
AO3: use integrated approaches to explore relationships between texts, analysing
and evaluating the significance of contextual factors in their production and reception
Therefore the choice of partner drama text should be carefully considered regarding what it
can offer the student in terms of exploring relationships between texts and considering
contextual factors.
Addressing the Assessment Objectives in LL3 Section A
The weighting of the relevant assessment objectives is reflected in the notional distribution
of marks out of a total of 40 as follows:
AO1: 10 marks AO2: 10 marks AO3: 20 marks
Teachers should use the LL3 Section A Assessment Grid to try to find the ‘best fit’ for
assessment, and should give an holistic mark to cover all three objectives.
Teaching approaches for this section:
(a) Teachers choose the core Shakespeare play for class study and encourage students to
choose the partner performance text;
Or,
(b) Teachers choose both texts;
Or,
(c) Students choose both texts themselves for independent study and research.
The spirit of the new specification encourages independence wherever possible, and
creative engagement with integrated study of texts will be most apparent where students
have been given opportunities for independent study. In cases where this might be difficult to
achieve, centres should endeavour to provide sufficient variety in tasks to allow for individual
choices.
To enable students to succeed on this section, they need to:
Section A
•
•
•
•
•
•
Formulate their assignment title carefully
Have a clear focus which will demonstrate knowledge of Shakespeare plus
partner text as a performance text
Show full awareness of the context but avoid a purely sociological/contextual
essay; or an essay which would be better suited to a drama or film studies
course
Concentrate on the Shakespeare text as the core text and use the partner
text to illuminate understanding
Ensure that integrated literary and linguistic approaches are used
Meet the requirement to use integrated approaches to explore relationships
between texts, analysing and evaluating the significance of contextual factors
in their production and reception
•
Demonstrate a full repertoire of linguistic and literary terminology
A2 ENGLISH LANGUAGE & LITERATURE
Band
Marks
1
0-10
Low
0-4
Mid
5-6
High
7-10
2
11-20
Low
11-14
Mid
15-16
High
17-20
3
21-30
Low
21-24
Mid
25-26
High
27-30
4
31-40
Low
31-34
Mid
35-36
High
37-40
LL3 Section A Assessment Grid
A01
Select and apply relevant concepts and
approaches from integrated linguistic and
literary study, using appropriate terminology
and accurate, coherent written expression.
A02
Demonstrate detailed critical
understanding in analysing the ways in
which structure, form and language
shape meanings in a range of spoken
and written texts.
Weighting: 10 marks
Limited awareness of how some of the most
obvious choices in form, structure and
vocabulary create basic meanings. Some
difficulty in understanding meaning in texts.
AO3
Use integrated approaches to explore
relationships between texts, analysing
and evaluating the significance of
contextual factors in their production
and reception.
Weighting: 20 marks
Some simplistic awareness of the broadest
contextual factors. Limited sense of genre.
Limited evidence of understanding basic
points of comparison and contrast. Texts
may be discussed individually and
unevenly.
Some basic evidence of integrated study. Some
application of key concepts and approaches.
Some use of key terminology. Generally clear
expression, but with lapses in accuracy.
Straightforward vocabulary and sentence
organisation, becoming more complex towards
top of band. Clear organisation towards top of
band.
Some awareness of some key language
features. Analysis mainly at word level at
bottom of band.
Clear grasp of basic meaning. Texts
understood on a straightforward level.
Some generalisation and simplification.
Adequate awareness of genre, more secure
towards top of band.
Reasonable observations of some key
contextual factors. Some relevant
discussion of how different contexts
influence the way the texts have been/are
received, more relevant towards top of
band. Selection and discussion of some of
the more obvious points of comparison and
contrast.
Clear evidence of integrated study.
Purposeful use of appropriate terminology.
Relevant and purposeful application of some
relevant key concepts and approaches.
Generally accurate, coherent expression.
Effective organisation, particularly towards top of
band.
More sustained focus on language used to
create meaning, including some convincing
phrase and sentence level analysis.
Sensible use of key linguistic and literary
concepts and approaches. Sound reading of
implicit meaning, with increasingly detailed
appreciation of writers’/speakers’
techniques.
Thorough knowledge, understanding and
insights gained from integrated study.
Sophisticated application of concepts and a wide
range of approaches. Accurate and sensitive
use of terminology. Very well-organised.
Written expression is confident, fluent, with
varying degrees of flair. Mature vocabulary.
Perceptive awareness of how choices of
form, structure and language affect readers
and audiences. Assured reading of texts.
Convincing and perceptive sub-textual
exploration. Some evidence of originality
may be shown, particularly at top of band .
Clear and sustained focus throughout
response.
Sensible and clear awareness of the
influence of some key contextual factors on
the production and reception of texts. Some
sensible evaluation of how different
audiences/readers in different times might
respond. Able to present generally
convincing overview. Points for comparison
and contrast are well-chosen and clearly
argued.
Confident evaluation of the impact of
contextual factors in shaping the production
of texts and influencing different
audiences/readers at different times.
Points of comparison and contrast are
astute and illuminating. Title/question
addressed consistently and perceptively.
Weighting: 10 marks
Limited evidence of integrated study. Minimal,
unconvincing application of concepts and
approaches. Written expression often has lapses
in accuracy and clarity. Response may lack
organisation. Basic terminology often
misunderstood and misapplied.
LL3 Section A Possible Pairings
1.
2.
3.
4.
King Lear/ The Homecoming (Pinter)
Romeo and Juliet/Slum Dog Millionaire shooting script (Simon Beaufoy)
The Tempest/The Crucible (Miller)
Romeo and Juliet/ Shakespeare in Love (Stoppard)
• Compare and contrast how dramatists use linguistic and literary techniques in
the presentation of women/men in both ‘Romeo and Juliet’ and ‘Shakespeare
in Love’.
• By close analysis of linguistic and dramatic devices, explore how humour is
used in ‘Romeo and Juliet’ and ‘Shakespeare in Love’.
• Using integrated linguistic and literary approaches, explore how social
hierarchies are presented in both ‘Romeo and Juliet’ and ‘Shakespeare in
Love’
5. The Tempest/Translations (Friel)
6. Much Ado About Nothing/A Doll’s House (Ibsen), An Ideal Husband (Wilde), A
Woman of No Importance(Wilde)
7. The Tempest/Dr.Faustus ( Marlowe)
8. Othello/Arms and the Man (Shaw)
9. King Lear/Death of a Salesman (Miller)
10. Macbeth/Roberto Zucco (Koltès), Pulp Fiction (Tarantino/Avary)
11. King Lear/Oedipus Rex (Sophocles)
12. Much Ado About Nothing/ The House of Bernardo Alba (Lorca)
13. Othello/Streetcar Named Desire (Williams)
14. Othello/Our Country’s Good (Wertenbaker) – racial prejudice/collision of cultures
15. The Tempest/Our Country’s Good (Wertenbaker) - the theme of imprisonment
16. Henry V/ Mother Courage And Her Children (Brecht) – the presentation of war
17. Hamlet/Death And The Maiden (Ariel Dorfman) – the theme of revenge
18. Richard III/Saved (Bond) – presentation of men
19. Hamlet/My Mother Said I Never Should (Keatley) – depiction of motherhood
20. A Midsummer Night’s Dream/Closer (Marber) – the presentation of the love triangles
21. Othello/Closer (Marber) – the theme of jealousy
22. The Taming of the Shrew/The House of Bernada Alba (Lorca) – the presentation of
women/marriage
23. Romeo and Juliet/Blood Wedding (Lorca) – presentation of love/passion
24. The Taming of the Shrew/ Educating Rita – presentation of women
25. Hamlet/ Taxi Driver – alienation
Candidate trialled responses to LL3 Section A
Please note that these responses are works in progress
These candidate responses have been colour coded to demonstrate the balancing of
attention to the Shakespeare text (core) and the partner text. Centres are reminded that
students need to concentrate on the Shakespeare text as the core text and use the partner
text to illuminate understanding. This should be evident in the formulation of the assignment
titles.
CANDIDATE 1
Much Ado About Nothing
A Streetcar Named Desire
Explore how Shakespeare uses deception to create dramatic tension in Much
Ado about Nothing, with wider reference to Williams’ creation of dramatic
tension in A Streetcar Named Desire.
Both plays ‘Much Ado About Nothing’ by William Shakespeare and ‘A Streetcar Named
Desire’ by Tennessee Williams use the theme of deception throughout the play, which is why
I have chosen to focus on this theme. During the plays, the theme deception has different
impacts on the audience, in ‘Much Ado About Nothing’ the male character Don John is the
main culprit as he is constantly causing trouble. This is down to him being the bastard’s son,
who was often a stereotypical villain of the time; the audience would be able to recognise
this straight away. Also, he is in competition with Don Pedro who has a much higher status
and is liked by everyone, which could explain his deceitfulness during the play. Whereas in a
Streetcar named Desire Blanche is similar to Don John as she easily deceives most people,
but never manages to deceive Stanley. The reason for her deception is mainly a defence
mechanism to deal with the feeling of being under pressure as the deceitfulness allows her
to cope with it. However in the end she becomes a victim of her own circumstance. I will also
look at Beatrice’s and Benedick’s deception as this is used for a completely different purpose
which is humour, contrasting with Streetcar.
The event of the masked ball allows us to see how Don John’s deception begins; it provides
him with an opportunity to cause disruption as the audience are able to see his immoral
behaviour develop. Don John attempts to disrupt the event by informing Claudio that Don
Pedro is wooing Hero for himself. However this doesn’t cause as much trouble as he had
hoped for as it soon fazes out. It becomes clear that Don John has a sinister presence which
is established further during the remainder of the play.
We are shown more of Don John’s deception in Act 2 Scene 1 “Are not you Signor
Benedick?” he knows its Claudio but pretends that he thinks its Benedick, just so that he can
play mind games with Claudio. Claudio however, goes along with pretending he is Benedick,
possibly to see if he can find anything out “You know me well; I am he.” Don John then says
“She is no equal for his birth” Don John manipulates Claudio in a very clever technique; he
also insults Hero at the same time. The third person pronoun is used to refer to Hero “She”
he doesn’t use her actual name, making it sound less personal and important, indicating he
has little respect for her. The noun “equal” is also used, implying that Hero isn’t good enough
for Claudio as she isn’t equivalent to him.
He is almost successful in disrupting Claudio and Hero’s engagement as a result of his
manipulation tactics. “I heard him swear his affection” this quotation shows Don John lying to
Claudio about Don Pedro having feelings for Hero. Don John also uses the word honest,
showing irony as they are both lying to each other during this scene. Claudio then uses an
interrogative “How know you he loves her?” the fact that Claudio questions Don John shows
that he perhaps doesn’t want to believe what he is being told and that he is unsure about it.
After Don John has lied to Claudio, he then makes a swift exit “Come, let us to the banquet.”
He wants to get out of there as quickly as he can so that Claudio doesn’t start asking too
many questions. Don John wants to make sure that he isn’t found out, preventing suspicion
from arising. Don John then does this again later on in the play during the wedding. Once he
has lied, he disappears before people start questioning him about it, therefore he isn’t found
out. This allows his deception to keep developing through the play, as his first attempt fails
which drives him even more to make sure it works next time.
Claudio is shown to be immature in this scene and is very eager to believe Don John’s
rumours, showing the audience that Claudio is a gullible character as he seems to believe
anything he’s told by Don John. Stanley is the opposite of Claudio as he lacks gullibility;
Blanche can’t deceive him as he sees straight through her lies. The audience first witness
this at the beginning of the play when Stanley and Blanche meet. “No I-rarely touch it.”
Stanley has offered Blanche a drink, by using the word “rarely” this indicates that she doesn’t
drink very often. Stanley replies with a snide comment showing that he doesn’t believe her,
showing that he isn’t gullible. “Some people rarely touch it, but it touches them often.”
The audience are able to see their feelings for each other, even if they are hiding them.
Deception plays a large part between the two characters as it ends up bringing them
together. During Beatrice’s dialogue at the beginning of the scene, the modal verb ‘will’ is
repeated, indicating certainty in her tone, making her appear more dominant and confident in
comparison to Benedick. This would have been unusual for a woman to be domineering
during that time period, therefore the audience are able to establish her dominant side, and it
is done in a humorous way as you don’t expect it. Similarly in ‘A Streetcar named Desire’
deception is a theme that creates dramatic tension within the play. As soon as Blanche is
introduced, she wastes no time deceiving people. Williams gives very detailed stage
directions to build up an atmosphere. For example when Stanley overhears Blanche and
Stella talking “Over her head he grins through the curtains at Blanche” this allows the
audience to see a new sinister side to Stanley, making the scene more chilling as he knows
Blanche is against him, making her more vulnerable. He builds up the tension making it
more dramatic, the information is gradually revealed throughout the play, creating more of an
impact on the audience keeping them engaged on the plot.
Blanche deceives Mitch about her age by pretending she is younger than Stella. This
creates the impression that she wants to be somebody else which is similar to Benedick as
at the masked ball, he is pretending to be someone else. Throughout the play the audience
are able to see Blanche avoiding the light “Don’t you look at me, Stella no, no, no, not till
later, not till I’ve bathed and rested! And turn that over-light off!” The imperatives used show
her anxiety, indicating a possible paranoia about her looks as she doesn’t even want her
own sister seeing her whilst it’s light. It this could be a metaphor for death or possibly reality.
Also, she is compared to a moth, which could indicate confusion or her trying to camouflage
herself from who she is. Williams emphasises her white clothes, the purpose of this could be
to- indicate purity, innocence or her status, implying that she likes being the centre of
attention.
[The essay continues and is in need of editing]
Concluding Comments
This extract provides a useful starting point for assessment as there are clear strengths and
weaknesses in the response. AO3 is worth 20 marks here and the candidate works hard at
developing a response which is focused on the question throughout. There is a sense of
overview of the theme of deception in relation to both texts and some sensible points of
comparison and contrast are made, although these could be more productive and numerous.
Contextual references are made relevantly if rather generally. AO1 is worth 10 marks and
this is the weakest aspect of the response. A much wider range of technical terms and
approaches is needed and at times written expression is rather clumsy. AO2 is addressed
reasonably well with sustained focus on audience and some insightful discussion of implicit
meanings and analysis of characters and their behaviour. However a more technical
approach to discussion of form, structure language would have strengthened this AO further.
CANDIDATE 2
Comments by the Principal Moderator follow the essay.
Much Ado About Nothing
Cat on a Hot Tin Roof
With close reference to William Shakespeare’s Much Ado About
Nothing and wider reference to Tennessee Williams’ Cat on a Hot
Tin Roof, explore the presentation of female protagonists.
In William Shakespeare’s Much Ado About Nothing and Tennessee Williams’s Cat on a Hot
Tin Roof, the audience is introduced to female protagonists who face misogyny, social
control and power struggles. In Much Ado About Nothing, Beatrice, although constructed in a
time where women were mere objects, manages to conduct a ‘merry war’ against
oppression and dent the patriarchal ego. Whereas Maggie, the ‘Cat’ in Williams’ play, can
only manipulate it to satisfy her own needs, despite being in a society less authoritarian than
the Elizabethan era. Both women exist in a male-dominated world, but differ in the role they
choose to construct for themselves; even today’s modern audience can relate to Beatrice,
with a personality and wit that transcends her era, whilst Maggie reminds us, instead, of a
time when the womb ruled over feminist ideals.
Much Ado About Nothing and Cat on a Hot Tin Roof are separated by centuries and thus it
would be expected that Beatrice be far less liberated than Maggie. However, despite the
period, Beatrice is more unconventional, exhibiting bold disregard for society’s proprietary
expectations as depicted in the vocative, “Signor Montanto.” The noun phrase illustrates
Beatrice’s sexual freedom, as she uses innuendos to portray her wit, whilst also revealing
her knowledge of typically masculine activities such as fencing. Beatrice often uses typically
‘male’ speech to portray her own thoughts and opinions, evident in the utterance, “But for the
stuffing – well, we are all mortal.” The parenthetical end focus coupled with the ambiguous
noun ‘stuffing’ portrays both the masculine confidence in Beatrice’s speech and her scathing
assessment of Benedick’s virility. This is especially unusual when considering that women
were usually the target of bawdy humour; it is as though Beatrice uses the enemy’s
ammunition against them, but with a deadlier aim. In stark contrast, Maggie’s attitudes to
masculinity and marriage seem to adhere to conventional expectations, despite the more
modern context. Her use of the adverbial phrase, proclaiming her union with Brick as “totally
childless and therefore totally useless!” illustrates, through repetition of the intensifier
“totally”, Maggie’s frustration. Despite this compliance with society’s rules, Williams makes it
apparent that the idea of being an equal to her husband is attractive to Maggie. She is often
the dominant speaker in their conversations, attempting to control Brick, and the turn taking,
several times in the play. This is similar to Beatrice’s need for control, as she is often seen
dominating the turn taking and gaining control over Benedick through her manipulation of his
language.
She responds to his declaration that any suitor of hers would receive a
“predestinate scratched face” by claiming his modifer “scratched” and using it in verb form in
order to insult him. Her declarative “Scratching could not make it worse, an 'twere such a
face as yours were.” is a symbolic seizure of power and demonstrates the influence she has
in Messina, and over men, at this point in the play. Her’s, however, is a power based in
humour due to the play’s comedic nature whereas Maggie’s linguistic power stems from a
darker and more emotionally fragile place.
For example, Maggie strives to manipulate
Brick’s fears of his own possible homosexuality by attempting to goad him into proving his
masculinity through procreation. The play’s repetition of the noun “crutch” in reference to
Brick’s physical weakness and sexual ambiguity serves as a visual taunt to Maggie in her
failed quest to fulfil her emotional and physical needs.
Both protagonists also differ in their attitude to men and masculinity. Indeed, Beatrice
almost has a misandrist outlook. Being free from the dominance of a father has made her
aware of the freedoms women are denied. It is with contempt and annoyance that she hears
ideas on male authority and what makes a man, leading her to mock in the declarative “Lord,
I could not endure a husband with a beard on his face.” The noun ‘beard’ illustrates
Beatrice’s attitude to the idea of manhood and marriage, rejecting the Elizabethan symbol of
masculinity through the noun phrase by explaining marriage is impossible if it is with a ‘man’.
This modern mind-set looks beyond what society attributes to masculinity, scorning those
who follow society’s rules instead of creating an individual mind. She presents the idea that
she would never marry to please anyone but herself, with the transitive verb ‘endure’
portraying that she is independent, not wanting to be under the patriarchal weight of a
husband. Her most notable male interactions are with Benedick, her rival and future lover,
and Don Pedro, the person with the highest authority in the play. It is important to note that,
whilst Don Pedro is the person Beatrice is the most respectful to, his personality is not one of
a man who abuses his power, and he seems to see her as an equal of sorts “Your grace is
too costly to wear everyday. But I beseech your grace, pardon me.” The intensified postmodifier objectifies Don Pedro as she remarks that he could not make her happy and that a
union between them would curtail her freedom. In contrast, Maggie, though contemptuous of
Gooper, is mainly willing to bend to the power of man, especially her husband “I don’t mind
makin’ a fool of myself over you!” The prepositional phrase ‘over you’ signifies that she is
prepared to do anything to please, or to capture, her husband. Her dignity when it comes to
Brick is dispensable as is clear in her willing reference to the noun “fool”. Beatrice, however,
rejects this idea of bending to the needs of the male. Her reference to clothing symbolises
that she would have to take on his identity if they wed and, therefore, her rejection of this is
indicative of her need to retain her independent character.
Contextually speaking this
positions Beatrice as happily existing outside societal norms. However, for the first time she
also apologises for her words, the end focus on the verb phrase ‘pardon me’ denoting that
she does have respect for men, as long as they earn it. Maggie’s ideas on masculinity are
more malleable than those of Beatrice as she is prepared to compromise for personal gain.
The juxtaposition of the verbs ‘overpowered’ and ‘love’ with the end focus on the imperative
toned adverb ‘truly!’ in her declaration to Brick “I didn’t want to be overpowered by you […]
but now I’m stronger than you and I can love you more truly!” indicate the difference between
male and female domination, with the ‘love’ Maggie speaks of being a metaphor for the
control she will gain over him.
Beatrice’s uncle, whilst having enough control over the compliant Hero, appears to have no
influence whatsoever over his niece and can only serve to remind her of her female duties
throughout the play, such as in the simple utterance “She mocks all her wooers out of suit.”
The idiomatic phrase ‘out of suit’ encompasses one of the common themes in the play that
clothes construct identity, therefore the imagery of Leonato’s declarative is one of Beatrice’s
mockery being strong enough to demolish a pursuer. Her strength and independence holds
even when she is at her most weak, unwilling to give Benedick a chance of wooing her when
she is defenceless, evident in the simple sentences, “You have no reason; I do it freely.” The
adverbial “freely” denotes her liberty and reluctance to be controlled in the slightest way. It is
interesting that Beatrice does not feel the brunt of any female responsibilities until Hero is
accused of infidelity when male power attracts her in her helplessness. Her interjection “O
God that I were a man!” portrays her vulnerability and despair for being born a woman. This
is first time Beatrice acknowledges a stereotypically female need for someone else, although
this is, perhaps, indicative of Shakespeare’s move toward the comedy’s inevitable ‘happy
ending’; an ending in which male and female co-exist in apparent equality. In ‘Cat on a Hot
Tin Roof’ Maggie, for all her faults, is easily the most likable of the females in the play. Big
Daddy’s assessment of the women in his household in the metaphor, “…they look like a
couple of cats on a hot tin roof.” exaggerates the women’s determination to out last the other
in the battle for his heritage. The idea that the women of the play are like ‘cats’ implies that
they are cunning creatures whilst the adjectival phrase “a hot tin roof” indicates the
precarious role women adopt in society; their identity in constant flux at the hands of the
whims of the patriarchy.
In both plays, the female protagonists are complex and portrayed in a linguistically
ambiguous manner. One of the greatest differences between Maggie and Beatrice is that
Beatrice is not prepared to lie to herself. Maggie is the bitter result of a life lived in jealously
and she would do anything for the opportunity of the ‘ideal life’; Beatrice is not burdened with
this prospect. She is still her blunt, witty self but in her acceptance of Benedick, we note
some of her power is gone, evident in the simple utterance, “Peace, I will stop your mouth.”
The verb phrase “stop your mouth” coupled with the modal “will” denotes the coupling of
Beatrice and Benedick with silence, their ‘merry war’ being stilled with the loving act of a
kiss. Beatrice’s manipulation of language and refusal to conform makes her stand out as a
forerunner of feminist ideals. The play’s ending allows her to retain a level of independence
but the Elizabethan context requires that she conform to the patriarchal ideal of marriage.
Her union with Benedick is one based upon both characters recognising and accepting each
other’s flaws. Theirs is not a blind marriage in the vein of Claudio and Hero but one based
upon mutual respect and genuine affection.
In contrast, Maggie superficially appears
confident but her apparent dominance covers a web of insecurities woven through her desire
to conform to the typically female roles of successful wife and mother. Her desire to conform
whilst simultaneously attacking masculinity through her attempted annihilation of Brick
demonstrates her paradoxical nature.
In her pursuit for a baby, she ignores that she is
dooming herself to a life of misery, forever being unsatisfied and powerless. The double
modification in the utterance “Oh, you weak people, you weak, beautiful people!” portrays
that Maggie finds the helpless appealing. The irony is, of course, that this exclamatory is as
applicable to her as it is to any of the other characters.
Ultimately both women must
overcome a personal struggle, at the centre of which is the question of how women are
meant to carve a place in a society which continually seeks to undermine and control them.
Principal Moderator’s Comments
There are clear strengths in this essay which provide a useful reference point. The
question is well-focused and indicates the correct core and partner text balance. A
key issue has been selected and this is then unpacked in the essay.
AO1 is worth 10 marks in this piece. A range of terms is present and there is clear
evidence of integrated study. This candidate has moved beyond general terms and
is focusing in tightly at word and sentence level. The essay is well-organised on the
whole and is written fluently and with confidence. For these reasons this piece
would be awarded a High Band 4 mark in AO1.
AO2 is worth 10 marks in this piece. There is effective consideration of meaning
supported by relevant terminology. There is a clear and sustained focus throughout.
Some quotations are not, however, fully embedded and this would be an area of
improvement. A High Band 4 mark would be awarded for AO2.
AO3 is worth 20 marks in this piece. The candidate includes relevant context points
on gender issues in the periods studied. These are appropriate to the question
being addressed and help to move the argument along. There are opportunities to
develop contextual points further and these have not always been taken. AO3 also
looks at comparison and this piece deals with this with some confidence. Selections
from core and partner are useful and are used to illuminate the argument being
made. The focus on the question is consistent throughout. Overall this would
receive a Mid Band 4 mark for AO3 as further contextual links would have been
useful in addressing this task.
Taking into account all of the AOs and the double weighting on AO3, this essay
would receive a Mid to High Band 4 mark overall.
Section B: Producing performance texts - 40 marks
Relevant assessment objectives: AO2, AO4
1500 words approximately
For this section, candidates will be required to:
• write 2 original spoken texts for performance for different audiences and purposes
(approximately 1000 words in total);
• evaluate the effectiveness of one of the texts they have produced (approximately
500 words).
The original spoken texts can be spontaneous or prepared. Candidates are free to perform
the texts themselves but there is no requirement for this. Obviously in order to produce a
transcription the text would have to be performed and taped, but again, this need not be in
front of an audience. One of the 2 original texts must be transcribed, i.e. showing pauses,
stress, intonation and other prosodic features
Conventions for making transcriptions
•
•
•
•
•
Number the lines for easy reference. This is very important as you can refer
to line references or sections in your study of a transcript.
No normal punctuation except for: capital letters for proper nouns and
apostrophes for both contraction and possession.
Use standard orthography (conventional spelling), and show pronunciation
phonetically if desired.
Use initials or A, B etc. to identify speakers, if there is more than one.
Use a key to show all conventional markings – such as those below:
Key:
(.)
(.h)
(1.0)
DL
s.
[done?]
//….//
=
[ ]
micro pause, less than a second
intake of breath
timed pause in seconds
initials of speaker
full stop indicates an unfinished word
unclear speech indicated in square brackets
overlapping (use for both speakers and place one
overlap directly underneath the other)
latch on
square bracket to enclose paralinguistic features
such as laughs, sneezes, coughs, etc.
Arrows for rising and falling intonation should be positioned above the
affected word(s)
Addressing the Assessment Objectives in LL3 Section B
We have included two grids to help with teacher assessment of this section. The first grid
(task based) has been designed to help teachers break down the marks for each piece of
work. The second grid (section based) is the one which appears in the specification and
the Teacher’s Guide and is useful for checking candidates’ total performance for Section B.
The weighting of the relevant assessment objectives is reflected in the notional distribution
of marks out of a total of 40 as follows:
AO2: 10 AO4: 30
Each of the original writing pieces should be marked out of 15 using the task based grid. The
15 marks are notionally distributed as:
Band 1: 0-3
Band 2: 4-7
Band 3: 8-11
Band 4: 12-15.
The evaluation is assessed through AO2: 10
demonstrate detailed critical understanding in analysing the ways in which structure, form
and language shape meanings in a range of spoken and written texts.
As candidates will be discussing their performance text, they will be expected to give
consideration to the context of the performance and the impact of the text in performance as
well as any influences on their writing. However, the majority of the marks available should
be awarded for discussion of how their structure, form and language shape meaning. The
evaluation should be marked out of 10 using the task based grid.
The 10 marks are notionally distributed as:
Band 1: 0-2
Band 2: 3-4
Band 3: 5 -7
Band 4: 8-10
Having arrived at the individual marks for each piece of work, it will be
essential that teachers consult the section based grid to ensure that the best
fit mark has been awarded (this may involve adjusting some marks upwards or
downwards).
To enable students to succeed on this section, they need to:
Section B
• Create two distinct texts which are aimed at different audiences and have
different purposes
• Use transcription conventions on ONE of the pieces
• Be consistently and consciously aware of a listening/viewing audience
• In 500 words, an excerpt of a performance text is permissible
• Write an evaluation which focuses strongly on the language used by the
candidate and its effect
• Illustrate points clearly
• Use linguistic and literary terminology to demonstrate understanding
The evaluation will also consider:
•
•
•
•
The contextual factors that have influenced the production and performance of the
text
The key features of style
The impact of the text in performance
The influence of other texts, literary and non-literary.
Suggestions for LL3 Section B: Producing Performance Texts
It is possible, but not essential, to adopt a thematic approach to this section of the
coursework. These suggestions are based around the following approach:
MODEL
↓
WRITE
↓
TRANSCRIBE
↓
COMMENT
The teacher prepares several projects on a variety of topics. The student must first select a
project and then identify which two of the four performance tasks to attempt. Remember
each of the tasks has to have a clearly defined but different audience and purpose.
Project One: Sport
1. Sports bulletin for radio news programme
2. Live sports commentary for television
3. Post-match analysis discussion for television
4. Motivational speech manager to player(s)
Project Two: Art
1. Audio tour guide for museum or gallery
2. Interview with artist on ‘The Culture Show’
3. Teacher talk, language of the classroom: an art lesson
4. DVD commentary by a director or actor
Project Three: Comedy
1. Best man speech
2. Stand up comedy routine
3. Topical humorous introduction to chat show e.g. Friday Night with Jonathan Ross
4. Script for comedy sketch show e.g. Little Britain
Project Four: Presenting Facts
1. News report on a local issue
2. Commentary on national event e.g. Remembrance Sunday from the Cenotaph
3. Weather report
4. Press conference statement e.g. police appeal for witnesses following a crime
Project Five: Presenting Fiction (choose two)
1. Drama script for a soap opera
2. Dramatic monologue for a play
3. Interview with a poet from the Poetry Anthology
4. Informative introduction for contemporary arts programme e.g. Radio 4 ‘Front Row’
A2 ENGLISH LANGUAGE & LITERATURE LL3 Section B Assessment Grid (Task Based)
Band
1
2
Marks
0-3
4-7
3
8-11
4
12-15
Performance Texts
AO4
Demonstrate expertise and creativity in
using language appropriately for a
variety of purposes and audiences,
drawing on insights from linguistic and
literary studies.
Marks
Evaluation
A02
Demonstrate detailed critical understanding in analysing
the ways in which structure, form and language shape
meanings in a range of spoken and written texts.
Weighting: 30 marks (2 x 15 marks)
Weighting: 10 marks
Limited attempt to vary register in response to
audience and purpose, less limited towards the
top of the band. Limited attempt to apply
knowledge and understanding from integrated
study to own writing. Limited engagement with
tasks.
Can vary register in response to audience,
purpose and genre, increasingly successful
towards top of band. Can apply reasonable
knowledge and understanding from integrated
study to own writing, more basic towards bottom
of band. Clearer engagement with tasks towards
top of band.
0-2
Limited awareness of how some of the most obvious choices in form,
structure and vocabulary create basic meanings. Some difficulty in
understanding impact of text in performance. Limited awareness of
contextual factors/other texts which may have influenced the
production/performance.
3-4
Some awareness of some key language features. Analysis mainly at
word level at bottom of band. Some generalisation and simplification.
Adequate awareness of genre and style, more secure towards top of
band. Attempts to consider the contextual factors/other texts that may
have influenced the production and performance of the text. Makes
reasonable assessment of impact of text in performance towards top
of band.
Register is clearly suited to audience and
purpose.
Appropriate and increasingly confident
application of linguistic and literary features to
own writing.
Style and tone accurately pitched for audience,
purpose and genre. Increasingly sound
engagement with tasks.
Style demonstrates sophistication, most marked
at top of band and writing is assured in
addressing audience, purpose and genre.
Stylistic choices show an assured knowledge of
linguistic and literary features and their impact.
Evidence of originality and flair most marked at
top of band.
5-7
8-10
More sustained focus on language used to create meaning, including
some convincing phrase and sentence level analysis. Sensible use of
key linguistic and literary concepts and approaches. Sound reading of
implicit meaning, with increasingly detailed appreciation of
writers’/speakers’ style and techniques. Increasingly sound evaluation
of impact of text in performance. Sound awareness of the contextual
factors/other texts that may have influenced the production and
performance of the text.
Perceptive awareness of how choices of form, structure and language
affect readers/audiences. Assured reading of texts. Convincing and
perceptive sub-textual exploration. Some evidence of originality may
be shown, particularly at top of band. Confident, perceptive evaluation
of impact of text in performance. Sophisticated awareness, most
apparent at top of band, of contextual factors/other texts that may
have influenced production/performance. Clear and sustained focus
throughout response.
A2 ENGLISH LANGUAGE & LITERATURE
Band
Marks
1
0-10
Low
0-4
Mid
5-6
High
7-10
2
11-20
Low
11-14
Mid
15-16
High
17-20
3
21-30
Low
21-24
Mid
25-26
High
27-30
4
31-40
Low
31-34
Mid
35-36
High
37-40
LL3 Section B Assessment Grid (Section based)
AO4
Demonstrate expertise and creativity in using
language appropriately for a variety of
purposes and audiences, drawing on insights
from linguistic and literary studies.
A02
Demonstrate detailed critical understanding in
analysing the ways in which structure, form and
language shape meanings in a range of spoken and
written texts.
Weighting: 30 marks
Weighting: 10 marks
Limited attempt to vary register in response to audience
and purpose, less limited towards the top of the band.
Limited attempt to apply knowledge and understanding
from integrated study to own writing. Limited engagement
with tasks.
Limited awareness of how some of the most obvious choices in
form, structure and vocabulary create basic meanings. Some
difficulty in understanding impact of text in performance. Limited
awareness of contextual factors/other texts which may have
influenced the production/performance.
Can vary register in response to audience, purpose and
genre, increasingly successful towards top of band. Can
apply reasonable knowledge and understanding from
integrated study to own writing, more basic towards
bottom of band. Clearer engagement with tasks towards
top of band.
Some awareness of some key language features. Analysis
mainly at word level at bottom of band. Some generalisation and
simplification. Adequate awareness of genre and style, more
secure towards top of band. Attempts to consider the contextual
factors/other texts that may have influenced the production and
performance of the text. Makes reasonable assessment of impact
of text in performance towards top of band.
Register is clearly suited to audience and purpose.
Appropriate and increasingly confident application of
linguistic and literary features to own writing.
Style and tone accurately pitched for audience, purpose
and genre. Increasingly sound engagement with tasks.
More sustained focus on language used to create meaning,
including some convincing phrase and sentence level analysis.
Sensible use of key linguistic and literary concepts and
approaches. Sound reading of implicit meaning, with increasingly
detailed appreciation of writers’/speakers’ style and techniques.
Increasingly sound evaluation of impact of text in performance.
Sound awareness of the contextual factors/other texts that may
have influenced the production and performance of the text.
Style demonstrates sophistication, most marked at top of
band and writing is assured in addressing audience,
purpose and genre.
Stylistic choices show an assured knowledge of linguistic
and literary features and their impact. Evidence of
originality and flair most marked at top of band.
Perceptive awareness of how choices of form, structure and
language affect readers/audiences. Assured reading of texts.
Convincing and perceptive sub-textual exploration. Some
evidence of originality may be shown, particularly at top of band.
Confident, perceptive evaluation of impact of text in performance.
Sophisticated awareness, most apparent at top of band, of
contextual factors/other texts that may have influenced
production/performance. Clear and sustained focus throughout
response.
Candidate trialled responses to LL3 Section B
CCTV speech
A blow to the head (.) knocked to the ground (.) Blood spills from a deep gash and
etches an image of struggle and i:ntense pain across the pale paving (.) Cowering (.)
\
cold and alone (.) All this for the want of a mobile phone (.) Shockingly this incident is
/
no work of fiction (.) and was actually captured on CCTV (.) here at our. very own
\
Sixth Form College Solihull h.
As for the victim (.) it was not just another nameless face (.) It was an exceptional
\
individual (.) a dedicated student (.) and my close friend (.) The events left him so::
traumatized that he was unable to recount what happened (.) and (.) were it not for that
/
single tape (.) his attackers would have remained unidentifiable and could have
Comment [L23]: AO4
Dramatic opening engages
audience
Comment [L24]: AO4 Could
be more clearly conveyed, is the
paving in pain?
Comment [L25]: AO4
Alliterative impact
Comment [L26]: Prosodic
stress rarely used across entire
words, stressed syllables only
should be marked
Comment [L27]: AO4 Rising
intonation, accurately marked,
conveys indignant tone
Comment [L28]: AO4
Rhetorical device of tripling used
for deliberate effect
escaped to strike down yet another: unsuspecting victim h. I presume that you are all
/\
aware of the horrendous implications (.) that such an incident has upon the reputation
of our college (.) but there is hope (.) as CCTV allows us to break this disastrous cycle
\
(.) once and for all (.)
h. That is why I am [speak.] I am seeking your help in my campaign for more cameras in
\
college and(.) from speaking to experts on the case (.) the importance of such cameras
/\
/
(.)is obvious (.) For example I present to you (.) the man in charge of the investigation
\
Constable Peter Protector of the Solihull police force h. who has this to say (.)
PP. “CCTV is our first line of defence (.) It deters potential criminals and helps punish
\
/\
those who proceed (.) The films are an invaluable resource that allows me to carry out
my job and protect the people of (.) our town (.)”
/
/
This type of incident epitomizes street crime that was once prolific in the UK (.) Crime
rates (.) decreased by 16 percent from 2008 to 2009 (.) and overall rates have declined
Comment [L29]: AO4 unclear
what cycle is being referred to
here?
Comment [L30]: AO4
Prosodic stress creates sense of
determination
Comment [L31]: AO4 Genre
convention proper nouns
reference to expert
Comment [L32]: AO4
Quotation from biased source
adds to argument
Comment [L33]: AO4
Assured and sophisticated style
Comment [L34]: AO4 Genre
convention: use of statistics
(.) 30 percent since 2001 (.) This (.) can only be due to increased installation of CCTV
cameras that now allows for the average citizen to be captured approximately 300
/
times a day (.) With that watchful lens you are not alone (.) it is not your word against
theirs and justice will prevail (.)
Comment [L35]: AO4 Direct
appeal to audience through second
person address
The concept is nothing new (.) We already have them installed in our corner shops and
supermarkets (.) yet our college remains virtually unguarded (.) A place primarily
/\
providing er prime example of tertiary teaching and a warm: reception into the adult
world(.) but it is not safe and not secure (.) I have discovered that the college has but
/
three cameras installed about the entire premises yet almost three thousand pupils
attend (.) We must address this situation and deal with it now before: the reper.
\
repercussions are felt by us all (.)
/\
I have researched the matter thoroughly and I’m aware that some people may attempt
\
/
to oppose my plan (.) for more for thirty more CCTV cameras h. Their only vaguely
/
plausible argument is that some may consider them an invasion of privacy (.)
/
/
Considering that the recordings will not actually be viewed unless an incident’s reported
Comment [L36]: AO4 Appeal
to audience solidarity through first
person plural pronoun
Comment [L37]: AO4 Not
sure about noun choice here,
perhaps introduction better?
Comment [L38]: AO4
Parallelism to reinforce meaning
Comment [L39]: AO4
Prosodic stress on modal verb
Comment [L40]: AO4
Counters opposing view typical
genre feature
(.) we can conclude that this is ridiculous. It is also simply [preposterous??] to class
these devices as a “violation of basic human right to confidentiality” h. as any honest (.)
law-abiding student would be unfazed as they have nothing to hide anyway (.) So
shouldn’t we act now to avert the imminent co. college-wide crisis that will occur from
/
lack of surveillance?
CCTV cameras are of particular relevance to you (.) the student body (.) as it is your
\
help that I require in order to proceed with my campaign (.) We all must unite (.) sign
the petition and support the cause as this time it happened to my friend but next time it
\
could be your friends (.) your colleagues (1.0) or even yourself. (591)
Comments on Speech
This speech accurately employs transcription conventions with the exception of stress where it
would be more appropriate to highlight the stressed sound within the word rather than the
whole word. The genre is sustained throughout with conscious exploitation of several rhetorical
devices such as tripling, parallelism, use of pronouns, statistics and quotations from experts.
Audience is consciously addressed throughout and there is a clear sense of purpose. There is
evidence of some flair but occasional lapses in clarity impact on the overall sophistication of the
piece. This speech would receive a mark of 12 out of 15 placing it at the bottom of Band 4.
Comment [L41]: AO4Transcri
pt indicates stress, rising
intonation and pausing to create
impact for audience
Comment [L42]: AO4
Powerful and memorable
conclusion through rhetorical
device of tripling
Evaluation of CCTV Speech
My performance piece is a rhetoric that has been designed to be delivered in an
assembly at the Sixth Form College Solihull. Therefore its target audience is primarily
the students of the college. The aim of my speech is to persuade students to support
my campaign for more CCTV cameras and I am aiming to convince them that not
having such devices makes the college a potentially dangerous place.
This sense of danger is represented in the horrific imagery created by my opening. The
initial sentence “a blow to the head” consists of vague diction, which is an aspect of
spoken language, and polysyllabic words. This coupled with the simple sentence
structure and use of the indefinite article gives a shockingly blunt and objective
description of the scene. This is later expanded on with the phrase “cowering, cold and
alone.” Here alliteration helps create impact and place emphasis but also the rule of
three syndetic listing helps to build tension. The selection of the dynamic verbs “cold”
and “alone” promote an empathetic reaction as the audience will undoubtedly be aware
of the unpleasantness of feeling both exposed and defenceless. The phrase is
designed to evoke feelings of concern and intrigue within the listener and therefore
hooks their attention for the rest of the speech.
The anecdote of the attack aids the audience in relating to the orator and the device of
hyperbole exaggerates the severity of the situation:
“An exceptional individual, a dedicated student...”
The sentence is complex and verbose due to the excessive use of adjectives. This is in
direct contrast to the simple opening sentence. The connotations of the modifiers create
an image of a respectable and honourable individual which therefore also contrasts to
his attack as he is so seemingly undeserving of it. The language choice reflects the
intelligent audience and also affects the prosodic aspect of pace as its complex
structure means it will need to be spoken slowly. The purpose of this is to provoke an
emotional response within the audience and get them to react by and supporting the
campaign.
Comment [L43]: AO2
Audience and context of
performance are explored
Comment [L44]: AO2 Better
to use utterance in relation to
transcribed spoken texts
Comment [L45]: AO2 Quoted
example is monosyllabic
Comment [L46]: AO2 Some
appreciation of impact of style
Comment [L47]: AO2
Identifies language technique used
for deliberate effect
Comment [L48]: AO2 Error
in identification of basic word
classes
Comment [L49]: AO2
Considers impact on audience
Comment [L50]: AO2 Shows
awareness of how language
choices affect meaning
Comment [L51]: AO2
Sustains focus on audience and
context
The basic mode of my piece is spoken language and this is reflected through
compound clause structure.
“Relevance to you, the student body, as it is…”
Here the subordinate clauses is embedded with commas as it’s purpose is to add extra
information and give further clarification of exactly who is being targeted by the second person
pronoun “you.” Spoken language is also reflected in the use of contractions such as “I’ve” which
is more informal than “I have” and a more realistic representation of speech.
This strong persuasive tone is evident through the use of imperative sentence mood.
“We all must unite”
Here the unifying pronoun “we” brings unity and is therefore persuasive due to the
crowd mentality and desire to belong that it evokes within the audience. The imperative
directs the viewer and is difficult to defy due the pronoun use which makes them
inclined to be obedient
In conclusion I feel that my rhetoric is successful in purpose as it delivers information on the
problem of lack of CCTV but additionally explains why the issue is current and relevant to the
audience.
(535)
Comment [L52]: AO2 Not
relevant in a transcript as standard
punctuation does not apply
Comment [L53]: AO2 This is
true but this comment needs to be
more productive and less general
Comment [L54]: AO2 Error
in identification of sentence mood
here
Comment [L55]: A02 Focus
on language is good here with
clear discussion of effect on
audience
Comments on evaluation
The evaluation makes several key points of analysis regarding the techniques used in the
speech. However, there seems to be some confusion over the appropriate terminology with
which to analyse transcripts; references to sentence structure and punctuation are not
appropriate here. Likewise the candidate misidentifies some linguistic approaches, such as
verbs and the imperative mood. Nevertheless the evaluation reveals an appreciation of the
conscious manipulation of aspects of language, form and structure in order to engage an
audience. More consideration could have been given to the performance aspects of the text
through closer discussion of prosodic and paralinguistic features. There is some appreciation of
context evident, but the candidate could have gone further in showing an appreciation of the
genre conventions of speech writing, linking this to their own writing to show how the typical
techniques used in the speech writing genre have been exploited within the candidate’s own
work. On balance this piece would just reach Band 3 with a mark of 6 out of 10.
Clown Face Cake
Today, Kids, we are going to make a clown face cake! (Brings out a finished cake
from under the counter) Here’s what it should, look like when were finished, hopefully.
So first of all we need to make the mixture of the cake, so the ingredients we need are:
some plain flower, two eggs, some margarine and some sugar. Right, here we go, so
first of all you need to get a big mixing bowl and wooden spoon (collect from under
the table) here are mine, we then add the bowl of flower and the sugar which needs to
be mixed together like this… When that’s all mixed up this is the time to add our sticky
margarine; now this is quite hard to stir together so you may need to get a parent to
help you.
Ok, once that’s all mixed we get to the fun part of adding the eggs. So crack the shell
gently on the side of the bowl and split it open, trying not to get any shell in the mixture
like I have just done (laughs) because we don’t really want a crunchy cake do we. Ill
just wipe my hands because there all gooey from the eggs. Ok, once that is all mixed
together you should have a bowl of lovely looking cake mixture like this (shows the
audience). Right now we need to set the oven to 150 degrees; you will need to get a
parent to do that for you. Now to finish off the mixture we need to get a cake tin and
some margarine on a tissue and cover the cake tin with it, then we put the cake mixture
into the tin and pop it in the oven for about 20 minuets but get a parent to keep
checking on it for you so it doesn’t burn.
While that’s cooking we shall have a go at the clowns face. Right we need: some white
ready to roll icing, some big chocolate buttons, some coloured squeeze icing, some
dolly mixture and a few sweet laces. Ok so first of all roll the ready to roll icing just like
this, with our big rolling pin, we don’t want it too thin but we need it big enough to cover
the top of the cake, then I want a cake tin like the one we used to put the cake mixture
in, we place this on the icing and squish down, so when you lift it up we should get a
lovely circle of icing. Now I shall get a cake that I made earlier so were not waiting
around for the one in the oven, but once you’re cake mixture is ready you need to let it
cool before we do the next part.
Ok so place the circle of icing on top of the cake, press it lightly so we don’t get finger
marks in it, so this is the clown’s face, now we need to give him some facial features.
So were going to use the chocolate buttons as eyes, one there and one there, lovely
jubbly, right next we should give him some hair, so we need our coloured icing and
were going to make some squiggles on the top of the cake just like this, now he’s
starting to look more like a clown. Now put a jelly dolly mixture in the middle and this
will be his nose, I’m going to use a red one but you can use any colour you like, ok now
I think we should give this clown a big smile so were going to use the sweet laces, now
you can either use one lace and do a simple smile or if you want to be a little more
creative we can use two laces and make a big cheesy smile, like this. Brilliant! I think
Comment [L56]: AO4 Not
really an appropriate mode of
address for this genre but trying to
vary register for audience
Comment [L57]: AO4 Stage
direction helps understanding of
performance aspect
Comment [L58]: AO4 Basic
spelling error, lacks assurance in
written expression
Comment [L59]: AO4
Convention of the genre is well
applied here
Comment [L60]: AO4 Several
missing apostrophes throughout
text affect fluency of finished
piece
Comment [L61]: AO4
Appropriate register for audience
Comment [L62]: AO4
Repeated adverbials appropriate
to style of performance recipes
Comment [L63]: AO4
Syndetic listing of ingredients is
another typical feature of this
style of writing
Comment [L64]: AO4
Language choices are appropriate
to audience
Comment [L65]: AO4
Appropriate use of deictic
markers
Comment [L66]: AO4 Style is
appropriate to genre
Comment [L67]: AO4
Exclamatory tone is often
common when presenting to a
young audience
that’s our clown finished, (enter one other presenter) Oh wow that looks yummy! It
looks exactly like a clown!
So there you go, kids. That’s how you make a simple clown face cake, you can also
make your clown look different; here are some other clowns I made earlier, so you can
have a whole family of clowns to enjoy.
(706)
Comments on performance recipe
This recipe has a clear sense of audience as the candidate has chosen to produce a
performance text aimed at children. The register is largely appropriate with the exception of the
vocative ‘kids’ which is unlikely to be used in children’s broadcasting. Several conventions of
the genre, such as syndetic lists and fronted adverbials are successfully employed. As the
recipe is aimed at a young audience, the clichés such as ‘here are some...I made earlier’ are
perhaps more permissible. The writer has captured the enthusiastic style of a children’s
television presenter effectively whilst managing to produce a logical recipe. There are one or
two lapses in accuracy, missing apostrophes and some basic misspellings which do hamper
fluency at times. Although AO1 is not an objective here, a candidate’s style arguably lacks
sophistication if it is peppered with basic errors. This performance recipe reveals sound
engagement with the task and would achieve high Band 3 on a mark of 11 out of 15.
The overall marks for this section of the folder would therefore achieve the following:
Speech 12/15
Evaluation 6/10
Recipe 10/15
Total 28/40 (High Band 3)
Comment [L68]: AO4 A little
clichéd but very typical of the
genre
Guidance on WJEC administration of coursework
The 5 steps
1. Centres are required to assess their students’ work by applying the relevant assessment
grids, which appear in the Teachers’ Guide and specification.
2. It is vital that all candidates complete a coversheet and that both candidate and
teacher sign the coversheet to authenticate the work. According to JCQ regulations, if a
signature is missing, the centre is asked to obtain it, or risk a mark of zero for that candidate.
3. Where possible, internal moderation should take place, with teachers, or just one teacher,
moderating the work of colleagues by inspecting a sample.
4. Once standards within the centre have been agreed, a sample of work must be selected
and sent to the external moderator. Exams officers will receive moderator details. In
addition to the work, a marksheet must be sent, listing the sampled candidates only, in rank
order. The work must be sent by May 15.
5. A moderator’s report on the work of the centre is sent to the Exams Officer normally by
early September.
For advice on how to select the sample, please consult the online Internal Assessment
Manual:
http://www.wjec.co.uk/uploads/publications/2019.pdf
Note: The moderator may contact the centre to request further samples, so you are advised
to keep the rest of the candidates’ work, (those not sent off as the sample) complete with
coversheets, together in a safe place.
The coversheet and marksheet for recording the sample can be downloaded from the
subject area of the website via these links:
Coversheet
Marksheet
Candidates must record the word count for their responses, and for Section A include a
bibliography where appropriate.
While WJEC does not penalise for excessive length, we advise that candidates risk
penalising themselves through a possible loss in focus and organisation. We suggest a
tolerance threshold of 10%, although this is a rough guide only. For example, for a word
count of 1500 in Section A, we would tolerate an excess of 150-200, but candidates must
appreciate that producing a much longer piece makes it difficult for moderators (and
teachers) to ensure a fair assessment of all candidates’ work.
There is no requirement to hand-write any of the work, and no particular requirements
regarding word-processing in terms of such matters as line spacing or font. It is important
that the work is easy to assess for both teacher and moderator.