SHAKESPEARE CERTIFICATES GOLD
The RADA Certificate is for everyone with a passion for drama, those who love exploring the English
Language, and the sheer enjoyment that can be gained through the performance of Shakespeare‟s work.
The Certificate is offered through a series of examinations on an Individual or Duologue basis at
Bronze, Silver and Gold levels. Entry to each level of examination is dependent upon candidates having
passed the previous level. Candidates must be at least 14 years of age.
Private Centre Examinations
If any schools or drama societies wish to apply to be an examination centre we are happy to oblige.
Centers need a minimum of 15 applicants (London), 16/18 applicants (outside London), 25 applicants
(Scotland/N Ireland) for one examiner to attend.
Fees
Gold Certificate:
Individual - €85
Duologue - €140
All queries should be addressed to:
Laura Hannay, RADA Certificates, 18-22 Chenies Street, London, WC1E 7PA
Telephone:
(+44) (0)207 908 4813
Email:
[email protected]
Application forms can be downloaded from our website or mailed on request.
Disclaimer
The RADA Shakespeare Certificate is an indication of the standards expected and espoused by the
Academy but does not give direct entry to the Academy.
SYLLABUS
Individual (20 Minutes)
1.
Two contrasting Shakespeare speeches one of which must be in verse and one in prose, from two
different Shakespeare plays. Speeches not to exceed two minutes each - 60%
2.
One speech from a Shakespeare contemporary e.g. Ford, Marlowe, Jonson, Middleton, Webster
etc. up to 1642. The speech should not exceed two minutes - 15%
3.
Sight-reading of a verse speech from a Shakespeare play - 15%
4.
Discussion with the examiners on the presentation as a whole - 10%
NB. Candidates must not use speeches presented in previous level examinations
Duologue (25 Minutes)
1.
Two scenes from two different Shakespeare plays one of which must be in verse and one in
prose. Scenes should not exceed four minutes each - 60%
2.
One scene from a Shakespeare contemporary e.g. Ford, Marlowe, Jonson, Middleton, Webster
etc. The scene should not exceed four minutes - 15%
3.
Sight-reading of a scene from a Shakespeare play - 15%
4.
Discussion with the examiners on the presentation as a whole - 10%
NB Candidates must not use the scenes presented in previous level examinations
Gold Syllabus – 10 Jan 2012
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ASSESSMENT CRITERIA FOR ALL CATEGORIES AND
LEVELS OF CERTIFICATE
For the Gold Certificate the examiners will expect candidates to have constructed their presented
programme carefully.
All speeches/scenes and sonnets must be presented from memory. Candidates are not required to
introduce their pieces. Below is an indication of what examiners are looking for but candidates are
strongly encouraged to look at the recommended reading list. Words in bold are explained in the
glossary.
Voice
The voice should be well supported with breath
The articulation should be clear and well defined (an articulation warm up before delivering
speeches and scenes is recommended)
Candidates should aim for vocal variety which enhances the storytelling
Rhythm
Attention should be paid to the verse form of the speech or scene
Candidates are expected to have a good understanding and appreciation of the iambic
pentameter and its application
Language
Use of language should pay attention to the occurrences of literary devices
Sense
Candidates should attempt to connect to the piece and find what it means for them personally
Arguments and contrasts within the speech should be used to their full advantage (antitheses)
Stakes
Immediacy and stakes need to be observed
Character
While physical and vocal transformations are not required, candidates must show sensitivity
and awareness to the needs of their character
Context
Candidates should be able to demonstrate an awareness of the play at large
Choices made should be appropriate to the setting (given circumstances) of the speech or scene
Journey
Candidates should demonstrate an awareness of the character‟s journey through the course of a
play/scene/speech
Balance
Refers to sonnets and poems. In this context balance means the appropriate level of emotional
connection while not losing the form of the poem
A well read poem has the appropriate balance of personal emotional connection and observance
of form
Gold Syllabus – 10 Jan 2012
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Notes on Presentation
Costume (period or otherwise) is not required, though basic costume such as a shawl or hat may
be used if necessary. A „practice‟ skirt may be worn.
The use of small props is acceptable where appropriate to the speech or scene presented.
In the Duologue the scenes presented should show the strengths of each participant.
Use of candidates‟ native/own accent is encouraged.
Sight-Reading
Individual participants will be given their sight reading speech/scene as the candidate before
them enters the examination room. Duologue participants will have at least fifteen minutes to
prepare prior to entering the exam room.
All candidates should show their ability to communicate vocally the dramatic intentions of the
text, whilst having appropriate eye contact with the imagined characters and audience, and
thus communicating with the examiner. Any candidate diagnosed as dyslexic must provide
written evidence - see „Notes and Regulations‟. A larger print version of the text and more time
for the sight-reading preparation will be given.
Discussion
In the examinations indicated candidates will be asked to discuss their prepared pieces e.g. character
interpretation, the character‟s journey within the play, their choice of pieces etc.
Grading
Grading at Bronze, Silver and Gold levels will consist of Fail, Pass, Merit or Distinction.
All of the Duologue examinations will be marked as a pair, apart from Bronze, where 40% will be
judged on the speech (individual) and 60% on the scene and sight reading (joint). For Silver and Gold
there will be no individual grades given. However, the examiner‟s feedback may comment on each
individual taking part in order to help them progress.
A NOTE ON SELECTION OF SPEECHES & SCENES
Candidates should choose their pieces very carefully. In particular they should be sensitive to the age
and maturity of a character in relation to their own. Cross-gender speeches are acceptable.
The speeches and scenes chosen should contrast with each other. For example, this may be a contrast of
serious and comic or one piece might be reflective, the other more active, etc. A clear contrast will
better allow the examiners to see the candidate‟s full potential.
Gold Syllabus – 10 Jan 2012
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EXAMINER ASSESSMENT EXPECTATIONS
Below are the competencies expected at each assessment point. This forms the basis on which you will
be graded by the examiner. You should use this in conjunction with the assessment criteria above and
your own study, practise and research.
These are the basic requirements whether candidates are delivering individually or in pairs.
GOLD
Expectation: Candidates at this level will produce a consistently high level of work. They will
command the material, put the audience at their ease and display original, engaging work of a high
standard. Candidates achieving merit or distinction will present exceptional work that demonstrates
an understanding and appreciation of the text, deep rooted character choices and solid contextual
grounding.
Pass:
Text: candidates will use the language well to serve the needs of the piece. Vocal
delivery will be confident, assured and expressive, with good breath support and clear
articulation. Literary tools and techniques will be acknowledged in delivery. The
arguments will be realised in the performance. Attention to verse and rhythm will be in
evidence.
Character: candidates will present a considered and dynamic character. The use of
physicality and voice will support a clearly defined character. The choices made will
enhance the audience‟s understanding of the piece and serve its needs appropriately.
Context: candidates will display a full awareness of the context of the play, realise its
setting and situation, and create the sense of a larger world.
Merit:
Text: this work is of a very high standard. The language will be used imaginatively
with degrees of originality demonstrated in the delivery. Voice and breath will
demonstrate an emotional connection with the text. Arguments within the piece will be
drawn out through the use of antithesis and ambiguity. The use of iambic pentameter
will demonstrate sensitivity to the rhythmic nuances of the language.
Character: candidates will deliver a fully rounded, dynamic character. The clear
journey of the character will demonstrate their understanding and sensitivity to the
world of the character and the play at large. The audience will gain an insight into the
psychological world of the character and the conflicts contained within it.
Context: candidates will realise the world of the play through their performance. They
will weave their textual and character work seamlessly with their understanding of its
setting. In doing so they will bring the audience into awareness of the wider play and
its themes.
Gold Syllabus – 10 Jan 2012
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Distinction:
Text: this is work of an exceptional standard. The interpretation will bring to life the
language with literary tools adding colour and depth to the presentation. The use of
imagery and antithesis will add to an audience‟s appreciation and understanding. Vocal
delivery will be expressive, modulated and the breath supported. Emotion and feeling
will be sensitively expressed through the voice. Attention paid to verse will demonstrate
a strong knowledge and understanding of its mechanics and elasticity.
Character: candidates will inhabit a fully developed character, using voice, movement
and physicality to enhance their portrayal. The audience will be able to share the
journey of the character throughout the piece. The originality and dynamism of the
portrayal may surprise the audience, offering challenging and alternative
interpretations.
Context: candidates will draw audiences into a world created through their
performance. A full appreciation and understanding of the wider play will enhance the
audience‟s experience and demonstrate the candidate‟s command of the material.
Sight Reading
The particular challenge of sight reading for the Gold Certificate demands that candidates have a
strong understanding of verse, rhythm and pace.
Candidates are expected to display competency in the criteria below at every grade. These additional
criteria are particularly relevant to sight reading dramatic text, and the ease and fluency with which
candidates can achieve them will determine their score.
Grasp of mood – comedy, tragedy, irony etc.
Use of stress and emphasis as indicators of meaning and argument.
Ability to be „in the moment‟ and read as if the character is discovering thoughts for the
first time.
Ability to „lift‟ the text off the page and engage with whoever is being spoken to.
Candidates should allow discovery of the character to emerge from the language.
Gold Syllabus – 10 Jan 2012
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SELECTED GLOSSARY
This glossary is intended as a quick guide and not a comprehensive exploration of the ideas.
Candidates are strongly recommended to use the reading list to enhance their understanding of the
concepts and ideas the RADA examiners will be looking for.
Breath support -
is the use of the diaphragm to support not only the mechanical aspect of
breathing but also the emotional connection with thoughts that inspire us to
speak.
Articulation -
refers to the clarity of diction. Well articulated speech requires the muscles of
the tongue, lips and jaw to be active, mobile and strong.
Vocal Variety -
is changes in pitch range, volume and pace of the voice.
Iambic pentameter -
is the verse form most commonly used by Shakespeare and his
contemporaries; it consists of five beats, each containing one stressed and one
unstressed syllable.
Literary devices -
are employed by playwrights to add meaning, significance and lyricism to the
text; these might include assonance, alliteration, rhyme and imagery. These
devices can be used by an actor in performance to enhance the impact of the
storytelling.
Connection -
is the ability to connect the thoughts that the character has and communicate
them truthfully to the audience. The “truth” will be different for everyone but
it must come from within the performer.
Antithesis -
is often used to present an argument in Shakespearean text. It regularly
pitches or balances one idea against another, colouring the text and allowing
an actor to explore the ideas being presented by the character.
Immediacy -
refers to the character‟s need to speak. If there was no immediate need to
speak why would any character in a play say anything at all?
Stakes -
are similar in effect to immediacy. The stakes must be high (ie. there is a lot
at stake) in order for a character to speak. If there was nothing to lose, why
would a character choose to say the things they do?
Given circumstances -
are the things we can know about a given moment in the play. They might
include the location, era, time of day or status of relationships with other
characters.
Journey -
implies the emotional path travelled by a character. We invariably speak to
improve our situation and even within a short speech characters will move
from one psychological/emotional place to another.
Form -
refers to sonnets and poems. Form refers to the structure of the poem in
terms of rhyme, rhythm and other patterning. Invariably Shakespeare uses
form to shape the meaning or emotional journey of a poem.
Gold Syllabus – 10 Jan 2012
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RECOMMENDED READING
The Verbal Arts Workbook, by David Carey and Rebecca Clark Carey, Methuen Drama 2010
Shakespeare‟s Sonnets, by William Shakespeare, ed. Katherine Duncan-Jones, Arden 2010
The Actor and the Text, by Cicely Berry, Virgin Books, 2000
Voice and the Actor, by Cicely Berry, John Wiley & Sons, 1991
The Vocal Arts Workbook and DVD: A Practical Course for Developing the Expressive Range
of Your Voice, by David Carey and Rebecca Clark Carey, Methuen Drama 2008
Text in Action, by Cicely Berry, Virgin Books, 2001
The Empty Space, by Peter Brook, Penguin Books, 2008
NOTES & REGULATIONS
1
Awards are issued by the authority of the Academy.
2
The decision of the awarding body (RADA) is final.
3
Examiners for all levels and categories will be members of the RADA teaching faculty, or
associates, whose status and experience is acknowledged by the Academy.
4
The submission of an entry indicates that teachers and candidates understand and agree to
abide by the conditions and notices laid down in the „Notes and Regulations‟.
5
The minimum entry age is 14. There is no upper age limit.
6
Entry to each level of examination must be by progression from the previous level i.e. a
candidate must pass the Bronze level examination to progress to the Silver level.
7
Different speeches/scenes and sonnets must be presented for each examination.
8
Candidates must bring copies of their speeches/scenes and sonnets to the examination.
9
Candidates must register at the examination centre at least 20 minutes before their
examination time. This is crucial, as it includes their time to prepare for the sight-reading
component.
10
The Academy does not guarantee to examine at any centre if application numbers are below
those expected. Alternative examination dates will be offered or fees refunded.
11
The Academy reserves the right to decline or cancel any entry and return the fee -including
entry forms presented after the closing date.
12
Requests to transfer examination dates must be made no later than one week prior to the
examination date originally applied for.
13
Application fees are non refundable for examination cancellations and non-attendance.
Gold Syllabus – 10 Jan 2012
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