Qualification

Accredited
Oxford Cambridge and RSA

GCSE (9-1)
Moderators’ report

DRAMA
J316
For first teaching in 2016

J316/01/02 Summer 2024 series

Version 1 ocr.org.uk/drama
GCSE (9-1) Drama - J316/01/02 - Summer 2024 Moderators’ report

Contents
Introduction ................................................................................................................................................. 3
Online courses ........................................................................................................................................ 3
General overview ........................................................................................................................................ 4
Common misconceptions ........................................................................................................................ 7
Avoiding potential malpractice ................................................................................................................ 7
Helpful resources .................................................................................................................................... 7
Additional comments ............................................................................................................................... 7

2 © OCR 2024
GCSE (9-1) Drama - J316/01/02 - Summer 2024 Moderators’ report

Introduction
Our moderators’ reports are produced to offer constructive feedback on candidates’ performance in the
examinations. They provide useful guidance for future candidates.

The reports will include a general commentary on candidates’ performance, identify technical aspects
examined in the questions and highlight good performance and where performance could be improved.
The reports will also explain aspects which caused difficulty and why the difficulties arose, whether
through a lack of knowledge, poor examination technique, or any other identifiable and explainable
reason.

Where overall performance on a question/question part was considered good, with no particular areas to
highlight, these questions have not been included in the report.

Online courses
We have created online courses to build your confidence in delivering, marking and administering
internal assessment for our qualifications. Courses are available for Cambridge Nationals, GCSE, A
Level and Cambridge Technicals (2016).

Cambridge Nationals
All teachers delivering our redeveloped Cambridge Nationals suite from September 2022 are asked to
complete the Essentials for the NEA course, which describes how to guide and support your students.
You'll receive a certificate which you should retain.

Following this you can also complete a subject-specific Focus on Internal Assessment course for your
individual Cambridge Nationals qualification, covering marking and delivery.

GCSE, A Level and Cambridge Technicals (2016)

We recommend all teachers complete the introductory module Building your Confidence in Internal
Assessment, which covers key internal assessment and standardisation principles.

Following this you will find a subject-specific course for your individual qualification, covering marking
criteria with examples and commentary, along with interactive marking practice.

Accessing our online courses

You can access all our online courses from our teacher support website Teach Cambridge.

You will find links relevant to your subject under Assessment, NEA/Coursework and then Online Courses
from the left hand menu on your Subject page.

If you have any queries, please contact our Customer Support Centre on 01223 553998 or email
[email protected].

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3 © OCR 2024
GCSE (9-1) Drama - J316/01/02 - Summer 2024 Moderators’ report

General overview
Centres continue to prepare candidates well for this component with some innovative and creative
performances seen. The majority of centres have a good understanding of the requirements of this
component and their marking is in line with the nationally agreed standard.

Centres who carry out robust internal moderation are congratulated for the accuracy of their
submissions.

Candidates who did well generally: Candidates who did less well generally:

• chose a stimulus which allowed for the creation • chose a stimulus with which they did not
of interesting drama engage
• had clear dramatic intentions • had no clear intentions
• had a clearly defined structure • did not have a defined structure
• focused on scripting – the language being used • did not focus on the language being used
and why
• created a portfolio which did not adequately
• created a portfolio which clearly detailed the chart the devising process
devising process
• created a portfolio which was unfocused
• analysed and evaluated throughout the
• included little or no analysis and evaluation
devising process
• design candidates created designs which did
• design candidates – created a fully integrated
not support the performance.
design which supported the performance.

Administration
The submissions received form the majority of centres was exemplary – all relevant documentation was
provided. Most centres filmed the performances from a position which enabled all candidates to be seen
and heard. There are still a minority of centres who do not place the camera in a central position which is
close to the performance space.

Some centres are still using the wrong entry code – J316/01 indicates that the centre will be submitting
all of the requested sample through Submit for Assessment – Running Order, Centre Assessment
Forms, portfolios and performances. J316/02 indicates that the centre will be submitting all of their
sample as postal moderation. Some centres are still confusing the J316/02 moderator with the J316/03
examiner and sending their sample to the wrong address. Centres are asked to carefully check their
paperwork to make sure the sample for moderation is sent to the moderator. Centres are reminded that
their moderator should receive the moderation sample within three working days of the request for
the sample being made – a few centres were significantly outside of this time frame when submitting
their sample.

The Running Order is a vital tool in the moderation process as it allows the moderator to quickly and
efficiently identify in which group the candidates for moderation are located. An increasing number of
centres indicated on the Centre Assessment Form the group number of the candidate – this was
incredibly useful.

USBs submitted tended to be clearly labelled with each candidate in the sample identified in separate
chapters. Centres submitting DVDs should be clearly chaptered.

4 © OCR 2024
GCSE (9-1) Drama - J316/01/02 - Summer 2024 Moderators’ report

Best practice is for all candidates to identify themselves by name and candidate number at the start of
their performance. An increasing number of centres also have that information on a sign held by the
candidate. It is important that candidates say their name and number clearly. Lighting for the
introduction of candidates should be arranged so that the lighting does not wash out either the
candidate’s face or their sign. An increasing number of centres provided photographs of candidates in
costume with their submission which was most helpful.

Centres are reminded that the audience for this component is the moderator and therefore the camera
should be placed in a central position face on to the performance space which captures all the action. It
is worth carrying out preliminary checks to make sure that the volume levels are good and that lighting is
not washing out facial expressions.

It is good practice for centres to check that once recordings have been uploaded to USB/DVD they are
then able to be played on a laptop. Centres who password protected USBs ensured that the correct
password was forwarded to the moderator.

Teacher commentary on the Centre Assessment Form and, increasingly, within the body of the portfolio
was often specific, insightful and pertinent. Where commentary was at its best, the centre highlighted
why a mark had been awarded in conjunction with links to the assessment criteria in the portfolio.

A few centres very helpfully included a table detailing what their annotations meant. A small minority of
centres continue to rewrite the descriptors from the assessment criteria.

Portfolios
A small minority of centres are still allowing candidates to use bulky art books or folders for their
portfolios. Portfolios should be completed on A4 paper with all pages secured together. Centres are
reminded to check the requirements of the portfolios in the specification as some portfolios were
overlong.

There were many examples of excellent portfolio work. Candidates who organised their portfolios into
three distinct sections and focused on meeting the assessment criteria for that section had the most
successful outcomes. Analysis and evaluation should be present throughout the portfolio and candidates
who evaluated and analysed their work from the initial idea through the planning and development of
their performance and to the final performance had the most successful outcomes.

The most positive outcomes came from candidates who researched one stimulus, carried out further
research raised by the initial research and then identified a clear and defined idea of what they wanted to
create. Candidates who had clear dramatic intentions tended to use their research to inform this.

The portfolio should only contain material relevant to the piece being devised. Candidates should not
research multiple stimuli nor should they include detailed research about practitioners. Practitioner
theories and techniques being used should only be included where they have a practical impact on the
piece being devised. Only material relevant to the devising process should be included in the portfolio.

The very best portfolios were succinct and focused documents which detailed choices made and why.
An increasing number of candidates are thinking about the intended impact of the choices made for an
audience. Clearly defined dramatic intentions often saw candidates developing a sophisticated
awareness of the impact of the piece on an audience.

5 © OCR 2024
GCSE (9-1) Drama - J316/01/02 - Summer 2024 Moderators’ report

Many more candidates included scripting details in their portfolios and this led to pieces which met the
dramatic intentions and enhanced the impact on the audience. For some candidates, the choice of
language in dialogue, monologue and chorus was as important as the physical performance. These
candidates also tended to analyse the impact of their use of language in their final evaluation.
Candidates were most successful in presenting their piece to an audience when they had thought about
the structure of their piece and used appropriate language to explain this.

Many more candidates this year used still photographs from rehearsals, diagrams and sketches to show
the development of ideas. Candidates who annotated these tended to respond in more depth.

Some candidates are still using a diary style approach to section two of the portfolio – Creating and
developing drama.

More candidates are using a reflective approach which details changes and adaptations made and why.
Candidates using this approach often demonstrated how the play was evolving and provided specific
detail about decisions made and plans to develop the piece further.

Increasing numbers of candidates are giving time and consideration to the evaluation of the final
performance and analysis of how to improve for future performances.

Performances
This year there was a greater spread of engagement across all stimuli. A variety of styles of drama were
created in response to the stimuli available. There were an increasing number of effective and arresting
opening sequences for all stimuli chosen.

It was very clear that candidates relished the challenges of creating their drama. Centres continue to
create opportunities for candidates to receive feedback on their pieces leading to some focused
adaptations. Some candidates are still exceeding the recommended maximum time frames – creative
editing allowing ‘the story’ to be told succinctly is vitally important. A very small number of candidates did
not reach the absolute minimum performance time. Centres are advised to adhere to the time frames
given within the specification.

The use of simple staging, costume, lighting and sound supported candidates to deliver their devised
pieces.

Candidates who had focused on the structure and scripting of their devised pieces often created scenes
in which characters were able to be developed.

Frantic Assembly is still an influence on some candidates but those who used chair duets tended to
integrate them appropriately and sparingly.

6 © OCR 2024
GCSE (9-1) Drama - J316/01/02 - Summer 2024 Moderators’ report

Design
Centres must make sure they know with the requirements in the specification for design options to
ensure candidates complete the required tasks.

There were fewer design candidates this year and again the range of ability was wide. The best
outcomes were seen when the designer worked closely with their group and ensured that the design
responded to the needs of the performance piece. Lighting, sound and set design candidates generally
submitted cue sheets and ground plans but there were some candidates who did not submit this
supporting evidence.

The most successful design candidates had received guidance before embarking on their design brief.

Assessment for learning

Design candidates should receive technical advice before embarking on their design brief.
Candidates should focus on the scripting of their piece – focus on the language being used
and the potential impact for the audience.

Common misconceptions
Candidates do not need to choose a practitioner on whom to base their work.

Research should be relevant to the stimulus chosen and candidates should indicate how the research
has informed the devising process.

Candidates should not research stimuli they are not using.

Avoiding potential malpractice

Centres must not give candidates a framework for the portfolios.

Check for common passages in a group’s portfolios

Candidates must make sure all sources are acknowledged.

Helpful resources
Teach Cambridge GCSE (9-1) Drama resources

Additional comments
Please make sure that each candidate is clearly identified.

Clearly identify where the moderator can find the filmed work of each candidate.

7 © OCR 2024
Supporting you
Teach Make sure you visit our secure website Teach Cambridge to find the full
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Cambridge secure materials such as set assignments and exemplars, online and
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qualifications, please contact your exams officer. You can forward them
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Reviews of If any of your students’ results are not as expected, you may wish to
consider one of our post-results services. For full information about the
marking options available visit the OCR website.

Access to We've made it easier for Exams Officers to download copies of your
candidates' completed papers or 'scripts'. Your centre can use these
Scripts scripts to decide whether to request a review of marking and to support
teaching and learning.
Our free, on-demand service, Access to Scripts is available via our
single sign-on service, My Cambridge. Step-by-step instructions are on
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Online courses
Enhance your skills and confidence in internal assessment
What are our online courses? Which courses are available?
Our online courses are self-paced eLearning There are two types of online course: an
courses designed to help you deliver, mark introductory module and subject-specific
and administer internal assessment for our courses.
qualifications. They are suitable for both new and
The introductory module, Building your Confidence
experienced teachers who want to refresh their
in Internal Assessment, is designed for all teachers
knowledge and practice.
who are involved in internal assessment for our
qualifications. It covers the following topics:
Why should you use our online • the purpose and benefits of internal assessment
courses? • the roles and responsibilities of teachers,
With these online courses you will: assessors, internal verifiers and moderators
• learn about the key principles and processes • the principles and methods of standardisation
of internal assessment and standardisation • the best practices for collecting, storing and
• gain a deeper understanding of the marking submitting evidence
criteria and how to apply them consistently • the common issues and challenges in internal
and accurately assessment and how to avoid them.
• see examples of student work with commentary The subject-specific courses are tailored for each
and feedback from OCR moderators qualification that has non-exam assessment (NEA)
• have the opportunity to practise marking and units, except for AS Level and Entry Level. They
compare your judgements with those of OCR cover the following topics:
moderators • the structure and content of the NEA units
• receive instant feedback and guidance on • the assessment objectives and marking criteria
your marking and standardisation skills for the NEA units
• be able to track your progress and • examples of student work with commentary and
achievements through the courses. feedback for the NEA units
• interactive marking practice and feedback
How can you access our online for the NEA units.
courses? We are also developing courses for some of the
Access courses from Teach Cambridge. Teach examined units, which will be available soon.
Cambridge is our secure teacher website, where
you’ll find all teacher support for your subject. How can you get support and
If you already have a Teach Cambridge account, feedback?
you’ll find available courses for your subject under
Assessment - NEA/Coursework - Online courses. If you have any queries, please contact our
Click on the blue arrow to start the course. Customer Support Centre on 01223 553998 or
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If you don’t have a Teach Cambridge account
yet, ask your exams officer to set you up – just We welcome your feedback and suggestions on
send them this link and ask them to add you as a how to improve the online courses and make them
Teacher. more useful and relevant for you. You can share
your views by completing the evaluation form at
Access the courses anytime, anywhere and at the end of each course.
your own pace. You can also revisit the courses as
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