Formative Assessment 

The goal of formative assessment is to monitor student learning to provide ongoing feedback that can be used by instructors to improve their teaching and by students to improve their learning. Formative assessments need to flow naturally from the interaction of the educator and the students. As respect and familiarity grow between the teacher and student, trust develops that will help the student refine their product and help alleviate the fear that often accompanies assessment of performance. 

Summative Assessment 

Summative theatre assessments are used to measure student learning and skill acquisition at the conclusion of an instructional period. Summative assessments may be used at the end of a unit, a series of lessons, or a production. These assessments should provide opportunities for the students to demonstrate their achievement of the theatre learning standard(s).  Performances and performance assessments should build on prior learning standards in a natural way, allowing for growth and improvement from one performance to the next.

II.DT.CR.3.2 Explore the connection to a character through mind/body/voice and use research and script analysis to revise dramatic choices and create a vivid character.

Formative Assessment: In preparation for a character role, students analyze scripts by dividing them into “beats” and assigning dynamic tactics to each objective. Through review of the beat breakdown, the teacher can determine the students' understanding of character and scene, as well as their approach to acting method, and then offer feedback and guidance. 

Guide to Scoring a Script

Understanding Beats Analysis for Scripts Dramatics Magazine 

II.DT.PR.2.1 Develop proficiency through practice and implement the voice, body, observation, and imagination to expand skills in a rehearsal or drama/theatre performance.

Summative Assessment: After introducing movement techniques, ask students to create a short (1-3 minute), devised theatre work intentionally incorporating the 9 Viewpoints (Tempo, Duration, Kinesthetic Response, Repetition, Shape, Gesture, Architecture, Spatial Relationship, Topography). In small groups, they choose from a selection of short poems. Each group chooses a performance space and works as an ensemble to create their theatrical interpretation of the poem. Students may use props, costumes, and sound if they choose. After each group performs their piece, students complete written feedback of each group’s performance, describing what they noticed in relation to each of the 9 Viewpoints. This written feedback is used in a whole group discussion, facilitated by the teacher, incorporating the language and vocabulary of the Viewpoints lessons. Ask students what they learned about incorporating Viewpoints, both by performing and by observing performances.

Peer feedback form

Rubric

II.DT.RE.1.2 Identify choices in a drama/theatre work and demonstrate the ability to receive and act upon coaching, feedback, and constructive criticism.

Summative Assessment: Once a production is wrapped, take time with students to evaluate the experience. Pose the questions: ‘Was the production a success?’ ‘What worked and what didn’t?’ Specifically, ‘Were strong character choices made and were they effective?’ Ask the class to join in critiquing each performer, one at a time. Concentrate on the positive. Allow students to make creative suggestions. After the critique, ask each student to grade the performance on a scale of 3/2/1, 3 being high and 1 being low. Also ask the student performer to grade themselves. Compare the scores. If the grades do not align, collectively consider why. Students are graded based on their contribution to the conversation. 

• Superior: Student engages in highly purposeful feedback offering specific details regarding both personal and peer performances. 

• Proficient: Student demonstrates understanding of basic character development and performance qualities and can offer positive feedback for peers.

• Substandard: Student fails to offer valid, positive critiques of self and peers.

II.DT.CN.3.1 Synthesize and apply critical research on a historical time period to create a design for a modern drama/theatre space. 

Summative Assessment: Ask the student to compose a term paper that explores a specific production of a drama/theatre work’s design elements. The chosen production can be from any staged recording or live performance. The research should address societal, historical, and cultural contexts by describing the qualitative details of the given time period assigned to the story. Ask the student to consider the significance between story and cultural perspective. The student should be able to communicate their opinion, either defending the design of the drama/theatre work or denouncing its merits. The student is successful when they can effectively describe specific elements explicit to the story, choices made within the production, and context of universal themes. Their final term paper can be assessed as follows:

• Superior: Deep understanding of the topic is demonstrated. The student uses dynamic examples across contexts and relates them to design elements within a drama/theatre production. Students are able to articulate the representation and significance of societal, historical, and cultural elements of the chosen production and determine if they are presented effectively. The student can further make suggestions as to how the production design could have been served better by different creative choices.

• Proficient: Basic understanding is achieved. The student can express how societal, historical, and cultural contexts are represented in the production design. Based on those contexts, they are able to put forward their opinion of the production design, with examples.

• Substandard: Understanding is lacking. The student struggles to recognize design choices in a production based on societal, historical, and cultural contexts.