Do you know that **2027 SEC G3 Drama K352 requires both an individual scripted performance and an original group devised piece**, as well as a development journal? The officially revised subject has two compulsory assessment papers. Paper 1 is a **two-hour written examination worth 40%**, with questions on an unseen script extract and a pre-release play extract. Paper 2 is **60% coursework**, including a **3–5-minute solo scripted performance**, a group-devised live performance of **no more than 15 minutes** by **two to five candidates**, and a journal reflecting how the work developed. Drama is not simply a test of who can memorise lines most confidently.
Parents commonly ask whether their child needs professional acting experience, whether the group can film a scene instead of performing live, why a play extract is released in May, and whether a parent can help write the script or development journal. SEAB’s 2027 K352 syllabus answers these questions more precisely than old online performance guides. The coursework must be conceived for a **live audience**, even though recordings support moderation. The pre-release extract supports written exam questions and rehearsal reflection; it is not the same as the candidate’s formally graded individual performance. Coursework declarations explicitly protect independent authorship, including a prohibition against submitting work created by another person or artificial intelligence.
The most effective preparation begins with the registered subject code and the actual question or rehearsal problem. A student who knows every line but cannot communicate a character’s intention may need acting analysis. Another can perform convincingly but cannot explain how a rehearsal decision changed the audience’s understanding. A third contributes effectively in a group but struggles to document their own role. These are distinct learning needs. This parent guide explains the scheme, practical differences, safe and ethical support, and how students can move from a plausible idea to a clearly justified performance decision.
2027 SEC Drama K352 assessment at a glance
| Component | What candidates do | Marks and weighting |
|---|---|---|
| Paper 1 Written | Section A Unseen (30); B Pre-release (30); C Rehearsal analysis (20) | 80 marks, 2 hours, 40% |
| Paper 2 Solo | 3–5-minute published-script extract | 45 coursework marks |
| Paper 2 Group | Original devised live piece, 2–5 candidates, no longer than 15 min | 45 coursework marks |
| Paper 2 Journal | Individual (20) and group (10) process reflection | 30 coursework marks |
| Total coursework | Two assessed performances and Development Journal | 120 marks, 60% |
Do you know? Why is the revised Drama syllabus different from memorising a play?
The 2027 G3 Drama syllabus identifies three assessment objectives: applying knowledge and understanding to drama work, communicating in performance and analysing or evaluating performance. Memorising lines can be one ingredient of prepared acting, but it does not automatically demonstrate character interpretation, purposeful staging or an ability to reflect on what an audience experienced.
A performer could deliver every word accurately yet move in a way that contradicts the scene’s dramatic relationship. Another might improvise energetically but fail to keep a coherent character or story. A thoughtful student should explain what the scene is about, why a performance choice supports its intended effect and what happened when it was rehearsed.
This is why the written paper and live coursework complement each other. The national exam measures understanding and considered explanation, while coursework demonstrates performance choices and authentic reflection. The code K352 matters; do not use a generic acting workshop’s certificate as a substitute for the subject requirements.
Do you know? The official code and what ‘Revised’ establishes
SEAB’s 2027 school-candidate directory lists **Drama K352**, with former reference code **2299**, and marks it **Revised**. A revised marker means parents should read the current effective-year document rather than assume every old task and time limit remains unchanged. It does not establish that every past performance technique has become obsolete or that the subject is necessarily harder.
Before ordering resources, identify whether the candidate is actually registered for K352. The G1 and G2 2027 national subject lists do not contain corresponding standalone Drama entries. A student taking other subjects at G1 or G2 may still learn drama through school or CCA activities, but an offered workshop does not automatically register them for the G3 national subject.
For later graduating cohorts, the 2027 syllabus is a useful orientation, not a guarantee that every condition will remain identical. National exam requirements depend on the candidate’s actual examination year. Use school instructions for current lessons and the correct SEAB specification for terminal preparation.
Do you know? Paper 1: two hours, eighty marks and three sections
Paper 1 is a **two-hour, 80-mark written examination worth 40%**. It has three sections. Section A supplies an unseen extract and asks three compulsory ten-mark questions, totalling 30 marks. Section B concerns the pre-release extract, with one five-mark question, one ten-mark question and a choice of one of two fifteen-mark questions, totalling 30. Section C has two compulsory ten-mark questions on rehearsal and informal performance of the pre-release extract, totalling 20.
The examination is not simply about remembering what happened in a script. The candidate may need to consider acting, directing, pacing, space, props, physical movement and the intended effect on an audience. A long answer is not automatically a strong answer if it never links the chosen feature to its theatrical purpose.
During practice, ask the child to highlight the specific demand. Is the question asking how an actor might communicate uncertainty, how a director might stage an interaction, or whether a rehearsal choice worked? Each requires a different answer. The first useful skill is recognizing what needs to be justified.
Do you know? Why the pre-release extract arrives in May
SEAB states that the pre-release play extract is issued to centres in **May preceding the examination**. It may be an extended extract or an abridged version of an entire play selected from different traditions, places and periods. Candidates should study it both as text and as material that could be performed, exploring staging and interpretation before the written examination.
The syllabus recommends performing it informally during preparation. Crucially, candidates are **not practically assessed on that particular pre-release performance** as a live national practical. Instead, the written Paper 1 includes questions asking them to analyse and evaluate the rehearsal and performance process. This is an important distinction from the separate graded coursework pieces.
A family should therefore not purchase a costume for the pre-release extract thinking it must appear in the final coursework recording. Ask the school how it will prepare students and what independent observations should be recorded. The learning is in the choices and reflection, not an expensive one-off display.
Do you know? Unseen extract: how can a candidate prepare for a script never read before?
The unseen extract is provided in the written paper itself. Candidates therefore cannot memorise its exact dialogue months ahead. They can, however, practise reading dramatic situations: who holds power, what each character wants, how conflict emerges, what a pause might signal and how staging changes the audience’s interpretation.
An original practice scene might show two siblings speaking calmly while one hides a damaged object. A candidate could consider whether a delayed reply implies hesitation or whether turning away alters the relationship. Neither technique guarantees one emotional meaning. The effect depends on what the dialogue and circumstances establish.
After explaining a choice, change the imagined setting or a character’s objective. Ask whether the same pause still communicates the intended tension. This builds adaptability. A successful student does not merely identify the word ‘pause’; they can explain why one particular pause at one particular moment might matter.
Do you know? The difference between acting choices and directing choices
An actor works with role, intention, voice, physicality and interaction to communicate meaning. A director shapes the overall theatrical interpretation through staging, the organisation of performers, atmosphere, use of space and other production choices. The two perspectives can overlap, but they do not always ask the candidate to make the same decision.
Suppose a scene needs to show a child beginning to challenge an adult. The actor might change eye contact, tone or posture to signal new confidence. The director might alter the distance between performers or change which character occupies the centre of the stage. Each decision should be justified in relation to the scene and audience.
A good written answer explains both the practical action and its effect. Simply saying ‘I would make the actor louder to create tension’ is often incomplete. Consider whether the character’s status, timing and relationship to the other performer really support that choice.
Do you know? Why being loud is not automatically good stage acting
Projection helps a live audience hear, but volume is not a substitute for characterisation or emotional truth. A performer might shout every line while losing the subtler difference between fear, authority and frustration. Some quiet moments can be powerful if supported by clear intention, focus and staging appropriate to the audience and venue.
A parent can ask the student what they want listeners to understand in a particular line. Then invite them to say the line with two different plausible intentions: reassurance and warning, for example. Discuss how pitch, pace, emphasis and physical posture affect the meaning. Use ordinary voice practice rather than unsafe shouting or forcing vocal strain.
The goal is not to prescribe one theatrical reading. It is to connect chosen vocal decisions to an interpretation. A pupil who can articulate that connection is better prepared than one who equates acting quality with maximum emotional volume.
Do you know? The individual scripted performance: three to five minutes
Paper 2 includes an **Individual Scripted Performance** of an extract from a published stage play, with a planned duration of **three to five minutes**. The text should be selected by the teacher in light of the candidate’s abilities, interests and available resources. The syllabus says extracts should come from full-length stage plays, rather than mini-plays created only for classroom assessment.
This matters because a character exists within a larger dramatic context. The student needs to know what happened before the extract, the situation at the moment of speaking and the role’s intentions. A familiar monologue memorised without understanding the surrounding play may be less useful than an appropriately chosen piece the learner can interpret convincingly.
For parents, a responsible next step is to ask which interpretive decisions the student is working on. The school and supervisor control text selection and assessed performance conditions. Families can encourage line learning and healthy rehearsal habits, but should not replace the candidate’s acting or manufacture assessment material.
Do you know? What is assessed in a solo scripted piece?
The individual performance contributes 45 of the 120 raw coursework marks: 15 for application of knowledge and understanding and 30 for communication in performance. The candidate therefore needs both an intelligible dramatic interpretation and the acting skills to communicate it to a live audience.
Technical aspects may include voice, physical choices, use of stage space, responsiveness and sustaining a character or dramatic situation. The relevant assessment descriptors judge whether the candidate’s choices achieve their intended effect. One memorable gesture is not enough if the performance as a whole is incoherent.
A pupil who struggles with a passage can begin with its dramatic objective. What is the character trying to get from the other person? What changes after a particular line? Once the objective is understood, the actor can test different delivery choices and explain which version made the scene more persuasive.
Do you know? Group devised piece: what two to five students actually create
The second practical coursework element is a **Group Devised Piece**. The prescribed group size is **two to five candidates**, and the planned live performance must not exceed **15 minutes**. The piece is original work developed in response to a stimulus chosen by the teacher. Each candidate should receive broadly equal performance exposure.
This is not a group that must copy an existing published scene. Students choose their subject matter, style, roles, characterisation, structure and theatrical intentions, guided by the supplied stimulus and school supervision. Suitable stimuli can include an image, article, poem, musical work, social issue or performance form.
Parents sometimes worry that a quiet child will vanish behind more confident teammates. The official requirement for broadly equal exposure reinforces the importance of planning roles fairly. Teachers assess candidates individually, not simply award a single undifferentiated mark because the final group piece pleased an audience.
Do you know? How to collaborate without one performer taking over
An effective devising group needs agreement about the story’s central question and each person’s role. A dominant student may propose several attractive scenes but leave teammates little room to contribute. Another group may try to give everyone equal speaking lines without considering whether the overall story makes sense. Equal exposure and coherent dramatic purpose must be planned together.
Consider an invented stimulus involving a school community deciding how to use a shared space. Different characters can hold conflicting priorities. The group can structure the piece so that every performer makes a consequential choice rather than appearing briefly to recite a slogan. That would create a meaningful role for each person.
A parent should not negotiate the whole group script on the students’ behalf. Encourage the child to communicate respectfully with group members and bring unresolved fairness or rehearsal questions to the teacher. Coursework authenticity and individual contribution matter.
Do you know? Why the group work is designed for a live audience
SEAB states that the assessed practical pieces should be **intended for live performance** in a suitable performance space. Video recordings are required for moderation, but the pieces should not be conceived as film or television productions. This distinction matters because stage and screen use space, focus and timing differently.
A film can use close-ups and editing to direct attention. Live theatre must work with what the audience can perceive from where they sit, through physical presence, voice, interaction and staging. A long recorded montage may look impressive but fail to demonstrate the specified live-performance skill.
Parents can ask whether the audience would understand the action without a camera cut or explanatory caption. The candidate and teacher should decide the practical staging. Families should not create cinematic effects to disguise a performance that does not meet the live brief.
Do you know? The Development Journal is not a scrapbook of rehearsal photographs
The third coursework element is a **Development Journal** covering both the solo scripted performance and the candidate’s own contribution to the group devised piece. Its total is 30 marks within Paper 2, with 20 allocated to reflection on the individual performance and 10 to the group work. It asks the student to analyse and evaluate choices, not merely report that rehearsals occurred.
A journal may describe an initial idea, a challenge discovered in rehearsal, a particular change and the audience effect observed afterwards. Photographs or notes can support an account where authorised, but they cannot replace clear analysis. A few accurate observations may reveal more growth than many pages of generic ‘we worked hard together’ statements.
Parents should not write the journal in sophisticated adult language. Ask the student which choice changed and what evidence supports the reflection. The documented artistic decisions and voice should remain genuinely the candidate’s under the school’s authentication rules.
Do you know? Why rehearsal evidence is different from a flattering review
A useful rehearsal review asks whether the audience understood the intended relationship or turning point. A statement such as ‘everyone liked our scene’ is too general unless supported by specific feedback. Some viewers may enjoy a lively performance while misunderstanding the conflict the group intended to portray.
An original teaching example might involve a scene where a silent character is supposed to signal disagreement. After a practice audience says they thought the character was merely distracted, the performer may need to change eye focus or position. The next rehearsal should test whether the adjustment communicates more clearly.
Encourage the child to distinguish observation, interpretation and response. It is acceptable for a first approach not to work. Indeed, a thoughtful record of why it failed and how the group adapted can demonstrate the evaluative process the course values.
Do you know? An original scene exercise: two ways to communicate a secret
Imagine a fictional scene in which two friends discuss a missing library book and one knows more than they admit. In Version A, the knowledgeable friend looks directly at the other person and answers quickly. In Version B, they avoid eye contact, pause and move away from the desk before answering. The words are identical, but the audience may infer different motives.
Ask the learner which version better supports the intended characterisation and why. A pause and avoidance may suggest guilt, but can also communicate anxiety or uncertainty depending on the rest of the scene. The performer must interpret the text rather than assume a single universal meaning for every movement.
Then change the dramatic objective: perhaps the friend is protecting someone else’s confidence instead of hiding a mistake. Does the same gesture now carry a different implication? This kind of exploration teaches acting as a process of choices supported by context. It is an invented exercise, not an official SEC script.
Do you know? Proxemics: how distance on stage can tell a story
Proxemics concerns spatial relationships between performers. Distance, placement and orientation can convey intimacy, conflict, status or isolation, but the effect depends on context. A character standing far from another may be angry, fearful or simply occupied with a task. Candidates should explain the intended theatrical meaning.
Consider a fictional family argument in which one person crosses the room while another remains still. Ask whether the movement makes the standing character appear more powerful, more vulnerable or more uncertain. The answer changes with voice, timing and prior action. A strong student considers the interplay rather than naming one gesture as automatically correct.
For written Paper 1 answers, suggest a practical blocking choice and relate it to the audience’s understanding. For coursework, stage choices must be developed authentically and supervised by the teacher. The parent can discuss the concept without directing the final assessed performance.
Do you know? Voice, silence and pacing should not be reduced to performance tricks
A long silence can create expectation, but an unnecessarily long pause may also interrupt the scene’s energy or leave the audience unsure what happened. Rapid dialogue can show urgency but might reduce clarity. The best choice follows the dramatic situation and the intended relationship among characters.
A parent-friendly rehearsal discussion asks: What changed immediately before the pause? What is the character thinking or deciding? What should the audience notice during the silence? If the pupil cannot answer, the pause may be decorative rather than purposeful. Repeat the scene using a shorter or differently placed silence and compare the effect.
Teach the student to justify timing rather than imitate a favourite actor. This builds the analytic language needed for the written paper and the reflective skills the Development Journal assesses.
Do you know? Costume and props: use them to support meaning, not hide weak acting
Props, set elements, costume and lighting can help establish time, place or character, but the syllabus’s assessment concerns how theatrical resources communicate an intended effect. A complicated prop is not automatically better than a simple one. Overemphasis on decoration can distract from acting relationships and coherent storytelling.
In a hypothetical scene about a broken promise, a single envelope might become a meaningful object. A student should be able to explain why handling, concealing or revealing it changes the audience’s understanding. Buying many realistic props will not repair a scene if the performers have not decided what the characters want.
Use safe school-authorised resources. Do not use dangerous objects, unsupervised stage effects or material that violates the teacher’s instructions. For examination coursework, the child’s authentic artistic choices and the proper performance space matter more than a parent’s budget.
Do you know? What does it mean to devise an original scene?
Devising creates dramatic material through exploration, collaboration and decisions, rather than simply rehearsing a fully supplied script. The group might begin with an image, question or issue and explore possible characters, conflicts and structures. The chosen performance should be coherent and appropriate to the teacher-specified stimulus.
A weak devised piece can become a sequence of unrelated skits joined by a title. A stronger piece has a central dramatic focus, developments that matter and a performance structure that lets the audience understand why events follow one another. Ask the student to summarise the piece’s beginning, turning point and ending in a few sentences.
Authenticity matters. The students, not an outside scriptwriter or generative system, must create the assessed work. Families should encourage students to ask the supervising teacher about permitted research, source use and rehearsal processes.
Do you know? Coursework, AI and independent authorship
The 2027 K352 syllabus requires a declaration that submitted coursework is the candidate’s own and does not contain work published or assisted by another person or created through artificial intelligence. Parents and students should take the exact declaration and school instructions seriously rather than assuming that AI-written dialogue or an adult-composed development journal is an acceptable shortcut.
General educational conversation is different from secretly producing a performance or journal for the pupil. A parent can ask which choice the learner made and why, help organise a rehearsal calendar within school rules, and encourage communication with the teacher. They should not supply final assessed scripts, lines, critical analysis or hidden digital materials that falsify authorship.
When any source or collaboration raises uncertainty, ask the Coursework Supervisor. The assessment is designed to recognise the candidate’s own acting and decision-making, and ethical preparation is part of supporting that learning.
Do you know? What if my child is shy but interested in Drama?
Being quiet in unfamiliar situations does not mean a student has no capacity to develop performance or dramatic analysis. Some learners are observant and thoughtful about characters but need gradual practice communicating in a group. Others speak freely yet struggle to listen and respond as a scene partner. These are different starting points.
A supportive routine might begin with reading a short exchange, identifying character objectives and trying one line with two plausible intentions. The child can practise listening as closely as speaking. Only later should they be expected to sustain a longer scene under school supervision.
Parents should avoid promising that shyness will disappear, or forcing public performances beyond appropriate school arrangements. Ask the teacher how the curriculum supports readiness and which specific communication skill could be built next.
Do you know? What if the child is a confident CCA performer but writes weak exam answers?
Acting experience can be an advantage, but a practical choice must be articulated to earn credit in a written examination. A learner who intuitively changes their movement may struggle to explain the intended audience effect and evaluate whether it succeeded. Another student can write sophisticated analysis yet need work on authentic performance.
Ask the child to describe one rehearsal decision with three elements: the original intention, the action taken and the evidence of its effect. If they say only ‘it was more dramatic’, invite a more specific description of the relationship, atmosphere or character development. This converts practical intuition into communicable reasoning.
Then use a different scene and ask for a new explanation. The aim is to be able to discuss theatrical decisions in context, not memorize a standard paragraph about voice and movement.
Do you know? Two scripts are not two different textbooks for a memorisation contest
Paper 1 refers to an unseen extract and the pre-release material, while Paper 2 includes the individually selected scripted performance. These are different assessment roles. The student’s coursework play excerpt is not automatically the written Paper 1 unseen text, and the May pre-release material is not a guarantee that the final live solo performance will use the same script.
Parents who conflate the materials may direct all rehearsal toward one extract while ignoring other assessed work. Keep the subject’s three document roles clear: pre-release study and reflective written questions, unseen analysis at exam time, and teacher-selected assessed stage performance.
A simple folder labels each text by purpose. The learner can see which task requires interpretation, rehearsal evidence or live performance and avoid confusing the examination scheme.
Do you know? A six-week drama-learning sequence that respects assessed coursework
Week one: confirm K352 and the school’s authorised preparation programme, then identify one repeated issue: understanding subtext, clear vocal intention, movement, ensemble collaboration or rehearsal reflection. Week two: use an original unassessed short scene to explore that skill. Week three: repeat with a changed objective or stage arrangement, explaining what the audience might notice.
Week four: practise a short written analysis of a new extract, distinguishing actor and director decisions. Week five: revisit the originally weak skill through another unfamiliar task. Week six: review whether the pupil can justify a new artistic choice without prompts. The school continues to manage assessed rehearsals and performance evidence.
This is a general learning cycle, not the formal national coursework calendar. Students need time for other subjects, rest and healthy social interaction. Dramatic learning becomes more dependable when rehearsal has clear questions rather than an endless requirement to repeat the entire script.
Do you know? Why live Drama can teach useful skills beyond the theatre
Acting and directing encourage attention to communication, perspective, audience and consequence. A student must recognise that words can carry different meanings depending on context, and that collaborative work requires listening as well as offering ideas. Such learning can be valuable for presentations, discussion and responsible interpretation of media.
Drama also teaches the limits of an immediate judgement. A first rehearsal may not communicate the intended scene; a new choice may improve it, and feedback might reveal another problem. Revising a performance based on evidence is a form of inquiry, not proof that the original idea was worthless.
Parents can support genuine interest without reducing every conversation to grade prediction. Ask what the student discovered about a character, audience or collaboration and how that insight changed a performance. These are meaningful signs of learning.
Frequently asked parent questions about SEC Drama
Does 2027 SEC Drama require solo and group performances?
Yes. K352 coursework includes one individual scripted performance and one original group devised piece, plus a Development Journal.
Is Drama K352 a G3 subject?
Yes. SEAB’s 2027 G3 school-candidate directory lists Drama K352, formerly code 2299.
Is 2027 Drama marked Revised?
Yes. Use the official K352 PDF for current structure and rules rather than assuming old paper conditions.
How much is the written Drama paper worth?
Forty per cent, with eighty raw marks in a two-hour paper.
How much is Drama coursework worth?
Sixty per cent, with 120 raw marks across performances and the journal.
How many questions appear in the unseen section?
Three compulsory ten-mark questions, totalling thirty marks in Section A.
What is the pre-release section?
Section B uses a play extract released to centres in May, with thirty marks distributed across specified questions.
Must candidates answer both fifteen-mark choices?
No. They choose one fifteen-mark question from two options in the pre-release section.
What is written Section C?
Two compulsory ten-mark questions on the candidate’s rehearsal and informal performance process for the pre-release material.
Is the pre-release rehearsal itself a formally assessed live performance?
No. Its rehearsal experiences inform written Paper 1 analysis; the formal live coursework pieces are separate.
How long is the solo scripted performance?
Three to five minutes in the current K352 coursework scheme.
Must the solo piece come from a published play?
Yes. The teacher selects a suitable extract from an existing published stage play, not a mini-play made solely for the classroom.
How many people are in a devised group?
Two to five candidates, with broadly equal exposure expected in a group piece.
How long may a group piece run?
It should not exceed fifteen minutes under the published 2027 syllabus.
Can a group produce a film instead of live Drama?
No. Assessed pieces must be conceived for a live audience, though video evidence is recorded for moderation.
Is the group piece scripted by the teacher?
The teacher selects the stimulus, while candidates create the original devised material and theatrical choices.
Are group marks identical for every student?
No. Candidates are assessed individually against the relevant criteria.
What is the Development Journal?
An account analysing and evaluating the candidate’s own processes and choices across solo and group coursework.
How many marks is the journal?
Thirty of the 120 raw coursework marks, with twenty for the individual and ten for the group reflections.
Can a parent write the Development Journal?
No. Assessed work must be authentically the candidate’s, according to school and SEAB rules.
Can AI write a devised script for assessed submission?
The 2027 coursework declaration excludes work created by AI or other people. Follow the school’s exact integrity guidance.
Does a confident speaking voice guarantee high marks?
No. Characterisation, theatrical intention, interaction and effect on the audience also matter.
Can a shy student take Drama?
Suitability depends on the school’s offering and the learner’s interests and needs; shyness alone does not provide a syllabus verdict.
Does every school offer K352?
Not necessarily. Ask the child’s school about actual subject combinations and entry arrangements.
What if my child is strong in acting but weak in written analysis?
Practise explaining one choice, its intended audience effect and the evidence of whether it worked.
What if our group has one dominant member?
Discuss role balance and broadly equal exposure with the supervising teacher; students should develop the work collaboratively.
What is proxemics?
Spatial relationships between performers, including how distance and placement can affect meaning in a scene.
Are props and costumes compulsory to create an elaborate show?
Use theatrical resources appropriately to support the intended effect; complexity and cost are not automatic measures of quality.
Can older O-Level Drama material be used?
Selected activities may help, but verify alignment and current K352 requirements before treating a full older paper as an exact 2027 mock.
What should I bring to a Drama teacher meeting?
The current code, a permitted work sample or marked response, and a question about the exact artistic or analytical skill that needs development.
Will K352 stay the same for future exam years?
Not guaranteed. Students sitting later SEC examinations should verify the applicable year and school instructions.
Is Drama the same as Literature in English?
No. Literature studies texts through its own syllabus; Drama K352 formally assesses acting, devising and performance analysis.
Is the two-hour paper all about memorising scripted lines?
No. It requires analysis of unseen and pre-release material and reflection on rehearsal decisions.
How should parents help safely?
Encourage understanding, healthy practice and honest reflection while leaving assessed creative work and supervision to the candidate and school.
Official 2027 Drama syllabus and parent reading
Read SEAB’s 2027 G3 Drama K352 syllabus for the actual paper scheme, assessment criteria, live-performance requirements and coursework declaration. The G3 school-candidate directory confirms the code and revised designation. Students should follow their school’s prescribed rehearsal and authenticity conditions for the formal coursework.
For comparison read how standalone SEC Literature is assessed, the Art portfolio and Higher Art parent guide, and assessment objectives and paper weights. The Clementi three-pupil teaching reference illustrates diagnostic and independent learning methods, not Drama coursework policy.