📚 AS CCEA Drama: 2026 Exam Changes and Trends | AS CCEA 戏剧：2026年考试变化与趋势
The CCEA AS Drama qualification is entering a new phase, with significant updates planned for first assessment in 2026. These changes reflect a broader shift in drama education across the UK, placing greater emphasis on contemporary practice, diverse perspectives, and the integration of digital skills. For students and teachers preparing for the next academic cycle, understanding these developments is essential to navigating the revised syllabus with confidence. This article breaks down the key modifications, explores the rationale behind them, and offers practical guidance on how to adapt teaching and revision strategies effectively.
CCEA 的 AS 戏剧资格考试即将进入新阶段，计划于 2026 年首次评估的重大更新即将落地。这些变化反映了整个英国戏剧教育向当代实践、多元视角和数字技能整合的更广泛转变。对于准备下一个教学周期的师生而言，理解这些发展对于自信地应对修订后的课程大纲至关重要。本文逐一解析关键修改，探讨其背后动因，并就如何有效调整教学与复习策略提供实用指导。
1. Overview of the Revised Specification | 修订版规范概述
CCEA has designed a refreshed AS Drama specification that will be taught from September 2025 and first examined in the summer of 2026. The new structure aims to create a more balanced interplay between practical performance and academic investigation, ensuring that learners develop both as performers and as critical interpreters of theatre. The qualification remains a one-year AS course, worth 40% of the full A level, but with an updated weighting of components.
CCEA 设计了焕然一新的 AS 戏剧规范，将于 2025 年 9 月开始教学，并于 2026 年夏季首次考试。新结构旨在在实践表演与学术探究之间建立更均衡的互动，确保学习者既成长为表演者，也成长为戏剧的批判性诠释者。该资格仍为一年制 AS 课程，占完整 A level 的 40%，但各单元权重有所调整。
The refreshed curriculum explicitly responds to feedback from teachers who requested more flexibility in text choice and a deeper integration of contemporary theatre-makers. The revised content list now includes works by underrepresented playwrights and companies, encouraging students to engage with a plurality of theatrical voices. This shift is designed to make the course more inclusive and relevant to modern audiences.
更新后的课程明确回应了教师们的反馈，他们要求在文本选择上有更大灵活性，并更深入地融入当代戏剧创作者。修订后的内容列表现在包含代表性不足的剧作家和剧团的作品，鼓励学生接触多元的戏剧声音。这一转变旨在使课程更具包容性，并与现代观众更相关。
2. New Assessment Structure at a Glance | 新评估结构一览
The AS qualification continues to comprise two mandatory units, but their internal composition has been redesigned. Unit 1, ‘Drama Performance’, now accounts for 45% of the AS and is internally assessed and externally moderated. Unit 2, ‘Theatre in Practice’, makes up the remaining 55% through a written examination. This marks a subtle rebalancing from the previous 50:50 split, giving slightly more weight to the examined component.
AS 资格仍由两个必修单元组成，但内部构成已重新设计。第一单元“戏剧表演”现在占 AS 总成绩的 45%，由校内评估、外部审核。第二单元“实践中的戏剧”通过笔试进行，占剩下的 55%。这较以往 50:50 的比例做了微调，略微加重了笔试部分的分量。
Unit 1 now requires students to present two contrasting performance extracts: one monologue or duologue from a published play, and one group piece devised in response to a stimulus. In addition, candidates submit a working notebook documenting their creative journey, research, and reflections on the devising process. The group performance must be between 12 and 18 minutes in length, while the scripted piece should typically run 3 to 5 minutes.
第一单元现在要求学生呈现两段对比性的表演片段：一段选自已出版剧作的对白或独白，另一段是根据刺激素材集体创编的小组作品。此外，考生须提交一份创作日志，记录其创作历程、研究以及对创编过程的反思。小组表演时长须在 12 至 18 分钟之间，剧本片段通常为 3 至 5 分钟。
3. Refreshed Assessment Objectives | 更新的评估目标
The assessment objectives (AOs) have been refined to better distinguish between practical skills and analytical depth. AO1 remains focused on ‘Create and develop ideas to communicate meaning for theatrical performance’, but now explicitly includes the application of staging and design concepts. AO2 retains its emphasis on analysis and evaluation, yet AO3 has been broadened to encompass knowledge and understanding of how drama is developed and performed across different contexts.
评估目标经过细化，以更好地区分实践技能与分析深度。AO1 仍聚焦“创造和发展思想以传达戏剧表演的意义”，但现在明确包含了舞台设计和设计概念的运用。AO2 保留对分析与评价的侧重，而 AO3 则扩展至涵盖对不同背景下戏剧如何发展与表演的知识和理解。
This realignment means that students must demonstrate a holistic understanding of theatre-making, not just as actors but also as potential directors, designers, and critics. The adjustments reward learners who can articulate the relationship between text, production choices, and audience reception. The weighting of AO1 has been slightly reduced to 30%, while AO2 and AO3 now stand at 35% each.
这一调整意味着学生必须展示对戏剧创作的整体理解，不仅仅作为演员，也作为潜在的导演、设计师和评论者。该调整奖励那些能够清晰阐述文本、制作选择与观众接受之间关系的学习者。AO1 的权重略微降至 30%，而 AO2 与 AO3 现在各占 35%。
4. Updated Set Texts and Playwrights | 更新的规定文本与剧作家
One of the most eagerly anticipated changes is the expansion of the set text list. For the 2026 exam, the list has been diversified to include plays from a wider geographical and cultural range. Works by contemporary Northern Irish playwrights now feature alongside global classics, offering students more choice and relevance. Teachers can select from a prescribed list that avoids the canonical over-reliance on a few well-known texts.
最令人期待的变化之一是规定文本列表的扩展。为 2026 年考试，该列表已多元化，涵盖更广泛的地理和文化范围。当代北爱尔兰剧作家的作品与全球经典并列，为学生提供了更多选择和相关性。教师可以从规定列表中选择，避免对少数知名文本的过度依赖。
Examples of newly added texts include ‘The Ferryman’ by Jez Butterworth, ‘Fences’ by August Wilson, and ‘The Effect’ by Lucy Prebble. Each text has been chosen to support a range of performance possibilities and design interpretations. Additionally, the list now includes at least one play that can be studied from a design perspective, encouraging learners to approach the written examination through the lens of a set, costume, or lighting designer.
新加入的文本示例包括杰斯·巴特沃斯的《摆渡人》、奥古斯特·威尔逊的《藩篱》和露西·普雷布的《效应》。每部作品都经过挑选，以支持一系列表演可能性和设计诠释。此外，列表现在至少包含一部可从设计角度研究的剧作，鼓励学习者从布景、服装或灯光设计师的视角来应对笔试。
5. Shifts in Practical Performance Assessment | 实践表演评估的转变
Practical assessment in Unit 1 has undergone a fundamental reworking. The internally assessed performance now places equal value on the devised piece and the scripted extract, with the working notebook acting as a bridge between them. Teachers are expected to provide a stimulus pack that could include a photograph, a piece of music, a news article, or a poem, and students must respond creatively in groups.
第一单元的实践评估经历了根本性的重新设计。校内评估的表演现在平等地重视创编作品和剧本片段，创作日志则充当两者之间的桥梁。教师须提供一份刺激素材包，可包含一张照片、一段音乐、一篇新闻文章或一首诗，学生必须以小组形式进行创造性回应。
The working notebook has become a crucial piece of evidence, documenting the initial response to the stimulus, the rehearsal process, and an evaluation of the final performance. It must not exceed 2,500 words and is assessed under AO1 and AO2. Moderators will look for clear evidence of collaboration, experimentation, and reflective thinking. This approach intends to capture the iterative nature of theatre-making rather than just the final product.
创作日志已成为一份关键的证据，记录对刺激物的初始回应、排练过程以及对最终表演的评估。其字数不得超过 2500 字，根据 AO1 和 AO2 进行评估。审核员将寻找合作、实验和反思性思维的清晰证据。这一方法旨在捕捉戏剧创作的迭代过程，而不仅仅是最终成果。
6. Written Examination Reforms | 笔试改革
Unit 2, ‘Theatre in Practice’, is a 2-hour written paper that has been restructured into three distinct sections. Section A requires a critical analysis of a set text studied from the perspective of a performer and a designer. Section B focuses on the evaluation of live theatre, with students answering one question based on a production they have seen and analysed. Section C is a new addition: a creative response to an unseen stimulus, where candidates outline their directorial intentions and design concepts.
第二单元“实践中的戏剧”为 2 小时笔试，已重组成三个不同的部分。A 部分要求从表演者和设计师的视角对所学的规定文本进行批判性分析。B 部分聚焦于对现场戏剧的评价，学生须根据他们看过并分析过的一部制作回答一个问题。C 部分为新增内容：对未见刺激物的创造性回应，考生需概述其导演意图和设计概念。
This reformed paper places a higher premium on independent thinking and the ability to visualise a production. Section C, in particular, demands that students imagine staging a scene based on a short extract or image provided in the exam. They will be assessed on the clarity of their vision, the justification of choices, and their awareness of practical constraints. The mark allocation for Section C is 20 out of 80 marks.
这份改革后的试卷更看重独立思考以及构想一部制作的能力。特别是 C 部分，要求学生根据考试提供的一段简短摘录或图像来想象舞台场景。他们将根据其构想的清晰度、选择的合理性以及对实际限制的认识来被评估。C 部分的总分为 80 分中的 20 分。
7. Greater Emphasis on Directorial and Design Roles | 更加强调导演与设计角色
A clear trend in the new specification is the foregrounding of directorial and design perspectives. Previously, the written examination could be approached almost exclusively from an acting standpoint. Now, students must be prepared to discuss staging, lighting, sound, costume, and set design with the same precision they would apply to character motivation and blocking. This change is intended to nurture versatile theatre-makers who understand the full production process.
新规范的一个明显趋势是将导演与设计视角置于突出位置。以往，笔试几乎可以完全从表演角度来应对。现在，学生必须准备好以与讨论角色动机和舞台调度相同的精确度来讨论舞台设计、灯光、音响、服装和布景设计。这一变化旨在培养了解完整制作过程的多才多艺的戏剧创作者。
For Section A of Unit 2, learners must address at least one design element in detail when analysing a set text. Similarly, in the working notebook for Unit 1, students are required to reflect on how design choices shaped the devised piece. This integration ensures that design is not treated as an afterthought but as a core component of theatrical storytelling. Teachers will need to incorporate design workshops into their schemes of work.
在第二单元的 A 部分中，学习者在分析规定文本时必须至少详细讨论一项设计元素。类似地，在第一单元的创作日志中，学生须反思设计选择如何塑造了创编作品。这种整合确保设计不被视为附加内容，而是戏剧叙事的核心组成部分。教师需要将设计工作坊纳入教学计划。
8. Focus on Contemporary Theatre Practice and Practitioners | 聚焦当代戏剧实践与实践者
The 2026 specification signals a decisive move towards contemporary and experimental theatre. Students are expected to engage with the work of living practitioners and companies, such as Frantic Assembly, Complicité, and Kneehigh, alongside more established figures like Brecht and Stanislavski. This dual focus encourages a dynamic conversation between traditional theory and current innovation.
2026 年的规范标志着向当代与实验戏剧的决定性迈进。学生须研究现世实践者和剧团的作品，如狂热剧团、共通剧团和膝高剧团，同时也不忽略如布莱希特和斯坦尼斯拉夫斯基等更经典的人物。这种双重聚焦鼓励在传统理论与当前创新之间展开充满活力的对话。
In Unit 1, the devised group piece must be influenced by the methodologies of at least one named practitioner studied during the course. The working notebook should reference these influences and demonstrate how they were adapted. In the written exam, Section C may ask candidates to apply a specific practitioner’s techniques to the unseen stimulus, testing their ability to synthesise knowledge practically.
在第一单元中，小组创编作品须受到课程期间所学的至少一位指定实践者方法论的影响。创作日志应引用这些影响并展示如何对其加以运用。在笔试中，C 部分可能要求考生将特定实践者的技巧应用于未见刺激物，考验其实际综合运用知识的能力。
9. Adjusted Marking Criteria and Grade Boundaries | 评分标准与等级界限调整
With the revised assessment objectives come new marking grids. For Unit 1, the performance is assessed using separate criteria for the devised group piece and the scripted extract, each out of 30 marks. The working notebook is marked out of 40, reflecting its increased significance. For Unit 2, the three sections are now weighted proportionally: Section A (30 marks), Section B (30 marks), and Section C (20 marks).
随着评估目标的修订，新的评分网格也出台了。第一单元的表演使用独立标准分别评估创编小组作品和剧本片段，各占 30 分。创作日志满分为 40 分，反映了其重要性的提升。对于第二单元，三个部分现在按比例加权：A 部分（30 分）、B 部分（30 分）和 C 部分（20 分）。
Grade boundary predictions for the first cohort in 2026 are likely to reflect a slightly gentler transition, as is customary with new specifications. CCEA has indicated that the standard will be comparable to previous years, but the broader range of assessed skills may cause initial volatility. Teachers are advised to use the published specimen assessment materials as the primary benchmark for setting expectations.
对于 2026 年的首届学生，等级界限预测可能会体现略为温和的过渡，这在推出新规范时是惯例。CCEA 已表示，标准将与往年可比，但评估技能范围的扩大可能导致初期的波动。建议教师使用已发布的样卷评估材料作为设定期望的主要基准。
10. Portfolio and Reflective Practice | 作品集与反思实践
The introduction of a formal working notebook in Unit 1 and the creative response in Unit 2 both signal a greater appreciation for reflective practice. Students must now document not only what they did but also why they made particular artistic decisions, what alternatives they considered, and how they evaluated the outcome. This process-based assessment mirrors the kind of portfolio work common in undergraduate drama courses.
第一单元正式创作日志的引入和第二单元创造性回应的加入，都标志着对反思实践的更高重视。学生不仅要记录做了什么，还要记录为什么做出特定的艺术选择、考虑过哪些替代方案以及如何评价结果。这种基于过程的评估反映了本科戏剧课程中常见的作品集式作业。
To succeed, learners should keep regular journals throughout the course, noting initial ideas, research findings, and rehearsal breakthroughs. The working notebook is submitted in a clean, well-organised format, with supporting visual evidence such as diagrams, photographs, and annotated scripts. This documentation trains students to think like professional practitioners, who continually reflect on and refine their work.
为了成功，学习者应在整个课程期间坚持记录日记，记下初始想法、研究发现和排练中的突破。创作日志以整洁、组织良好的格式提交，并附有图示、照片和带注释的剧本等视觉证据。这种记录训练学生像专业实践者一样思考，他们不断反思和完善自己的工作。
11. Integration of Technology and Digital Skills | 技术与数字技能的整合
Reflecting the realities of the contemporary theatre industry, the revised AS Drama course encourages the responsible use of digital technology. In Unit 1, students may incorporate projection, digital soundscapes, and multimedia elements into their performances, provided these serve the artistic vision. The working notebook can include hyperlinks to video extracts of rehearsals or sound files, though the core document remains in written form.
反映当代戏剧行业的现实，修订后的 AS 戏剧课程鼓励负责任地使用数字技术。在第一单元中，学生可以将投影、数字音景和多媒体元素融入他们的表演，只要这些服务于艺术构想。创作日志可以包含指向排练视频片段或音频文件的超链接，但核心文件仍为书面形式。
In the written examination, Section C might present an image or a link to a short film as the stimulus, requiring candidates to analyse and respond to digital media. This development ensures that learners become literate in the ways technology can extend theatrical expression. Schools are encouraged to provide access to basic editing software and recording equipment during the course.
在笔试中，C 部分可能呈现一张图片或一段短片链接作为刺激物，要求考生分析并回应数字媒体。这一发展确保学习者在技术如何拓展戏剧表达方面具有素养。鼓励学校在课程期间提供基本的编辑软件和录制设备。
12. How to Prepare for the 2026 AS Drama Exam | 如何为 2026 年 AS 戏剧考试做准备
Preparation for the new AS specification should begin with a thorough review of the revised syllabus and specimen papers. Students must familiarise themselves with the updated set text list and select works that genuinely interest them, as personal engagement improves performance analysis. Building a habit of seeing live theatre – and critically evaluating it – is more important than ever, given the emphasis in Section B.
为应对新 AS 规范，应从全面审查修订版大纲和样卷开始。学生必须熟悉更新后的规定文本列表，并选择真正感兴趣的作品，因为个人投入能提升表演分析的质量。鉴于 B 部分的侧重点，养成观看现场戏剧并进行批判性评价的习惯比以往任何时候都更加重要。
Practical workshops that simulate the devising process and explore design concepts will be invaluable. Teachers should scaffold the working notebook throughout the year, providing exemplars and regular feedback. For the written exam, timed practice on unseen stimuli, combined with peer assessment of directorial concepts, can build confidence and fluency. Collaborating with drama departments in other schools to share resources and moderation experiences can also be highly beneficial.
模拟创编过程并探索设计概念的实践工作坊将极为宝贵。教师应全年搭建创作日志支架，提供范例和定期反馈。针对笔试，进行未见刺激物的限时练习，结合同伴对导演概念的评估，可以建立自信和流利度。与其他学校的戏剧系合作共享资源和审核经验也大有裨益。
Ultimately, the 2026 changes invite students to think more deeply and creatively about theatre as an art form. By embracing the expanded scope of assessment, learners can develop a richer skillset that serves them well in further study and employment in the creative industries. Staying informed, practising consistently, and maintaining a reflective journal are the cornerstones of success.
最终，2026 年的变化邀请学生更深入、更有创造力地思考戏剧作为一种艺术形式。通过拥抱评估的扩展范围，学习者可以发展出更丰富的技能组合，在进一步学习和创意产业就业中受益匪浅。保持知晓最新信息、持续练习并坚持反思日志是成功的基石。
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