📚 AS Eduqas Drama: 2026 Exam Changes and Trends | AS Eduqas 戏剧：2026年考试变化与趋势
The AS Eduqas Drama and Theatre qualification is on the brink of a significant transformation. From September 2025, a reformed specification will be taught, leading to the first examination series in summer 2026. This article unpacks the key shifts in content, assessment structure and pedagogical emphasis, helping students and teachers navigate the new landscape with confidence.
AS Eduqas 戏剧与剧场资格即将迎来重大变革。从 2025 年 9 月起，修订后的教学大纲将开始实施，2026 年夏季将迎来首次考试。本文解析了考试内容、评估结构和教学侧重点的关键变化，帮助学生和教师从容应对新格局。
1. Understanding the New Specification | 理解新大纲
The revised Eduqas AS Drama and Theatre specification has been designed in response to Ofqual’s updated subject criteria. The aim is to create a more coherent and rigorous programme that bridges practical making and academic reflection. Teaching starts in September 2025, and the first AS exams will take place in 2026.
修订后的 Eduqas AS 戏剧与剧场大纲是根据 Ofqual 更新的学科标准设计的。其目的是创建一个更有连贯性、更严格的课程，连接实践创作与学术反思。教学将于 2025 年 9 月开始，首次 AS 考试将于 2026 年进行。
One of the central philosophies is to embed the roles of actor, designer and director more explicitly throughout the course. Students will be expected to demonstrate a holistic understanding of theatre-making, rather than compartmentalising practical and theoretical study.
其中一个核心理念是更明确地将演员、设计师和导演的角色贯穿整个课程。学生将需要展现对戏剧创作的整体理解，而不是将实践学习与理论学习割裂开来。
2. Assessment Objectives Redefined | 重新定义的评估目标
The assessment objectives (AOs) have been refined to place greater weight on the process of creation alongside final performances. AO1 now integrates knowledge of theatrical conventions with personal practical experimentation, while AO2 emphasises analysis and evaluation of self-devised work as much as of published texts.
评估目标 (AOs) 经过细化，更重视创作过程以及最终表演。AO1 现在将剧场惯例知识与个人实践实验相结合，而 AO2 则强调对自主创作作品几乎与出版文本同等的分析与评价。
Teachers will notice that AO3 has expanded to include digital and multimedia elements, reflecting the changing landscape of contemporary theatre. This means students must engage with technology in performance, from projection and soundscapes to live camera feeds, and be able to justify their creative choices in writing.
教师们会注意到 AO3 已扩展至包含数字和多媒体元素，反映出当代剧场日新月异的图景。这意味着学生必须接触表演中的技术，从投影、音景到实时摄像，并能够以书面形式为自己的创意选择辩护。
3. Revised Component Breakdown | 修订后的板块结构
The AS course now comprises two components instead of the traditional three-part structure. Component 1, 'Performance and Process', carries 60% of the mark and combines practical exploration with a recorded performance and a reflective process journal. Component 2, 'Text in Context', is a written examination worth 40% and covers both set text study and live theatre evaluation.
AS 课程现在由两个板块组成，不再采用传统的三部分结构。板块 1 '表演与过程' 占总分的 60%，将实践探索与录制表演和反思过程日志相结合。板块 2 '文本诠释' 是一个占 40% 的笔试，涵盖规定文本研读和现场剧场评价。
The table below outlines the shift in weighting compared to the old specification:
下表对比了新大纲与旧大纲的权重变化：
| Component 板块 | Old Weighting 旧权重 | New Weighting 新权重 |
|---|---|---|
| Practical performance 实践表演 | 50% | 60% (includes journal 含日志) |
| Written exam 笔试 | 50% | 40% |
This rebalancing shows a clear shift towards valuing the creative journey and its documentation, rather than relying heavily on a terminal written paper.
这种重新平衡表明了一个明显的转向，即重视创作旅程及其记录，而不是过度依赖终结性笔试。
4. Enhanced Focus on Textual Analysis | 文本分析重点加强
Textual analysis is no longer an isolated exam exercise. Students will be required to apply their interpretations directly in workshops, trying out directorial ideas on their feet. The exam paper will present extracts alongside questions that ask for practical rehearsal methodologies, blending theory with the rehearsal room.
文本分析不再是一项孤立的考试练习。学生将被要求在工作坊中直接运用自己的解读，实地尝试导演构思。试卷将同时呈现摘录和询问实践排练方法的问题，将理论与排练厅紧密结合。
For each set text, candidates must explore the original performance conditions and the social, historical and cultural contexts, but also produce a modern analogue concept. This encourages contemporary relevance and personal engagement with classic works.
对于每部规定文本，考生必须探索原始表演条件和社会、历史与文化语境，同时还要产出现代化的类比概念。这鼓励了当代关联性与对经典作品的个人参与。
5. The Evolving Role of Devising | 创作（Devising）角色的演变
Devising has been elevated from a minor element to the heart of Component 1. Groups will collaborate to create an original piece of theatre inspired by a given stimulus. The process must be meticulously logged in a creative portfolio, showing how ideas were generated, negotiated and refined.
创作 (Devising) 已从一个小元素提升为板块 1 的核心。小组将合作创编一个受给定刺激启发的原创剧场作品。整个过程必须在创作档案中详细记录，展示想法是如何产生、协商和提炼的。
The new specification demands evidence of individual contribution to group devising. Each student will need to demonstrate how they have performed their specific role—whether as actor, designer or commissioner—and reflect on the collaborative dynamics. This component rewards risk-taking and innovation.
新大纲要求提供在小组创作中个人贡献的证据。每个学生都需要展示他们如何履行自己的特定角色——无论是作为演员、设计师还是委托人——并反思协同合作的动态。这一板块奖励冒险与创新。
6. Innovations in the Written Examination | 笔试部分的创新
The written paper for AS in 2026 will run for 2 hours 30 minutes and is divided into three sections. Section A features a compulsory question on a prepared set text, while Section B offers a choice of questions on a second set text. Section C is a new live theatre evaluation task, based on a recent production the candidate has seen.
2026 年 AS 笔试时长为 2 小时 30 分钟，分为三个部分。A 部分为一道关于已备规定文本的必答题，B 部分则提供关于另一规定文本的选答题。C 部分是一项全新的现场剧场评价任务，基于考生近期观看过的演出。
A notable addition is the 'performance analysis' question, which requires students to discuss how one key scene might be staged using specific theatrical conventions. This ties the written exam directly to practical understanding, discouraging rote learning of past productions.
一个显著的新增题型是'表演分析'题，要求学生讨论如何使用特定的剧场惯例来排演一个关键场景。这将笔试直接与实践理解挂钩，不鼓励死记硬背以往的演出。
7. Updated List of Set Texts and Practitioners | 更新后的规定文本与从业者名单
Eduqas has refreshed the set text list to include greater diversity of playwrights and genres. Texts range from classical Greek tragedy to twenty-first-century verbatim theatre. A new requirement is for teachers to select a pair of contrasting practitioners whose methodologies inform the devising work.
Eduqas 已更新了规定文本列表，纳入了更多元化的剧作家和体裁。文本范围从古典希腊悲剧到二十一世纪的纪实剧场。一项新要求是教师需选择一对风格对比鲜明的从业者，他们的方法论将指导创作工作。
Practitioners such as Katie Mitchell, Complicite, and Emteaz Hussain now appear alongside Brecht and Stanislavski, ensuring candidates encounter a broad spectrum of inclusive and interdisciplinary practice. Changing practitioners is permitted with guidance from the specification.
像 Katie Mitchell、Complicite 和 Emteaz Hussain 这样的从业者现在与布莱希特和斯坦尼斯拉夫斯基并列，确保考生接触到广泛的包容性和跨学科实践。在大纲指导下，允许更换从业者。
8. Changes to Non-Examined Assessment (NEA) | 非考试评估（NEA）的变化
The NEA component, now called 'Performance and Process', requires submission of a high-quality video recording of the devised performance, plus an individual process journal of approximately 2,500 words. Moderation will be conducted entirely online via the EDUQAS portal.
现在名为'表演与过程'的非考试评估板块，要求提交高质量的创作表演视频录像，以及约 2500 字的个人过程日志。审核将完全通过 EDUQAS 门户网站在线进行。
The journal must include annotated photographs, sketches, rehearsal notes and structured reflections. It is assessed for the depth of critical analysis, not simply the quantity of entries. Authenticity checks will be strict, with centres required to confirm that work is the candidate's own.
日志必须包含带注释的照片、草图、排练笔记和结构化反思。评分依据批判性分析的深度，而非简单地看条目数量。真实性检查将非常严格，考点需确认作品为考生本人所做。
9. Evolving Marking and Moderation Standards | 评分与审核标准的演变
Eduqas has introduced a digital marking interface for the written paper, allowing annotators to highlight and comment directly on scripts. This speeds up feedback and ensures greater consistency across centres. Chief examiners will publish an expanded annual report detailing common pitfalls.
Eduqas 为笔试引入了数字化阅卷界面，评卷员可在答卷上直接高亮和批注。这加快了反馈速度，并确保了各考点间更大的一致性。主考官将发布扩展的年度报告，详述常见失分点。
For NEA, moderators will use updated rubrics that separate 'process' and 'product' criteria. The 'process' grade considers the journal's insight, whereas 'product' looks at the final performance quality. This dual lens rewards students who excel in either area.
对于非考试评估，审核员将使用更新的评分量规，将'过程'与'成果'标准分开。'过程'等级考察日志的洞察力，而'成果'则关注最终表演质量。这种双重视角奖励在任一领域表现出色的学生。
10. Preparing for the First AS Exam in 2026 | 为 2026 年首次 AS 考试做准备
Teachers should begin aligning schemes of work with the new specification as early as autumn 2024. Familiarisation with the new set texts and practitioner methods is essential. Running mock observations of devised rehearsals will help students understand the depth of reflection expected in the journal.
教师应尽早从 2024 年秋季开始将教学方案与新大纲对齐。熟悉新的规定文本与从业者方法至关重要。通过模拟观察创作排练，帮助学生理解日志中所期望的反思深度。
Students are encouraged to see at least two high-quality live productions before the exam. When writing the live theatre evaluation, they should focus on moments of spectacle, spatial relationships and directorial concept, rather than recounting the plot. Structured revision using specimen papers is strongly advised.
鼓励学生在考试前至少观看两场高质量的现场演出。在撰写现场剧场评价时，他们应关注场景奇观、空间关系和导演概念，而不是复述情节。强烈建议使用样卷进行结构化复习。
11. Resources and Teacher Support from Eduqas | Eduqas 提供的资源与教师支持
Eduqas has launched a comprehensive digital resource hub, including exemplar portfolios, recorded practitioner workshops, and interactive text timelines. Free continuing professional development (CPD) sessions will run regularly from January 2025, both face-to-face and online.
Eduqas 推出了一个全面的数字资源中心，包括范例作品集、录制好的从业者工作坊和交互式文本时间轴。从 2025 年 1 月起，将定期举办免费的持续专业发展 (CPD) 课程，线上线下均可参加。
A dedicated AS Drama community forum allows teachers to share approaches and query moderators. The exam board has also promised a series of 'In Conversation' videos with playwrights and directors featured on the practitioner list, providing accessible critical perspectives.
一个专门的 AS 戏剧社区论坛允许教师分享教学方法和向审核员提问。考试局还承诺推出一系列与列入从业者名单的剧作家和导演的'深度对话'视频，提供易于理解的批判性视角。
12. Future Trends in Drama Education | 戏剧教育的未来趋势
The 2026 changes reflect broader trends in UK drama education: increased digitisation, a push for decolonised curricula, and greater integration of social activism. Eduqas has signalled that future iterations may include assessed podcasts or digital theatre works as NEA options.
2026 年的变化反映了英国戏剧教育的更广泛趋势：日益数字化、推动课程去殖民化，以及与社会行动主义的更大融合。Eduqas 已暗示，未来的版本可能将评估的播客或数字戏剧作品作为非考试评估选项。
Holistic assessment that values reflective practice is likely to remain a key priority. As theatre companies embrace immersive and site-specific forms, the AS course will continue to evolve, ensuring students are prepared for both higher education and the creative industries.
重视反思性实践的整体性评估很可能仍将是关键优先项。随着剧团接纳沉浸式和特定场域的形式，AS 课程将持续演进，确保学生为高等教育和创意产业做好准备。
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