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IB Theatre: Research Presentation

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IB Theatre: The Research Presentation

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Perspective — Candidates should approach this task from the perspective of performer.

Aim — The aim of this task is for students to:

• Engage in research into a world theatre tradition they have not previously studied and understand its cultural and/or theoretical contexts
• Explore a performance convention from that world theatre tradition and demonstrate the processes they have undergone to physically explore and understand this convention
• Understand the performance convention as a result of practical and physical exploration of the performance convention in the body and apply this to a moment of theatre.

Understandings — Through this exploration students will understand:

• How to practically and physically explore performance conventions from around the world
• How to apply the selected conventions to moments of theatre
• That a world theatre tradition has a fixed set of specific performance conventions unique to that tradition which do not change significantly over time
• The significance and value of world theatre traditions and performance conventions to the cultures from which they evolve
• The significance of learning about theatre traditions not previously studied on the student’s own development.

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IB Theatre Research Presentation: Overview

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Year 12: IB Theatre - Research Presentation

• General Resources
• Ancient Greek Comedy / Tragedy
• Ancient Roman Comedy / Tragedy
• Cantonese, Yueju or Peking Opera
• Yuan Drama or Zaju

British Pantomime

On the web: databases, other online resources, video: performance demonstration.

• English Renaissance Theatre
• Comedy of Manners / Restoration Comedy
• French Farce
• Karagöz Shadow Puppetry
• Barong (Rangda) Dance
• Topeng Dance
• Wayang Puppetry
• Noh Theatre
• Kyōgen Farce
• Rakugo Theatre
• Referencing

A panto performance of Dick Whittington .

The Other Richard (n.d.)  Dickie Beau in “Dick Whittington” at the National Theater . [Photograph]. The New York Times. https://www.nytimes.com/2020/12/24/theater/pantomimes-british-christmas-tradition.html

• Digital Theatre+: A Concise Introduction to Pantomime
• JSTOR: Imps, Dames and Principal Boys
• JSTOR: The Story of Pantomime (1957)
• Book: British Pantomime Performance The full text is available via our A-Z Databases (you will need to login in with your Newington credentials). Each chapter is a separate link in these search results.
• VIdeo: A history of the theatrical tradition of Pantomime
• The Victorian Web: Pantomime resources
• A brief history of the pantomime – and why it’s about so much more than ‘blokes in dresses’
• University of Exeter: A Cultural History of English Pantomime, 1837-1901

Luxemburger Wort. (2012, January 16). What is "English pantomime"? . [Video]. Youtube. https://www.youtube.com/watch?v=n-vGNQnl5iQ

National Theatre. (2020, December 17). National Theatre: How To Be A Pantomime Dame! - Great British Panto Party . [Video]. Youtube. https://www.youtube.com/watch?v=sE_vWb1PUoU

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Theatre is a practical subject that encourages discovery through experimentation, the taking of risks and the presentation of ideas to others. It results in the development of both theatre and life skills; the building of confidence, creativity and working collaboratively.

The IB Diploma Programme theatre course is a multifaceted theatre-making course of study. It gives students the opportunity to make theatre as creators, designers, directors and performers. It emphasizes the importance of working both individually and collaboratively as part of an ensemble. It offers the opportunity to engage actively in the creative process, transforming ideas into action as inquisitive and productive artists.

Students experience the course from contrasting artistic perspectives. They learn to apply research and theory to inform and to contextualize their work. The theatre course encourages students to appreciate that through the processes of researching, creating, preparing, presenting and critically reflecting on theatre— as participants and audience members—they gain a richer understanding of themselves, their community and the world.

Through the study of theatre, students become aware of their own personal and cultural perspectives, developing an appreciation of the diversity of theatre practices, their processes and their modes of presentation. It enables students to discover and engage with different forms of theatre across time, place and culture and promotes international-mindedness.

Key features of the curriculum model

To fully prepare students for the demands of the assessment tasks, teachers should ensure that their planning addresses each of the syllabus activities outlined below, the content and focus of which is not prescribed. Students are required to investigate the core syllabus areas from the perspectives of creator, designer, director, performer and spectator. 

Students keep a theatre journal throughout the two-year theatre course which charts their development and their experiences of theatre as a creator, designer, director, performer and spectator.

Key features of the assessment model

• Available at standard (SL) and higher levels (HL)
• The minimum prescribed number of hours is 150 for SL and 240 for HL
• Students are assessed both externally and internally

Learn more about theatre in a DP workshop for teachers . 

Theatre subject brief

Subject briefs are short two-page documents providing an outline of the course. Read the standard level (SL) and/or higher level (HL) subject brief below. 

Latest curriculum updates

This subject is reviewed by the IB regularly to ensure the latest educational research is applied. Please keep up to date with the latest subject updates for Theatre .

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KIERAN BURGESS

• Jun 24, 2019

Research Presentation: Working with World Theatre Traditions

Updated: May 19, 2022

Scroll down for downloadable resources on the Research Presentation and Noh Theatre

The Research Presentation (RP) is worth 30% of the SL IB Theatre grade, and 20% of the HL grade. It requires you to research a world theatre tradition (and this must be chosen off the list that IB provides, see resources below) and present your knowledge of the tradition and its contexts, before focusing on practically exploring one convention and applying it to a moment of theatre. You wrap up this video recorded presentation/lecture with a reflection that compares this tradition to another theatre practice you know.

The IB Theatre course is best taught with mock tasks that are teacher led throughout the first year, and then taking the training wheels off for second year students who must choose traditions (and theorists, plays etc) that have not been studied or taught before in any depth. For teachers, this task can be traumatic if you have no in-depth knowledge of any of the traditions on the list with which to lead first year students through a scaffolded mock version. However, there are options!

The list includes the rather generous broad labels of 'Comedy and Tragedy, Ancient Greece' and 'English Renaissance Theatre'. Many Theatre and Liberal Arts courses that teachers may have experienced in their student days would have covered Shakespeare and/or Ancient Greek Theatre, and with the abundance of research material and lesson resources online for these traditions these may be your safest bet for a teacher-led unit. Remember of course that anything you choose to teach is then ruled out of the student choice for the final, submitted assessment tasks.

Pedagogy of the unknown is something that applies to teachers teaching an area they are not experts in, and there are strategies that you can use to learn alongside the students. Be open, be transparent about learning along with them, and you will find that not only do you gain the perspective of the learner (which will improve your teaching practice), you will develop stronger relationships with your students and will all enjoy the benefits of social constructivist learning methodology, which goes hand in hand with the IB philosophy. Your aim as a teacher in this first year attempt at the task is not necessarily to teach them about a tradition (though this of course has value too), but primarily to teach them how to research, apply research, synthesise knowledge across different realms, and evaluate the impact that learning has had on them.

If this free resource has saved you some time and you want to show a gesture of thanks, I'd be so grateful for any small amount you wish to give!

The other option, and one that I have taken more recently after enjoying learning alongside my students at first, is to become a learner yourself in the form of engaging your own tutor. Artist educators such as Fenella Kelly (Kathakali) and Mark Hill (Butoh) are available directly or through ISTA. Such artists gear their services towards international schools, and are well used to coming in for a day, a week or longer, and understand how IB Theatre works as well as the international school world more broadly. Then, in your local context, will be masters in the local theatre tradition. For example, when I lived in Japan, I found a wonderful sensei who tutored me through some of the techniques of Noh Theatre. Through a series of lessons I became more able to perform and teach the practical side of Noh movement, chant, use of the fan and stage. I am now at a level where I am able to teach Noh in the workshops on this RP task I give to students and teachers all over the world.

The next version of the RP task, coming in 2021, is much less onerous on students, but for now there is a lot to remember. Whilst the list will change slightly, it is still mostly going to look the same, and so any investment you make into actively learning a tradition is likely going to serve you well for this task for many years to come. Here are my top tips:

Choosing a Tradition

Yes, it must be off the official list (download my Student Info Sheet below), but it must also be one that you can find adequate resources for in the country you are in and the language you can read. If you can read Korean and have a Korean grandmother who used to be a traditional performer, you may be able to access a wealth of reliable sources on Korean Talchum mask dance. If you are an English student in an industrial estate in Berkshire, you may not find much. See my 'Questions to Consider' document below too, for prompts to help you narrow down.

This is the biggie - it's all well and good having great research, citing properly during an oral presentation (don't overlook this either), and demonstrating a proficient level of skill with your new tradition knowledge. But if you spend 12 minutes on explaining the tradition and context, it is likely that you will not have time to score anything in your reflection, and probably not much in your moment of theatre either.

Rehearse, often, and with a stopwatch. Whilst the teacher can only give you feedback on one run of your presentation, peers can help you more often - though ensure the work is your own and you cite any additional help or insights. On this note let me move onto...

...Practical Explorations

It is imperative that you conduct a good chunk of your time on your feet (so to speak - Rakugo is mostly kneeling). Your practical exploration and experimentation will not only be directly assessed in criteria B and C, but will also aid your understanding of your convention and tradition which is explained in criterion A, as well as 'feeling' either similar or different to other theatre types you have acted: these 'feelings' are in the body, and your chosen convention MUST be corporeal. This is why the guide insists on it fitting into the body, voice, gesture, movement, face category(ies). It is easy to view this task as a Research one, and thus spend too much time reading and watching videos, and not enough actually doing. But do not fall into this trap. It is still mostly practical. Using classmates to explore together is enormously helpful - reflecting on seeing a discovery in another during a workshop can be more enlightening than feeling it in yourself.

Moment of Theatre

Spend a good 2-3 minutes on this 'workshop performance' element of your presentation. Explain how you got to it through your explorations, then show us a chunk, stop and explain an important discovery, and show us some more. Stop-start approach is good, but some students take this too far: stopping after 5-10 seconds of demonstration and talking for 1 minute before showing another 5-10 seconds of practical application is not going to hit the standards for criterion C.

Which traditions have you found successful? What other tips would you like to add? Let me know!

Downloadable Resources

Research Presentation (RP) Student Info Sheet

Research Presentation (RP) Questions to Consider

Video: Performance extract from Oimatsu

The section of Noh Theatre used in the workshop led by Kieran

Extract from Oimatsu

Noh play section used with suriashi and kata workshop led by Kieran.

Conventions of Noh - summary

Reproduced from Edsitement.

Kata of Noh

As used in the Noh workshops led by Kieran.

Extract from Dojo-ji

Noh play, used in Noh workshops led by Kieran at ISTA TaPS 2017

If these free resource have saved you some time and you want to show a gesture of thanks, I'd be so grateful for any small amount you wish to give!

• RP (Legacy)
• Workshop Resources

Recent Posts

Research Presentation 2022: A World of Opportunity

Solo Theatre Piece 2022: Fly High, Solo.

Collaborative Project 2022: A Collaborative Comeback!

IB Theater Research: Overview

• Noh Theatre (Japan)
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• Citing Online Videos in MLA Format
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• Talchum Mask Dance (Korea)
• Topeng Dance
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• Karagiozis Shadow Puppetry
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Database Search Tips Libguide

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JSTOR  is an online archive of academic journals and primary sources. The JSTOR archive includes content in History, Language & Literature, Religion, Art & Art History, Education, Law, Science and Political Science. Most journals in the archive are added 3-5 years after the publication date.

• All results contain the images and context of the original publication.
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Research Presention

For this assessment, you will choose one practice from the prescribed list provided by the IB and explore the practice practically and physically.  It should be a practice that is unfamiliar to you. 

Subsequently, you will deliver a 15 minutes (maximum) presentation to your peers, which will be filmed.

1: Theatre in Context

What Cultural context was this theatre tradition developed?  Why was it developed? How did this impact how and why it was traditionally performed?

2: Elements

The overall focus of your presentation will be either: Face, Body, Voice or Gesture. Then, you will do a...

3. Demonstration

Apply your research to a moment of Theatre (this will be about 4minutes of your presentation).

In your presentation, you should physically demonstrate your exploration, showing a work in progress.  You need not apply your demonstration to the tradition directly, but it must be related to it.

For example, you may chose to demonstrate Kathakali Mudras (Hand Gestures) in a Brothers Grimm fairy tale. Alternatively, you may build part of a Bunraku puppet as part of your research, which you use to help you explore the tradition practically. However, the focus should always be on the practical application of the tradition you have undertaken.

Ensure you explain your demonstration.

You may have some help with your demonstration from a peer, if needed. Ultimately, you will be assessed individually though.

Conclude and reflect upon your research, from the perspective of a performer. 

Consider the presentation style, and your delivery, as this will be assessed too.  

Try to include images and videos to enhance your presentation. You don’t necessarily need to make a ‘powerpoint/keynote’ but you must rehearse your presentation and subsequently, do not read from cards! You may give handouts to your audience too.

Remember, you are assessed on how well you actually deliver the presentation, so using and developing these transferable skills are very important.

Databases through Enoch Pratt (Accessible in all Pratt Library Locations, or from home with your library card)

Librarian and extended essay coordinator.

• An Online Guide to the History of Theater
• Jack Wolcott's Theatre History on the Web
• Theatre History
• Virtual Library
• Performing Arts Digital Library

Search Google Scholar

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Research Presentation

A place to start.

Shadi al-Hallaq, the only shadow puppeteer left in Damascus.      BBC News Article found here

The Research Presentation

For this assessment, you will choose one practice from the prescribed list provided by the IB and explore the practice practically and physically. It should be a practice that is unfamiliar to you.

Subsequently, you will deliver a 15minutes (maximum) presentation to your peers, which will be filmed.

1: THEATRE IN CONTEXT

What Cultural context was this theatre tradition developed? Why was it developed? Why it was traditionally performed and did this performance tradition impact society?  Think intention and impact !

2: Elements

The overall focus of your presentation will be either: Gesture, Face, Body, Movement or Voice. Then, you will do a...

3. Demonstration

Apply your research to a moment of Theatre (this will be about 4minutes of your presentation). In your presentation, you should physically demonstrate your exploration, showing a work in progress. You need not apply your demonstration to the tradition directly, but it must be related to it. For example, you may chose to demonstrate Kathakali Mudras (Hand Gestures) in a Brothers Grimm fairy tale. Alternatively, you may build part of a Bunraku puppet as part of your research, which you use to help you explore the tradition practically. However, the focus should always be on the practical application of the tradition you have undertaken. Ensure you explain your demonstration. You may have some help with your demonstration from a peer, if needed. Ultimately, you will be assessed individually though.

4. Conclusion

Conclude and reflect upon your research, from the perspective of a performer.

• Consider the presentation style, and your delivery, as this will be assessed too.
• Try to include images and videos to enhance your presentation. You don’t necessarily need to make a ‘powerpoint/keynote’ but you must rehearse your presentation and subsequently, do not read from cards!
• You may give handouts to your audience too. Remember, you are assessed on how well you actually deliver the presentation, so using and developing these transferable skills are very important.

Choose a tradition HERE

Research presentation libguide, historical context resource link - drama developments by time period, guidelines to finding reliable sources.

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Research Presentation

Doing Research! How to format your research efforts. 

IB Theatre Manual  

VOCAB: list of vocabulary

Feedback 2020 

HL & SL 

Try to be thoughtful to NOT "Orientalize" the task . . . be as culturally sensitive as possible. 

FEEDBACK ALL:  2023

b: "first I", "then I", "finally I" both strands (reference the script or plot for b2) - how did you put the convention together with the words - give explicit examples. 

Please give (and cite) ONE image for us to understand the most difficult thing you are saying. Set, convention, hunched back, 

c1: please talk about prior performances (monologues, duo, collab from last year OR what you will do with the info on your next performance 

?? - rakugo baloon lights???? 

LODE - get to E with 5Ws (in all classes) 

Research Project Topics (updated 2023)

17th century French farce, France

Barong (or Rangda) dance, Indonesia

British pantomime, United Kingdom

Cantonese, Yueju, or Peking opera (Jingju), China

Commedia dell’arte, Italy (easier research, fun but much harder finding script, yet useful to actors) 

Elizabethan theatre, England

Hun lakhon lek puppetry, Thailand

Jatra, Bangladesh

Kabuki, Japan

Karagöz shadow puppetry, Turkey

Kathakali, India

Kecak, Indonesia

Khon dance drama, Thailand

Kyōgen farce, Japan

Nautanki, India

Noh theatre, Japan

Pastorela, Mexico

Punch and Judy puppets, United Kingdom

Rakugo “sit down” theatre, Japan

Talchum mask dance, Korea

Topeng dance, Bali

Victorian melodrama, England

Wayang golek puppetry, Indonesia, Malaysia

Wayang kulit shadow puppetry, Indonesia, Malaysia

Practice (criteria D) should connect to styles, theories, etc.

You will not get to a professional (or even near professional) level of ability with the convention.

Remember to cite the images in the presentation. 

Remember to verbally cite a significant portion of your sources / paraphrase and quote citations in the presentation slides

REQUIRED 15 minutes 

RECOMMEND max 2 minutes MOT 

Teacher will give feedback on one mock presentation. 

2nd presentation will be videotaped as the Research Presentation submission

Research Project Rubrics (updated 2023)

i. With specific references to their research, the student explains the unfamiliar theatre tradition they have chosen to explore.

ii. With specific references to their research, the student explains the performance convention they have chosen to explore.

i. The student demonstrates an effective process of practical exploration of the performance convention.

ii. The student effectively demonstrates how they have experimented with applying the performance convention to traditional performance material.

i. The student explains how their practical exploration of the performance convention has contributed to their continuing development as a performer.

ii. The student explains how their inquiry into the chosen theatre tradition has further developed their understanding of theatre in the world.

Research Presentation (IB Feedback 2023 - new pilot for 2023 version) 

The range and suitability of the work submitted The May 2022 Pilot examination session continued to be challenging for many schools and schools and students are to be congratulated for their ongoing resilience and commitment to this assessment. Most students in this cohort demonstrated a clear understanding of the requirements of the task and much of the work was more inclined towards the higher mark bands. The range of work was good, and the students were often more thorough and focused on their investigation. The stronger students gave equal weight to each individual criterion and were supported by clearly structured visual source materials, identifying one chosen convention at the beginning of the presentation, and often explicitly stating which criterion strand was being covered as their presentation progressed. Weaker presentations tended to lack focus on the individual criteria, often resulting in the omission of some elements of the task. Commedia, Rakugo, Kabuki, Noh and Kathakali remain the most popular traditions chosen for the task with Mudras, Mie and Stock Characters being the more popular conventions. Most students made use of the entire 15 minutes available to them and the more successful candidates were able to divide the time equally across the three criteria. The suitability of the work was good, but there were a significant number of responses that were still focused on the requirements of the prior course, particularly the idea of a “moment of theatre” and referring to B1 as a “rehearsal”. Schools must ensure that any PowerPoint presentation slides, images or supporting materials used or referred to in the presentation are uploaded along with the video recording. This is a requirement of the task 

Candidate performance against each criterion Criterion A the Unfamiliar Theatre Tradition 

Ai: This was the strongest area of the task. Generally, comprehensive research was done on both context and elements of the tradition with the most successful candidates referring to cultural, historical contexts and specific production and performance conventions to explain the tradition. Better work had detailed bibliographies, with access dates and all images on submitted slides/materials were clearly sourced. A range of features have been researched and communicated in the work showing individual initiative and interests. There are still candidates who spend too long on this criterion, particularly Ai, which can mean that they do not have the time to cover B and C in sufficient depth. The more successful presentations clearly divided the criterion into 3 separate parts, with 5 minutes allocated to each. There is still a tendency for students to 'read' information which has been copied directly from research. This should be avoided if possible. The stronger presentations included a clear, focused, and early identification of the chosen convention and information was supported by relevant research. 

Aii: Most students clearly identified a performance convention with practical focus to facilitate academic and somatic exploration. Those who identified specific aspect(s) of "face, voice, gesture, posture, movement and/or manipulation of objects" were generally more successful, as this research focus led to practical work opportunities. Abstract research conventions, such as use of satire, or less focused conventions, such as “the stock character Il Dottore”, tended not to do well in the assessment process as they lacked concrete opportunities in research, and did not offer such focused exploration and experimentation. The choice of convention is key to success in this criterion. Some students are still identifying several conventions, which is self-penalizing, not only owing the depth of exploration possible, but it is a requirement of the task to focus on one and the examiner will mark accordingly. Clear references should be made to research in Ai and ii. As in any research task, sharper focus on the details of the convention made explanations of exploration, experimentation, and reflection more relevant. The information about the chosen convention needs to be clearly identified by the student and explained before moving onto criterion Bi and Some students skipped over explaining the convention to go straight into their process of practical experimentation, or mistakenly believed that their factual explanation of the convention constitutes their exploration for Bi. Some students chose to use physical demonstrations in Aii, which is an effective way to explain the chosen convention, but this does not constitute a process of exploration. 

Criterion B Practical Exploration or the Performance Convention 

Bi: To reach the higher bands in this criterion students need to demonstrate their process of exploration of the convention. The more successful candidates clearly articulated stages of growth and development discussed how their process developed over time, highlighting important moments, perhaps discussing specific feedback from their peer mentors, and demonstrating how they moved through their stages of learning. This was particularly effective when accompanied by photos and/or videos of themselves, which visually demonstrated challenges and progress. Effective work also included reference to peer workshops and other feedback and evaluation that was acted upon to further knowledge and proficiency. The less successful presentations tended to list a series of activities they had done without evidence of reflection on their learning process. 

Bii: Many students are still inappropriately choosing to perform a “moment of theatre” for Criterion Bii. This does not fulfil the requirement that the student must demonstrate how they “experimented” with the application of the performance convention. The purpose of the traditional performance material is to provide a mechanism through which to show understanding of the convention, rather than as an opportunity to present a performance. The more successful students were those who deconstructed the material with a stop-start series of actions, trying things out in different ways, using different parts of the performance material, and talking about what worked and what did not. The most successful students clearly communicated this process as experimentation of the application of performance convention. A few students discussed their experimentation rather than demonstrating it physically and schools are reminded that a live demonstration of the experimentation is required for criterion Bii. Schools should be reminded that this assessment requires students to choose “traditional performance material” from the tradition itself and not material adapted from another tradition or material that they have created themselves. Some students chose to approach Criterion Bi and Bii through a blended exploration of the convention whilst using the traditional performance material. This can be an acceptable approach which is marked holistically, but candidates must be clear about when they are covering the exploration of the convention and when they are addressing experimentation with the traditional performance material. 

Criterion C Reflection on Learning 

Ci: The more successful students were able to make clear links between their exploration of the convention and how this related to other experiences that they have had or may have in the future. The focus is on personal growth as a performer more widely, and students should not repeat generalized comments related to elements of the research presentation assessment task are e.g., “I learned to research”, or “I learned about the character Arlecchino”. The more successful students discussed specific elements of performance, focusing clearly on the convention and their understanding/skill prior to the task and how this has changed/developed since. The least successful responses discussed performances in which they had taken part, with no authentic link to the exploration undertaken. This assessment thread is about the exploration of the performance convention and continuing development as a performer so there must be clear references to the exploration of the performance convention in this section of the presentation. 

Cii: Equally, when discussing how their explorations have further developed their understanding of theatre in the world, many students equated this with the requirements in the legacy theatre course and compared elements of their chosen tradition to another theatre tradition. This is not required for this component. The more successful responses broadened their discussion to wider concepts in world theatre such as community, culture, tradition, spirituality, aesthetics, etc. There were some students who found this section provocative and produced exciting perspectives on how their learning journey had widened their horizons of world theatre understanding. A discussion of “Theatre in the World” offers a huge scope of possibility but must be focused and relevant to the inquiry that has been undertaken. Students must beware of simply making general comments about “culture”.

IB Theatre - Collaborative Project (last assessment 2023): Get started!

• Get started!
• Definitions
• Your Theatre Profile
• Collaborative Creation of Original Theatre
• Starting Point & Structure
• Making Your Video
• Audience Impact
• Professional Theatre Companies
• NoodleTools
• Annotated Bibliography
• MLA Works Cited & In-Text Citations

Introduction to the IB Theatre Research Presentation

This guide provides resources for the Collaborative Project Internal Assessment (Task 4) for IB Theatre.

On this page, see:

Examples of assessed student work on this page:

Starting point: A photograph—“Titan Arum” Starting point: Idea, issue or theme—“Insomnia”  Starting point: Idea, issue or theme—“Social repression”

See other pages in this guide for help with aspects of the Collaborative Project:

For help with your research and writing, see:

NoodleTools Annotated Bibliography Parenthetical and in-text Citations

Collaborative Project Example —“Titan Arum”

Submitted work, Student A

Please view the work in the following order.

• Process Portfolio Example, Student A, "Titan Arum" Collaborative Project Process portfolio for Collaborative Project example, "Titan Arum".
• Video Example, Student A, "Titan Arum" Collaborative Project Video recording showing evidence of the student’s contribution to the presentation of the collaboratively created piece
• Bibliography Example, Student A, "Titan Arum" Collaborative Project A list of all sources cited

Assessment, Student A

• Assessment Example, Student A, "Titan Arum" Collaborative Project Assessment, assessor comments, and moderator tips for Student A's work in the collaborative project example "Titan Arum"

Collaborative Project Example —“Insomia”

Submitted work, Student B

• Process Portfolio Example, Student B, "Insomia" Collaborative Project Process portfolio for Collaborative Project example, "Insomia".
• Video Example, Student B, "Insomia" Collaborative Project Video recording showing evidence of the student’s contribution to the presentation of the collaboratively created piece
• Bibliography Example, Student B, "Insomia" Collaborative Project A list of all sources cited

Assessment, Student B

• Assessment Example, Student B, "Insomnia" Collaborative Project Assessment, assessor comments, and moderator tips for Student B's work in the collaborative project example "Insomnia"

Collaborative Project Example —“Social repression”

Submitted work, Student C

Assessment, Student C

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IB Resources for Task 4: Collaborative Project

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• Last Updated: Sep 9, 2023 12:10 PM
• URL: https://libguides.westsoundacademy.org/ib_theatre_collaborative_project