In this paper, we explore the improvisations made in examination practices in higher education during the pandemic of 2020. Drawing on STS, we start from the theoretical assumption that examinations constitute an obligatory passage point in universities and colleges: a sacred point which students need to pass if they want to gain recognized qualifications. We base our analysis of higher education examinations on cases from six countries around the world: Australia, Belgium, Chile, India, Sweden and the UK. We use the analytical heuristic of choreography to follow the movements, tensions and resistance of the ‘emergency examinations’ as well as the re-orderings of actors and stages that have inevitably occurred. In our analytical stories we see the interplay between the maintenance of fixed and sacred aspects of examinations and the fluidity of improvisations aimed at meeting threats of spreading Covid-19. These measures have forced the complex network of examinations both to reinforce some conventional actors and to assemble new actors and stages, thus creating radically new choreographies. Although higher education teaching and didactics are being framed as a playground for pedagogical innovation with digital technologies, it is clear from our data that not all educational activities can be so easily replicated.

在本文中，我们探讨了 2020 年大流行期间高等教育考试实践中的即兴发挥。 借鉴 STS，我们从理论假设开始，即考试是大学和学院的必修通过点：学生需要的神圣点如果他们想获得认可的资格，则通过。我们对高等教育考试的分析基于来自世界各地六个国家的案例：澳大利亚、比利时、智利、印度、瑞典和英国。我们使用编舞的分析启发法来跟踪“紧急检查”的动作、紧张和阻力，以及不可避免地发生的演员和舞台的重新排序。在我们的分析故事中，我们看到了考试的固定和神圣方面的维护与旨在应对传播 Covid-19 威胁的即兴创作的流动性之间的相互作用。这些措施迫使复杂的考试网络既要加强一些传统演员，又要聚集新的演员和舞台，从而创造出全新的编舞。尽管高等教育教学和教学法被视为数字技术教学创新的游乐场，但从我们的数据中可以清楚地看出，并非所有教育活动都可以如此轻松地复制。从而创造出全新的编舞。尽管高等教育教学和教学法被视为数字技术教学创新的游乐场，但从我们的数据中可以清楚地看出，并非所有教育活动都可以如此轻松地复制。从而创造出全新的编舞。尽管高等教育教学和教学法被视为数字技术教学创新的游乐场，但从我们的数据中可以清楚地看出，并非所有教育活动都可以如此轻松地复制。