Download DRAMA AND THEATRE GUIDANCE FOR TEACHING

GCE AS
WJEC Eduqas GCE AS in
DRAMA AND THEATRE
ACCREDITED BY OFQUAL
GUIDANCE FOR TEACHING
Teaching from 2016
This Ofqual regulated qualification is not available for
candidates in maintained schools and colleges in Wales.
Contents
1. Introduction
3
2. Pathways through the specification
5
3. Support for Teachers
16
4. Component guidance
18
4.1 Component 1: Theatre Workshop
18
4.2 Component 2: Text in Action
46
5. Co-teachability
53
2
Introduction
The WJEC Eduqas AS in Drama and Theatre qualification, accredited by Ofqual for first
teaching from September 2016, is available to:
• all schools and colleges in England
• schools and colleges in independent regions such as Northern Ireland, Isle of Man and
the Channel Islands
• independent schools in Wales.
It will be awarded for the first time in Summer 2017, using grades A–E.
This is an exciting and inspiring specification which prepares learners for further study at A
level and/or Higher Education. It offers a practical and challenging course of study which is
intended to ensure that learners gain a comprehensive appreciation of the nature of drama
and theatre. Through the specification, learners will develop an understanding of how the
social, cultural and historic contexts of a theatrical text have influenced the development of
drama and theatre. Learners will also be given the opportunity to develop the creativity and
independence to become effective theatre makers through acting and/or theatre design.
They will also be encouraged to understand the collaborative relationship between various
roles within theatre and participate both as theatre makers and as audience members of
live theatre. This is a well balanced AS specification that should enable learners to develop a
thorough and expert appreciation of drama and theatre.
Content will be assessed across two different components – Component 1: Performance
Workshop, and Component 2: Text in Context.
The content is stimulating, relevant and accessible to a wide range of learners, ensuring
both breadth and depth to the study of drama and theatre.
The structure allows students to work practically as theatre makers and demonstrate their
ability to draw together different areas of knowledge and understanding from across the
full course of study.
Additional ways that WJEC can offer support:
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Specimen assessment materials and mark schemes
Face-to-face CPD events
Examiners’ reports on each question paper
Free access to past question papers and mark schemes via the secure website
Direct access to the subject officer
Free online resources
Exam Results Analysis
Online Examination Review
3
Aims of the Guidance for Teaching
The principal aim of the Guidance for Teaching is to support teachers in the delivery of the
new WJEC Eduqas A level in Drama and Theatre specification and to guide on the
requirements of the qualification and the assessment process.
The Guidance is not intended as a comprehensive reference, but as support for
professional teachers to develop stimulating and exciting courses tailored to the needs and
skills of their own students in their particular institutions.
The Guidance offers assistance to teachers with regard to possible classroom activities and
links to useful digital resources (both our own, freely available, digital materials and some
from external sources) to provide ideas for immersive and engaging lessons. It will
concentrate on those areas new to WJEC subject specifications and those subject areas
where guidance has been requested most.
4
2. Pathways through the specification
Centres will have their own individual approach to delivering this specification. The examples
provided are of suggested pathways through the specification focusing on one teacher and
two teacher models. It is important to remember that, through teaching, the candidates
should be encouraged to appreciate the connections that can be made between Component
1 and Component 2.
2.1 Examples of Approach – One Teacher Model
There are two components which are integrated and should be taught holistically. Although
the components are assessed at different times, the skills needed are transferable from
one component to the other.
There is more than one way of approaching the specification. The notes in this guidance
can be used or adapted to suit the needs of individual students and teachers.
AS
One Teacher Model
Term 1:
Ongoing:
Content:
Visits to live theatre as and when appropriate.
If live theatre is not available, visit to cinema
screenings of live theatre events e.g. NT Live or
class viewing of a stage production e.g. Digital
Theatre.
Induction Programme:
Introduction of elements of Drama & Theatre:
• Elements of characterisation
• Acting techniques
• Improvisation as a creative tool
• Monologue exercise
Introduction of Practitioner Workshops
For example:
• Stanislavski as a starting point with
approaches to text; system of rehearsal;
naturalism
• Brecht as a contrast to Stanislavski i.e.
Narrative Theatre versus Epic Theatre
• Frantic Assembly – exploration of
contemporary practices
5
Notes:
Followed by analysis and
evaluation of ideas / influences /
inspiration gained from the
productions (C2).
Particularly important if cohort
has not fed through from GCSE:
• Your centre does not
offer GCSE
• FE colleges
• Learners have varying
experience in the subject
Expose learners to a wide range
of practitioners and theatre
companies.
Prepare monologue / duologue / group piece
for AS Component 1.
Assess monologue / duologue / group piece.
AS C1: Performance Workshop:
Performance from a text.
Start set text from list for AS Component 2.
Focus on the requirements for
written paper.
Choice of text made with
consideration to C1:
• Text for faithful
interpretation
• Text for reinterpretation
Choice of text may also be
influenced by:
• Degree of difficulty
• Coincidence with a live
performance of the text
• Nature of the cohort
Approach the text through
practical methods.
N.B. Examples of combinations of
the THREE texts can be found in
the Guidance for Teaching re: C2.
6
Term 2:
Choose text for deconstruction.
Choose 15 minute extract.
Start the practical work.
Assess practical work AS C1:
Performance Workshop
Write evaluation for AS Component 1.
Assess re: AS C1 criteria.
Continue set text work for AS Component 2.
Term 3:
Finish set text work.
AS Component 2 exam.
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2.2 Examples of Approach – Two Teacher Model
If a two teacher model is to be applied, allocation of teaching will be governed by
timetabling. Centres will structure delivery of the specification to suit the needs of their
learners. Below is an example where the AS level content is delivered by two teachers
across the one year of study. The specification can be divided up effectively between two
teachers.
Two Teacher Model
Term One:
Teacher One
Weeks
Ongoing:
Teacher Two
Content
Notes
Visits to live theatre as and when appropriate.
Content
Notes
Followed by analysis and evaluation of ideas / influences / inspiration gained from the
productions (C2).
Induction
Particularly important if
Induction
Focus on:
Programme:
your cohort has not fed
Programme:
• Constructing
Introduction of
Introduction of
through from GCSE:
meaning
• Your centre does not elements of
elements of Drama
• Writing and
offer GCSE
& Theatre:
Drama &
performing own
• FE colleges
• Elements of
Theatre:
monologues
characterisation • Learners have
• Acting
varying experience in
• Acting
techniques
the subject
techniques
• Monologue
• Improvisation
exercise
as a creative
tool
Introduction of
Direct link to C1
Introduction of Practitioner Workshops:
Practitioner
(Component 1)
• Brecht as a contrast to Stanislavski
Workshops:
Relevance to C2.
i.e. Narrative Theatre versus Epic
• Stanislavski
Theatre
as a starting
point with
approaches
to text;
system of
rehearsal;
naturalism
If live theatre is not available, visit to cinema screenings of live theatre events e.g. NT Live or
class viewing of a stage production e.g. Digital Theatre.
Introduction of:
Focus on the
Prepare monologue / duologue /
Set Text for Component requirements for
group piece for AS Component 1:
2.
written paper.
8
•
Choice of text made
with consideration to
C1:
• Text for faithful
interpretation
• Text for
reinterpretation
•
•
•
•
Choose text for faithful
performance
Choose extract
Research original piece
Start the practical work
Focus on Creative Log
Choice of text may also
be influenced by:
• Degree of
difficulty
• Coincidence
with a live
performance of
the text
• Nature of the
cohort
Approach the text
through practical
methods.
N.B. Examples of
combinations of the
THREE texts can be
found in the Guidance
for Teaching re: C2.
Assess monologue / duologue / group piece
And
Creative Log
AS C1: Performance Workshop:
Performance from a text
Internally assessed and externally moderated.
Record performances and/or design presentations for submission for moderation.
Ensure centre standardisation.
9
Term Two:
Teacher One
Ongoing:
Teacher Two
Content
Notes
Visits to live theatre as and when appropriate.
Content
Notes
Followed by analysis and evaluation of ideas / influences / inspiration gained from the
productions
(C2).
Continued study of Set Alongside study of
Introduction of
Text.
staging elements:
Component: Reinterpretation
• Set
• Choose text for deconstruction
• Lighting
• Choose 15 minute extract
• Sound
• Choose practitioner
• Costume &
• Start the practical work
• Focus on Creative Log
make-up
• Preparation for Evaluation
Assess reinterpretation piece
And
Creative Log
And
Evaluation
AS C1: Performance Workshop:
Performance from a text
Internally assessed and externally moderated.
Record performances and/or design presentations for submission for moderation.
Ensure centre standardisation.
Year One: Term Three
Teacher One
Weeks
Ongoing
Teacher Two
Content
Notes
Visits to live theatre as and when appropriate.
Content
Notes
Followed by analysis and evaluation of ideas/influences/inspiration gained from the
productions (C2).
Finish set text work.
Focus on:
Revision set text:
Focus on:
• Acting
• Staging
AS Component 2 exam.
AS Component 2
• Directing
• Design
exam
Component 2 exam
10
2.3 Examples of Approach – Two Teacher Model – Technical Specialism
In centres where there are teachers with an expertise in design and/or technical theatres,
this model can be applied effectively. Teacher Two will be a qualified teacher with teaching
responsibilities and not a theatre technician or support staff.
Teacher One: Practical specialism: ACTING
Teacher Two: Practical specialism: TECHNICAL / DESIGN
This model makes the assumption that the second teacher is a specialist in technical
theatre and design. The specification is formed to encourage teachers with a design
background to deliver certain elements of study. The allocation of responsibility for
assessment of written work will be centre-specific.
This example will be dependent on how the course is divided up between the teachers and
can be adapted to reflect contact hours with learners.
Two Teacher Model – Technical Specialism
Year One: Term One
Weeks
Ongoing:
Teacher One
ACTING
Content
Notes
Visits to live theatre as and when appropriate.
Teacher Two
TECHNICAL / DESIGN
Content
Notes
Followed by analysis and evaluation of ideas / influences / inspiration gained from the
productions (C2).
Analysis of:
Analysis of:
• Acting
• Design elements: set, costume,
• Directing
make-up
• Interpretation of character
• Technical elements: lighting,
• Approaches to character
sound, audio-visual
• Directing re: staging and
technical elements
Induction Programme:
Particularly important if
Induction Programme.
Introduction of elements your cohort has not fed
Introduction of elements of Drama &
of Drama & Theatre:
through from GCSE:
Theatre:
• Your centre does
• Elements of
• Staging including: basic
not offer GCSE
characterisation
awareness of environment
• FE colleges
• Acting
• Simple groundplans
• Learners have
techniques
• Importance of lighting
varying
• Improvisation as
• Importance of sound
experience in the
a creative tool
• Costume
subject
• Monologue
exercise
Introduction of
Direct link to C1
Introduction of Practitioner
11
Practitioner Workshops:
• Stanislavski as a
starting point
with approaches
to text; system of
rehearsal;
naturalism
• Brecht as a
contrast to
Stanislavski i.e.
Narrative
Focus on:
• Directing
• Acting
• Interpretation of
character
• Acting choices
Introduction of:
Set Text for Component
2.
Focus on ACTING and
character.
Written responses re:
Acting, directing, staging.
(Component 1)
Relevance to C2.
Workshops:
• Design elements appropriate to
practitioner(s) selected
If live theatre is not
available, visit to cinema
screenings of live theatre
events e.g. NT Live or
class viewing of a stage
production e.g. Digital
Theatre.
Choice of text may be
influenced by:
• Degree of
difficulty
• Coincidence with
a live
performance of
the text
• Nature of the
cohort
Focus on:
• Directing choices re: design
• Set
• Lighting
• Sound
• Costume
Introduction of:
Set Text for Component 2.
Focus on DESIGN, staging and
technical theatre.
Written responses re: design, staging.
Approach the text
through practical
methods.
Prepare monologue / duologue /
group piece for AS Component 1.
Prepare monologue/duologue/
group piece for AS Component 1.
ACTING
DESIGN
•
•
•
•
•
Choose text for faithful performance
Choose extract
Research original piece
Start the practical work
Focus on Creative Log
Assess monologue / duologue / group piece
ACTING
12
Choose text for faithful
performance
• Choose extract
• Research original piece
• Start the practical work
• Focus on Creative Log
Assess monologue / duologue / group
piece
•
And
Creative Log
DESIGN
And
Creative Log
AS C1: Performance Workshop:
Performance from a text
AS C1: Performance Workshop:
Performance from a text
Assess reinterpretation piece
And
Creative Log
And
Evaluation
Assess ACTING
Assess DESIGN
AS C1: Performance Workshop:
Performance from a text
Internally assessed and externally moderated.
Record performances and/or design presentations for submission for moderation.
Ensure centre standardisation.
13
Term Two:
Teacher One
Weeks
Ongoing:
Content
Notes
Visits to live theatre as and when appropriate.
Teacher Two
TECHNICAL / DESIGN
Content
Notes
Followed by analysis and evaluation of ideas / influences / inspiration gained from the
productions (C2).
Continued study of
Focus on:
Continued study of
Focus on:
Set Text – C2.
Acting
Set Text – C2.
Set
Directing
Lighting
Sound
Costume
& makeup
Introduction of Component 1: Reinterpretation
• Choose text for deconstruction
• Choose 15 minute extract
• Choose practitioner
• Start the practical work
• Focus on Creative Log
• Preparation for Evaluation
Focus on DESIGN candidates.
Focus on ACTING candidates.
Support DESIGN candidates in application of ideas Support ACTING candidates with
re: working as a group. Reinforce the importance tech elements.
for ALL candidates to work together.
N.B. If no design candidates present
– continue to support practical
work of the group(s).
Assess reinterpretation piece
And
Creative Log
And
Assess ACTING
Evaluation
Assess
DESIGN
AS C1: Performance Workshop:
Performance from a text
Internally assessed and externally moderated.
Record performances and/or design presentations for submission for moderation.
Ensure centre standardisation.
14
Term Three:
Teacher One
Weeks
Ongoing:
Content
Notes
Visits to live theatre as and when appropriate.
Teacher Two
TECHNICAL / DESIGN
Content
Notes
Followed by analysis and evaluation of ideas/influences/inspiration gained from the
productions (C2).
Finish set text work.
Focus on:
Revision set text.
Focus on:
• Acting
• Staging
AS Component 2 exam. • Directing
AS Component 2
• Design
exam.
Component 2 exam
15
3. Support for teachers
3.1 Resources for the Specification as a whole
3.1.1 Web-based resources:
http://www.thevirtualdramastudio.co.uk/ This site offers some free resources and ideas on
teaching various levels of drama including A level, there is also a Sales section where
resources can be purchased.
http://www.activ8theatre.co.uk/resource_packs.htm This site also offers resources for a
variety of Key stages but most resources are available for purchase only. There are a few
free resources included.
http://www.drama-education.com/site/ An interesting site, although not based in UK it does
provide a variety of links for various resources and forums to discuss issues on drama
teaching.
http://www.dramaworks.co.uk/ Some excellent resources on practitioners and on texts.
3.1.2 Books and magazines
Drama and Theatre Studies at AS and A Level by Jonothan Neelands. Warwick Dobson.
Published by Hodder & Stoughton (Jun 2000); ISBN: 0340758600
Drama and Theatre Studies by Sally Mackey and Simon Cooper. Published by Nelson
Thornes; 2Rev Ed edition (13 Oct 2000) ISBN 10: 0748751688; ISBN 13: 978-0748751686
Practical Theatre ‒ A Post-16 approach: edited by Sally Mackey. Published by Nelson Thornes
(21 Jul 1997) ISBN 10: 0748728570; ISBN 13: 978-0748728572
Teaching Drama A publication by Rhinegold with ideas on teaching Drama from KS3 to A2
produced six times during the year.
The Articulate Body: The Physical Training of the Actor by Anne Dennis. Published by Nick Hern
Books; new edition (31 Jul 2002); ISBN: 978-1854596833
Physical Theatres: A Critical Introduction by Simon Murray and John Keefe. Published by
Routledge; 1 edition (30 Sep 2007); ISBN: 978-0415362504
Physical Theatres: A Critical Reader by John Keefe and Simon Murray. Published by Routledge;
1 edition (30 Sep 2007); ISBN: 978-0415362528
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The Frantic Assembly Book of Devising Theatre by Scott Graham, Steven Hoggett. Published by
Routledge; 1 edition (17 April 2009); ISBN: 978-0415467605
Theatre of Movement and Gesture by Jacques Lecoq. Published by Routledge; 1 edition (25
Sep 2006); ISBN: 978-0415359443
Creating a Character: Physical Approach to Acting (Paperback) by Moni Yakim. Published by
Applause Theatre Book Publishers, U.S.; Reprint edition (31 Jul 1996; ISBN: 9781557831613
The Complete Stanislavsky Toolkit by Bella Merlin. Published by Nick Hern Books (15 Mar
2007); ISBN: 978-1854597939
Acting and Reacting: Tools for the Modern Actor by Nick Moseley. Published by: Nick Hern
Books (16 Dec 2005); ISBN: 978-1854598035
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4. Component Guides
4.1 Component 1: Theatre Workshop
Non-exam assessment: internally assessed, externally moderated
60% of qualification
120 marks
Learners will be assessed on either acting or design.
Learners participate in the creation, development and performance of:
1. an extract from a text of the learner's choice
2. a piece of theatre based on a reinterpretation of a second extract from a text from a different
social, historical or cultural context using the techniques and working methods of either a
theatre practitioner or theatre company.
All learners must produce:
• a realisation of both performances or designs
• a creative log for each performance/design
• an evaluation of the process of creating and realising the reinterpreted extract only
Terminology explained:
Text of the learner’s choice
Faithful Interpretation
The text chosen for this component can be any published
text or text that has been professionally commissioned.
Learners may select a text from Appendix A but it must be
different to the text selected for reinterpretation. It must also
be different to the text selected for Component 2.
Consideration must be given to the selected text re: faithful
interpretation and the text must be in a different theatrical
style to the practitioner/company selected for the
reinterpreted text.
Learners are required to perform or design in line with the
style and conventions of the text selected. See Examples of
Faithful Interpretation below.
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Influential practitioner
This must be an established theatrical professional. The
working methods and techniques of the practitioner must
be easily identified and appropriate for application by the
learners. There must be a suitable amount of research
material that can be accessed by the learners during the
research stage. Whilst it is acknowledged that the
practitioner may incorporate a variety of techniques that can
be associated with other practitioners, it will be universally
accepted that the practitioner chosen has a distinct set of
conventions that can be associated with their work.
Recognised theatre
company
This must be an established professional theatre company
with a relevant body of work. The working methods and
techniques of the company must be easily identified and
appropriate for application by the learners. There must be a
suitable amount of research material on the company that
can be accessed by the learners during the research stage.
Whilst it is acknowledged that the company’s work might be
made up of a variety of techniques and theatrical
conventions, the company must have its own theatrical
identity.
Deconstruct
The process by which a theatrical text can be analysed and
its components explored. For example:
• Historical, social, cultural content
• Artistic intentions of the playwright
• Original theatrical conventions used including acting
style and staging techniques
• Style and genre
• Characters
• Plot and narrative
• Relevance of the extract within the context of the
play as a whole
• Dialogue
• Action
This will be supported by research but is reliant on a
thorough analysis of the content of the extract.
Reinterpretation
Learners are encouraged to put ‘a new spin’ on the creative
aims of the piece e.g. altering the focus of the themes or
intended audience response. Performing/designing the
extract in a way not originally intended e.g. applying the
ideas of a practitioner that are not naturally occurring in the
text.
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Component guidelines:
Reinterpretation
The choice of practitioner or theatre company should be different from the style inherent in
the monologue / duologue / group piece.
A practitioner or theatre company must be selected. Learners MUST NOT select a theatrical
style for this component.
The Difference between STYLE and PRACTITIONER or THEATRE COMPANY
Style is often the term given to a specific genre/type of theatre. The practitioner or theatre
company is often an individual or company that practices that particular style.
Examples:
Style:
Practitioners:
Company:
PHYSICAL THEATRE
Jacques Le Coq
Steven Berkoff
Pina Bausch
DV8 (United Kingdom)
Style:
Practitioners:
MUSICAL THEATRE
Steven Sondheim
KurtWeill
Jason Robert Brown
Style:
Practitioners:
THEATRE OF CRUELTY
Antonin Artaud
Jerzy Grotowski
Cruel Theatre (Switzerland)
Company:
Style:
Practitioners:
REALISM
Konstantin Stanislavski
Lee Strasberg
Michael Chekov
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Learners are reminded that the application of techniques of their chosen practitioner or
theatre company is open to interpretation. Learners are not expected to apply all the
techniques and conventions practised but they are expected to focus their work on the
chosen practitioner or theatre company and not mix conventions from other practitioners.
It is important that when the work is presented, the influences of the chosen practitioner or
theatre company is explicit in the performance or design.
Specific guidelines:
• Text to be chosen from list in Appendix A of specification
• A 10-15 minute extract from this text should be studied within the context of the
whole
• The ideas of a practitioner or theatre company should be studied and applied to a
reinterpretation of the text
• Between 30% and 70% of the dialogue in the final piece should be from the chosen
text
• Groups should consist of between 2-5 acting candidates. Up to 4 additional design
candidates, each working on a different technical skill
• The performance should be between 2-16 minutes, depending on the number of
performers
• The candidates must produce a creative log which demonstrates the research,
creation and development of ideas
• The centre can set their own date for the exam
• The centre record the work
• All assessment evidence is internally assessed and externally moderated
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The four stages to the component:
1: Researching
Learners are required to research both their chosen texts and chosen practitioner/theatre
company.
This must be a thorough process in order to effectively influence their practical work.
Examples of practitioners and theatre companies:
Theatre Practitioners
Stanislavski
Brecht
Boal
Artaud
Berkoff
Katie Mitchell
Marianne Elliot
Polly Teale
Julie Taymor
Rupert Goold
Declan Donnellan
Theatre Companies
Kneehigh
Frantic Assembly
Earthfall
DV8
Complicite
Punchdrunk
1927
This is not an exhaustive list and teachers are encouraged to select any suitable
practitioners or local theatre company to stimulate creative response. The practitioner or
company selected must have a clear set of theatre techniques and conventions that are
incorporated into their work. If in doubt, teachers are advised to check their choices with
the subject officer. Centres may be asked to submit a brief document stating the
techniques and conventions of that practitioner or theatre company that will be used to
assess the effectiveness of the learner’s application of such techniques.
In the early weeks of study, experiment with a wide selection of practitioners. Learners
should begin to understand the differences between contrasting theatre techniques and
drama conventions. Apply the practitioner’s and theatre company’s concepts to both acting
and the technical/design elements.
It is important that very few notes (if any) are given on the chosen practitioners. The
practitioners' ideas are tools to create characters and performances and should not be
treated as holy texts. Teachers are advised to adapt their ideas according to the ability of
the learners. They should all be based in practical work. Use a simple rule: Do first, explain
theory after! Try to choose practitioners that have contrasting styles or ideas so that the
pupils have a good basis for practical work.
The technical candidates can base their research on designers, lighting designers, etc.
rather than entirely on the acting practitioners. They should be allowed to branch out and
22
choose contrasting lighting designers, staging designers, costume designers, etc. Their
chosen practitioners should be clear. The teacher will have to guide the technical learners.
The practitioners do not have to be alive!
The theatre companies do not have to still be producing work.
There are a lot of reference books and websites that can be of assistance.
If learners select the technical option there would need to be enough equipment in the
school to allow them to experiment and be bold with their ideas. Four lights and a CD
player is not enough for this purpose. If you are uncertain please contact the subject
officer.
It is recommended that learners keep a diary / journal / notebook of their practical
sessions. Learners should take note of any important practical ideas about the practitioner,
exercises that they enjoyed / found useful, any research they have carried out for a role,
any resources given by the teacher and keep these together in the journal. This will not be
assessed but will provide good material from which to produce the:
• Creative logs
• Evaluation
During the whole process learners should be assessing their own work, with the help of the
teacher. The teacher is there to advise and guide and not to direct. It is also important that
teachers should intervene at an early stage to sort out tensions or any problems.
2: Developing
Learners participate in the creation and development of two pieces of theatre:
• An extract from the text of the learner’s choice
• A piece based on a reinterpretation of the extract chosen for study in stage 1
a)
Text performance:
Learners for AS are required to perform/design a ‘faithful interpretation of the text’. This is
of the learner’s choice and does not need to be from the AS list of texts. If a text from this
list is chosen then a different text must be selected for the reinterpretation. It must also be
different from the text selected for Component 2.
Learners may either prepare a monologue or group piece.
23
Examples of faithful interpretation:
Example 1:
Text: Twelfth Night by William Shakespeare
Monologue: Viola
Examples of faithful interpretation:
Acting :
• Male playing a female disguised as a
boy
• Performed outdoors
• Direct address
• Use of verse
Design:
• Elizabethan costume
• Outdoor setting
• Underscore with Elizabethan music
Example 2:
Text: Loot by Joe Orton
Duologue: Hal and Dennis (Act One)
Examples of faithful interpretation:
Acting :
• Comedy
• ‘Black farce’
• Naturalistic in style
• Clear subtext
Design:
• 1966 costume concepts
• Box set
• Music – 1960s
Example 3:
Text: Metamorphosis by Steven Berkoff
Monologue: Gregor (opening)
Examples of faithful interpretation:
Acting :
• Physical theatre
• Grotesque vocal characterisation
• Personification of inanimate objects
Design:
• Stylised period costume
• White face make-up
• Non-naturalistic set – skeletal frame
• Abstract sound scape
• Non-naturalistic lighting plot
Example 4:
Text: Sweeney Todd by Stephen Sondheim
Duologue/duet: Todd & Mrs. Lovett (End of
Act One)
Examples of faithful interpretation:
Acting :
• London accents
• Use of song
• Naturalistic
• Melodrama techniques
Design:
• 19th century costume
• Melodrama costumes
• Atmospheric lighting
• Minimalistic set
Example 5:
Text: Threepenny Opera by Bertolt Brecht
Monologue: Peachum (opening Act One)
Examples of faithful interpretation:
Acting :
• Epic style
• Direct address
• alienation
Design:
• Brechtian approach to staging
• Use of projection and stark lighting
• Underscore music
Example 6:
Text: Waiting for Godot by Samuel Beckett
Duologue: Estragon & Vladimir (opening
scene)
Examples of faithful interpretation:
Acting :
• Absurdist
• Tragi-comedy
• clowning
Design:
• tramp costumes
• abstract setting including a tree
• non-naturalistic lighting
• abstract sound
24
b)
Reinterpreted text performance
What is reinterpretation?
A deconstruction of the text in order to create a new piece of theatre. Learners are
encouraged:
• To put ‘a new spin’ on the creative aims of the piece e.g. altering the focus of the
themes or intended audience response
• To perform/design the extract in a way not originally intended e.g. applying the
ideas of a practitioner that are not naturally occurring in the text
Between 30% and 70% of the final piece created by the learners must consist of text from
the 10-15 minute extract studied.
Potential methods of reinterpretation:
Dialogue
Repeat
dialogue
Cut lines
Plot and
Structure
Change order
of scenes
Edit lines
Alter the
narrative
Repeat scenes
Choral
speaking
Realise offstage action
Allocate
dialogue to
different
characters
Translate into
a different
language
Introduce
flash-backs
and flashforwards
Delete scenes
Vocal
techniques
Create a new
narrative
Character
Change
gender of
characters
Change target
audience
Multirole
Divide
character
between
several actors
Create
characters not
seen in the
original
Change
character
perspective
and/or
motivation
Minor to major
characters
25
Theme and
Content
Change the
theme(s)
Style and
Conventions
Change the
style
Add music
Use of puppets
Add poetry
Mime and
movement
Physical theatre
Add dialogue
from other
plays
Add song
Costume from a
contrasting
period
Add dance
elements
Use of abstract
sound and
lighting
Add other
cultural
theatre styles
Use a clash of
conventions
Examples of Reinterpretation Activities:
Example 1:
The Cherry Orchard by Anton Chekhov
Extract: The final 15 minutes of the play
Practitioner / Company: Katie Mitchell
Content:
Practitioner Application
(through research)
Improvise a scene after the Application of the concepts
end of the play when Firs is of psychiatry to explore
discovered locked in.
characters:
Who discovers him?
e.g. exploring Firs’ mind and
Is he still alive?
his emotions.
If he is what does he tell them?
Do any of the family return?
Firs could look back at the
final exit of the characters
and remember part of what
happened using fragments
of the original dialogue.
Alternative content:
Dreamscape exploration of
how Firs is feeling at the end
of the play.
The other characters will
‘dance’ in and out of his mind
as he speaks some of the
dialogue from the original
text.
The style of the piece is
changed from naturalism to
surrealism.
Design: Set
An environment is created that is non-naturalistic and
represents the inside of Firs’ head and his memories.
Design: Costume
Costume works against naturalism. Firs’ costume is symbolic
in style and colour and the other characters are dressed as
he remembers them.
Technical: Lighting
Lighting is non-naturalistic and captures the emotional
changes that Firs is experiencing.
Technical: Sound
Sound design captures a soundscape that suggests
memories and reflects the emotions Firs experiences.
26
Example 2:
The 39 Steps by Patrick Barlow
Extract: The first 15 minutes of Act One
Practitioner / Company: Stanislavski
Content:
Improvise a scene between
the two ‘Heavies’ outside of
Richard Hannay’s apartment.
How long have they been
pursuing Annabella Schmidt?
What is their motivation for
waiting outside all night?
The scene where Annabella
is murdered could be
created.
Practitioner Application
(through research)
Emotional memory.
The magic 'if'.
The feeling of truth.
The style is changed from
physical comedy to
naturalism.
Alternative content:
The characters flashback to
an earlier scene when they
first learnt of Annabella.
They multirole Annabella
and Richard and role-play
elements of the dialogue
between them.
They multirole as Annabella
and Richard and present
elements of the dialogue
between them.
Design: Set
A realistic environment is created. An area to represent
Hannay’s apartment and the area where the ‘Heavies’ stand
under a lamp post.
Design: Costume
Period 1930s with detail.
Technical: Lighting
Natural lighting state inside the apartment. A special to
suggest the lamp post at night.
Technical: Sound
A busy London Street. Traffic is heard. Incidental music is
used to set the scene and period. 1930’s music hall
recordings.
27
Example 3:
Art by Yasmina Reza
Extract: The first 15 minutes of Act One
Practitioner / Company: Berkoff
Content:
We create a scene where
Serge telephones Marc to
tell him about the painting
he has bought.
Thought-track / hot-seat each
character.
What are their feelings
towards each other?
Yvan tells us about Marc &
Serge’s relationship.
Practitioner Application
(through research)
Physicalisation of emotion.
Strong group work.
Stylised movement.
Tableaux.
The style is changed from
naturalism to physical
theatre.
Alternative content:
Marc and Serge present
their argument in a physical
style. Their physical
interaction is echoed by
their dialogue in their first
scene together.
Yvan discusses his friends
with his fiancé.
Design: Set
An open space with symbolic paintings hanging around to
represent the painting in the play. White floor.
Design: Costume
Costume is natural in style but created to give greater
movement possibilities. The garments are off-white to
represent Serge’s white painting and they can be projected
onto a screen.
Technical: Lighting
Angular lighting with side lighting to enhance the
movement. Images of works of art will be projected into the
costumes and white floor.
Technical: Sound
Sound design uses French music to suggest location. A
soundscape will be used to underscore Marc & Serge’s
physical theatre section.
28
3. Reflecting
The Creative Log
Learners keep two creative logs, compiled during the process. It should contain reflection
on the following elements:
• How ideas are created, developed and refined to communicate meaning as part of
the theatre-making process, including how conventions, forms and techniques are
used in the piece
• How they have applied research into both the extract in context and their chosen
practitioner or theatre company
The creative log should fully justify decisions made and is not a diary of the rehearsal
process.
The Creative Log – Requirements
The Creative Log can be presented via a variety of illustrative means but there are strict
word/time considerations that should be adhered to:
• Written annotation and/or continuous prose: 1000-1200 words
• Blog (suitably edited): 1000-1200 words
• Audio commentary and audio-visual: 8-11 minutes (in total)
Preparing the Creative Log
Learners should be encouraged to keep records throughout the process, including
activities where they explored:
• texts
• practitioners and genres
• research, ideas, structure
• use of space
• editing dialogue
• performance skills
• ‘showbacks’ to peers
• responding to feedback
• refining the piece and performance or design skills
• dress rehearsal, etc.
29
Examples of creative log contents:
Photographs
e.g.
rehearsals,
set model
boxes
Mind maps
Lighting cue
sheets
Sound cue
sheets
Prompt copies
Digital media
Sections of
script
Blog
PDFs
Visual
images
Mood boards
Ground plans
Sketches
Written prose
Sounds clips
e.g. links to
Soundcloud
Video or audio
clips of
discussions
Video clips of
rehearsal
work
Transcripts of
interviews
Power Point
presentations
Slides
Audio
commentary
Annotated
research
Charts
Costume
sketches
Swatches of
fabric
Rehearsal
notes
Make-up tests
Surveys and/or
questionnaires
Emails /
letters re:
research
Feed-back
forms
4. Realising
Learners must realise their two final performances or designs. The timing of the piece is
based on the number of actors in each group and can be found on page 11 of the
specification.
Each actor must be fully engaged with other performers on the stage for a minimum of 5
minutes in each piece to interact meaningfully. Monologues can be incorporated within the
piece. Learners are also encouraged to consider all elements of their chosen skill (refer to
Appendix D of the specification).
The minimal requirements for technical and design candidates can be found on pages 1112 of the specification.
30
5. Evaluating
Evaluation of the reinterpreted piece only.
The evaluation must be between 1200 and 1500 words and consists of two
sections:
1.
analysis and evaluation of process, including how the following were used in
creating and developing the piece:
•
•
2.
the practitioner or company methods and techniques
conventions, forms and techniques
analysis and evaluation of the final realisation including:
•
•
use of performing or design skills
their own contribution to the performance of the piece
Example of Assessment Grid: A04
Band 5 criteria.
AO4.1a and 1b.
Analyse and evaluate their own work
Band
5
Analysis and evaluation of
process
9-10 marks
• A thorough evaluation of the
creative process including
detailed reference to how
practitioner or company
techniques have been used
and how the text is
reinterpreted for
performance
• A detailed analysis of how
dramatic or design
conventions, forms and
techniques have been used
in the piece
• A detailed evaluation of
progress made during the
creative process
31
Analysis and evaluation of
performance/design
9-10 marks
• A thorough evaluation of the final
performance or design
• A detailed analysis of application
of performance/design skills
• A thorough evaluation of their
own contribution to the success
of the whole
See Component 1 Assessment grid on page 34 of the specification.
Assessment
Stages 1-3: Researching, developing and reflecting (AO1, 40 marks):
•
Assessed through the performance/design and the creative log
•
40 marks in total – 20 for each piece
•
Creating and developing ideas (10 marks)
•
Making connections between theory and practice (10 marks)
Stage 4: Realising (AO2, 60 marks)
•
Assessed through the performance/design
•
60 marks in total – 30 for each piece
Stage 5: Evaluating (AO4, 20 marks)
•
Assessed through the evaluation of the reinterpreted extract only
Examples of application of practitioner/theatre company to design elements:
It is often more straightforward for learners who have selected ACTING as their skill to
apply the theatrical conventions and techniques of a practitioner to their work. Below are
suggestions of how the objectives and techniques used by practitioners and theatre
companies can be applied to the design elements of set, lighting, sound and
costume/make-up.
Further research will introduce learners to a more detailed exploration of the specific aims,
objectives and conventions practised by the practitioner or theatre company.
Once again learners are reminded that they are not expected to apply all the techniques
and conventions practised. It is important, however, that when the work is presented, the
influences of the chosen practitioner or theatre company are explicit in the performance or
design.
32
Examples of practitioner / theatre company application re: DESIGN
Konstantin STANISLAVSKI
Realism, naturalism
‒ an authentic
environment
created using
design elements.
No place for the
SET:
Real furniture,
period detail,
actual props – no
miming of action.
LIGHTING:
Non-abstract, time
of day, season,
location clearly
depicted.
Use of decor.
Use of ‘real’ gobos
– windows.
abstract.
SOUND:
Non-abstract, real
sounds depicting
location,
environment –
crackling fire, dogs
barking outside.
COSTUME / MAKEUP:
Period detail,
relevant to
character and
scene.
Music – usually
period and relevant
to scene.
Symbolism must be
reflected by ‘real’
design.
Bertolt BRECHT
Epic quality. Strong
SET:
gestus in the design
A flexible space but
elements.
often with specific
period detail re:
Exploring the abstract
furniture and props.
but strong period detail
present.
Use of captions &
LIGHTING:
Generally
broad, subtle
for effect only.
Mechanics of
lighting on
show.
SOUND:
Any sound that can
assist the meaning
of the
scene/moment.
COSTUME /
MAKE-UP:
True Brecht
reflects strong
period detail.
Contrapuntal
music, ugly sound
to highlight
emotion and/or
the gestus.
Use of mask,
caricature, text,
placard etc.
LIGHTING:
Angular, epic,
symbolic.
SOUND:
Operatic, grand.
COSTUME /
text.
Edward Gordon CRAIG
Modernist. Pioneer craft.
Space and Light.
Use of sound, light,
projection and drama to
engage the audience.
SET:
Angular, epic,
symbolic, over-sized.
Clear consideration
of space between
set pieces.
Operatic in
design. Large
scale.
Operatic in style and
concept. Allowing
potential for lighting.
Atmospheric.
Use of shadow
and sculpturing.
Atmospheric,
creative.
Grand scale.
MAKE-UP:
Expressionistic.
Operatic.
Grand-scale.
Broad colour.
Use of masks
(the paramount
weapon of
dramatic
expression).
33
Antonin Artaud
Theatre of cruelty.
SET:
Sensory awareness.
Theatre should affect
the audience.
LIGHTING:
SOUND:
COSTUME /
Challenge the
Challenge the
MAKE-UP:
audience.
audience.
Challenge the
Use colour and
shape for
Disturbing forms of
uncomfortable
lighting, sound, and
effect.
audience.
Uncomfortable.
Uncomfortable.
Uncomfortable.
Non-naturalistic. Non-naturalistic.
other performance
elements.
Non-naturalistic.
Site-specific for
Questions usual
often harrowing
relationship
purposes.
between the
Often loud.
Grotesque.
Disjointed.
stage and the
audience.
Unharmonious.
SET:
Physical and visual
theatre. A ‘space’
where theatre
happens.
LIGHTING:
Visually creative.
Atmosphere
created for
effect.
SOUND:
Aurally creative.
An environment that
allows the actors to
tell the story.
The magic of
theatre.
The magic of
theatre.
Lighting as an
independent
theatrical
language.
Sound and music
as an independent
theatrical
language.
Peter Brook
Theatre of the ‘vital
spark’.
Relationship between
the actor and the
‘empty space’.
Distillation of language,
gesture, action, design,
where meaning is the
essence.
34
Atmosphere
created for effect.
COSTUME /
MAKE-UP:
Visually creative.
Simplistic and
symbolic.
Costumes allow
for physical
performance –
restrictive only for
effect.
Steven Berkoff
Physical theatre.
Awareness of the
senses.
Environment allows
physical performance.
SET:
Practical and
symbolic set designs
that gave the actors
enough room to
move around the
stage.
Classic in concept. e.g.
Greek, Japanese.
Visual aesthetic is
LIGHTING:
Use of extensive
light and
shadows in his
productions –
enhancing
mime, stylized
movement and
tableau to
create exciting
alternative
theatre.
important.
SOUND:
Actors often
make their own
sound effects.
Sound is
dramatic,
expressionistic.
Music has
remained an
essential element
of Berkoff’s
production style.
COSTUME / MAKEUP:
White-face masks.
Theatrical
costumes with the
visual focus on the
actor, serving to
emphasize the
performer and
help to create
environment and
the
characterization.
He considers
sound and music
to be integral to
his theatre.
Augusto Boal
Theatre of the
Oppressed.
Forum Theatre.
Giving a voice to
people to discuss and
explore answers to
problems – often social
dilemmas.
SET:
Invisible theatre –
transforming public
spaces into
‘theatres’.
An environment that
allows people to
have a voice.
LIGHTING:
Lighting is not
as important as
the nature of
the scene or the
argument being
discussed.
Use of AV /
slides, video to
reinforce the
political point.
35
SOUND:
Relevant use of
sound.
Vox-pops.
Debate.
Factual
presentations.
Political
speeches.
COSTUME / MAKEUP:
Real re: the
actuality of the
character.
The characters are
the ‘everyday
people’.
The audience
cannot tell who is
the actor and who
isn’t.
Katie MITCHELL
The creation of a ‘very
distinct world’.
Design choices are always
piece-specific and range
from extreme naturalism to
abstract and epic.
Comfortable in
deconstructing established
texts ‘a vandal smashing up
the classics’.
SET:
A space / an
environment
allowing for
use of screens.
Use of scrims
playing with
shadow, light and
projection.
LIGHTING:
Experiments with
multimedia,
exploring new
ways of
organising
narratives e.g.
film/video.
Use of video
cameras on stage
projecting
elements of the
acting.
36
SOUND:
Experiments
with multimedia,
exploring new
ways of
organising
narratives e.g.
radio/podcasts.
COSTUME /
MAKE-UP:
Strong, bold yet
simple design.
Period detail.
Costumes used
as part of the
‘language of
Use of
microphones on theatre’ often
making clear
stage.
statements.
Theatre Company
Earth Fall
Engaging, exciting work.
Created to inspire,
stimulate and provoke the
audience through original
high-quality mixed-media
dance theatre
performance.
Radical choreography with
SET:
An open
environment
allowing for strong
dance content.
Use of screens.
Use of scrims
playing with shadow,
light and projection.
live music and strong visual
imagery.
LIGHTING:
Creates
atmosphere in
line with the
conventions of
dance.
SOUND:
Often live
musicians.
Often nonnaturalistic.
Use of angle,
colour, intensity
to reflect mood,
moment or
music.
Original
material re:
music.
Projections.
Use of film and
moving images.
37
Contemporary
feel.
Soundscapes.
COSTUME /
MAKE-UP:
Strong, bold yet
simple design.
Costumes allow
for freedom of
movement.
Costumes
celebrate the
physicality –
often figure
hugging,
exposing
elements of the
performer’s
body.
Frantic Assembly
Frantic Assembly is
an internationally
renowned, UK
based theatre
company led by cofounder and Artistic
Director Scott
Graham.
Celebrated for its
accessible and
collaborative
approach Frantic
Assembly has
created awardwinning work of
breath-taking
physical dynamism
and emotional
eloquence.
Frantic Assembly are
world leaders in
devised and
collaborative
theatre.
SET:
A creative space
that allows for
physical
performance.
Production specific
– can range from
abstract open
spaces to detailed
environments.
LIGHTING:
Lighting often
used to create
strong elements.
SOUND:
Contemporary
sound tracks often
used.
Production
specific – can
range from bright
states to angular
shafts of light.
Loud and effective.
Soundscapes
mixed to heighten
tension.
Use of colour.
Styles and
conventions often
clash e.g. scenes
from Othello in a
pub with snooker
table.
All furniture, props
etc. can be used
for physical work.
Lighting used to
enhance the
ideas within a
performance
Use of screens,
projection,
television
screens.
The Frantic Method
of devising liberates
creative potential
and builds
confidence in
performers,
students and
teachers.
For more detailed
information about
each specific Frantic
Assembly
production, visit:
http://www.franticas
sembly.co.uk/resour
ces/
38
Dialogue often
underscored with
music and sound.
Production specific
– Artists such as
Hybrid,
Underworld,
Imogen Heap and
Goldfrapp have
been used in
productions
previously.
COSTUME / MAKEUP:
Designed to allow
free movement.
Relevant to
production e.g.
suggestions of
period.
Contemporary in
feel.
Production specific (Beautiful Burnout
and Othello) - Often
costume allows for
the body to be seen
e.g. bare arms, bare
legs, torso etc.
Links the world of
dance to theatre.
Punch Drunk
Pioneered a game
changing form of
theatre.
Roaming audiences
experience epic
storytelling inside
sensory theatrical
worlds.
Classic texts blended
with physical
performance.
SET:
Not necessarily
site-specific but
an immersive
environment
created.
LIGHTING:
Important in
creating strong
visual messages.
Audience often
free to wander
the space(s) and
experience the
theatre as they
wish.
Epic scale.
Non-theatre
spaces lit to create
new environments.
Cinematic.
Often abstract use
of light.
Design installation and
unexpected sites.
SOUND:
Contemporary
feel.
COSTUME / MAKEUP:
Often abstract.
Music and
sound used on
a grand scale to
create
atmosphere.
Applies style and
period relevant to
production.
Sound used to
create a sense
of theatre in
non-theatre
environments.
Sources of
sound –
experimental
e.g. creative
positioning of
speakers.
Designers occupy
deserted buildings and
apply a cinematic level of
detail to immerse the
audience in the world of
the show.
Unique theatrical
experience between
space and the
performer.
39
Costumes and
make-up often
make bold
statements.
Often a sitespecific relevance.
Example of Group Work: Roles and responsibilities
Below are suggestions on specific roles and how learners with different skills can contribute to both text
and devised.
It is unlikely that a group will have designers for all four design disciplines. Roles and responsibilities
should be allocated when specialisms have been decided.
For example, in a group of 3 actors and 1 lighting designer:
ALL four learners should take responsibility for other areas sorting set, sound, costume etc. The skills
assessed are ACTING and DESIGN: LIGHTING but the other areas of production design should be
addressed.
This example focuses on COMPONENT 1 – and the element of REINTERPRETATION but the concepts also
can be applied to TEXT.
It is good practice for learners to hold formal production meetings even when there are no designers in
their group. They almost certainly will need to liaise with whoever will be operating their lighting and
sound.
General roles: Component 1: REINTERPRETATION
Actor
Set Designer
Lighting
Designer
Sound
Designer
Costume Designer
Research:
Set Text focus on
ACTING.
Research:
Set Text focus on
original staging.
Research:
Set Text focus on
original
staging/lighting.
Research:
Set Text focus on
original
staging/sound.
Research:
Set Text focus
original
staging/costume.
Research:
Practitioner /
company:
ACTING bias.
Research:
Practitioner / company:
STAGING bias.
Research:
Practitioner /
company:
LIGHTING bias.
Research:
Practitioner /
company:
SOUND bias.
Research:
Practitioner /
company:
COSTUME bias.
Portrayal of
character
Environment
Props
Visual:
Lighting
Projections
AV
Aural:
Sound
Music
Audio elements
Visual presentation of
character
Creation of dialogue.
Provision of rehearsal
furniture, props etc.
Creation of lighting
plot working
alongside actors.
Creation of sound
lot working
alongside actors.
Provision of
rehearsal music,
specific sounds.
Creation of general
look of the piece –
design of ONE
character.
Provision of rehearsal
costume elements.
Writing of script.
Initial Production Meeting:
• Discussion of text and chosen practitioner/theatre company
• Familiarisation with Minimal Requirements for DESIGN candidates
40
on
The teacher should act as a ‘Production Manager’ facilitating the learners’ ideas. This role should diminish as the rehearsals
develop. It may even be redundant for Component 2. Teachers should, however, request that minutes and notes from the
production meetings be submitted as part of the process.
Study of text extract:
All learners study ALL areas of production to develop a thorough understanding of the extract.
Research of chosen practitioner/theatre company:
• Individual research
• Individual notes made
Process of reinterpretation:
ALL learners involved in the process throughout.
Second Production Meeting:
• Discussion of the elements of the selected practitioner/theatre company on which the group want to focus
• Each learner selects areas of responsibility – further research
• Discussion of ideas for reinterpretation i.e. what 30%-70% text does the group want to keep
• What are the specific sections of the extract that lend themselves to effective application of the
practitioner/company chosen?
• Designers highlight sections that are effective for design
• Aims and objectives set for each learner
• Areas for the next stage of research
Second stage of research:
Actor
Set Designer
Lighting
Designer
Sound Designer
Costume
Designer
Rehearsal and
construction of the
script.
Research into
materials,
equipment, staging
elements e.g.
rostra and where
to source them.
Research into
potential states
and what lanterns
are needed etc.
Sourcing of filters,
special
requirements.
Research into sound.
Sourcing sound elements:
tracks etc.
Start to edit/mix sound.
Research into
potential
costumes.
Selection of the
character to
design.
Rehearsal / preparation stages
Ensure that:
• Designers and actors work together
• Designers can help ‘record’ dialogue during improvisation etc.
• ‘Scripting’ and restructuring the script is the responsibility of ALL learners
• Designers should feel empowered to bring ideas to the rehearsal e.g. ideas for mood and atmosphere, music
tracks, costume elements such as masks
• Learners must develop skills in listening to ideas and concepts proposed by each of the group members
• Ensure designers are working towards minimal requirements and actors know the assessment criteria for
acting skill
It is good practice for actors to suggest/request design elements. Designers should also feel able to suggest script
content, directorial ideas.
Designers simply carrying out the actors’ requests should be avoided. The designers need to assess their own
41
contributions and in order to do that – they must contribute!
Third production meeting:
This stage will happen as the performance date is impending:
• Assessment of what needs to be done to move rehearsals forward
• Discussion of problems that need to be solved
• Analysis of challenges that have been met by actors and designers
• Finalisation of script
• Finalisation of design ideas
• Check designers have met the minimal requirements in their design(s)
Actor
Set Designer
Lighting
Designer
Sound Designer
Costume Designer
Ensure lines are
learnt.
Blocking is
finalised.
Set elements
complete.
Rehearsal props
replaced by actual
props.
Lighting design
complete.
Lanterns rigged
and focused.
Lighting board
programmed etc.
Sound design complete.
Sound equipment is set
up.
ALL required sound,
music is sourced, mixed
and edited. Final sounds
provided for rehearsals.
Final costume for ONE
character completed.
Costume suggestions
for the other characters
sourced.
Make-up and hair
designs complete.
Production elements that take place in the final rehearsal stages:
Set complete. Lighting focused.
Performances ready.
All learners present for COSTUME PARADE – should be done under actual lighting states.
Make-up and hair design complete.
Photographs/video taken for Creative Logs for ALL learners.
Sound plot
ready.
TECHNICAL REHEARSAL
Followed by:
• Production meeting to discuss the rehearsal and any elements that need addressing
PERFORMANCES
Final production meeting
Including discussion of success of:
• Reinterpretation
• Group work
• Performance
• Designs
• Audience reaction
42
Costume Parade
Costumes fitted and
amendments made.
Make-up trials.
Hair trials.
Actor
Set Designer
Lighting Designer
Sound
Designer
Costume Designer
Acting
Text
Practitioner/company
Evaluation of:
Set design
Text
Practitioner /
company
Evaluation of:
Lighting design
Text
Practitioner / company
Evaluation of:
Sound design
Text
Practitioner /
company
Evaluation of:
Costume design
Text
Practitioner / company
Notes on recording
Although we are not assessing the centre's ability to record work, it is essential that centres
are aware of the importance of the recording to the moderation process. The first task of a
moderator is to sample the work of candidates from a centre covering a range of grades to
ensure that the centre's assessment is in line with WJEC and national standards. This
means watching the recording to gauge the standard of work in relation to the centre mark.
To that end, it is vital that candidates and the performance itself are clearly visible and
audible. Centres are strongly advised to adhere to the following guidelines to ensure a
smooth moderation of Component 1 work:
•
The camera should be carefully positioned in order to best capture the
performance.
•
It is acceptable for the camera to have a fixed tripod, sympathetically placed to show
the candidates' work. This should not be placed too far back from the performance
so that the candidates are not able to be identified.
•
It is good practice to rehearse the recording in advance including the placing of the
camera in relation to the audience, large props, etc. A final recording with most of
the shot taken up with the audiences' heads should be avoided whenever possible!
•
It is helpful if the camera is panned to record work wherever appropriate. It is
important that all actors are seen at all times.
•
The light must be good for visibility and the disc, if used, must be new. It is also
important that the sound quality is good. It may be necessary to attach an external
microphone to the camera if the built-in device does not produce an audible final
product.
•
It is essential that centres check the quality of the recording immediately after the
performance in the event that it needs to be re-recorded to fulfil the moderation
requirements. Two cameras, if available, may provide the necessary back-up!
•
Centres must ensure that candidates clearly identify themselves at the start of the
recording. It is vital that candidates can be individually identified. Performance
candidates must line up in their performance group in costume, before the start of
each performance. It can be helpful if this is done in order of appearance. The first
43
candidate must state clearly and slowly the centre name and number, followed by
the performance title and group number. Then each candidate should hold up their
candidate number, clearly stating their name, character name and, if appropriate,
holding up their change of costume. This should be a close-up shot on the camera
(head and shoulders). Secondly the same process should be repeated with the
camera zoomed out, taking a long shot of the whole group as they call out their
names again (head to toe shot). The group shot must be held for enough time for
the moderator to clearly identify all candidates in the group.
•
Where centres have IT technicians to assist in this process, it is good practice if each
group is chaptered with their candidate names and characters presented within the
track title on the recording.
Suggested textbooks:
Author
Michael Chekhov
Year of
Publication
2nd revised
edition 2002
Title
To the Actor: On the Technique of Acting
ISBN: 10: 0415258766
ISBN:13: 978-0415258760
Peter Barkworth
2nd revised
edition 1991
Complete About Acting
ISBN: 10: 0413661105
ISBN: 13: 978-0413661104
Harriet Walter
New edition
2003
Other People's Shoes: Thoughts on Acting
ISBN: 10: 1854597515
ISBN: 13: 978-1854597519
Uta Hagen
1973
Respect for Acting
ISBN: 10: 0025473905
ISBN: 13: 978-0025473904
Gary Thorne
1999
Stage Design: A Practical Guide
ISBN: 10: 1861262574
ISBN: 13: 978-1861262578
Rob Napoli
2006
Scenic Design and Lighting Techniques: A Basic
Guide for Theatre
ISBN: 10: 0240808061
ISBN: 13: 978-0240808062
44
Clare P. Rowe
2007
Drawing and Rendering for Theatre: A Practical
Course for Scenic, Costume, and Lighting
Designers
ISBN: 10: 0240805542
ISBN: 13: 978-0240805542
Deena Kaye and
James Le Brecht
2000
Sound and Music for the Theatre: The Art and
Technique of Design
ISBN: 10: 024080371X
ISBN: 13: 978-0240803715
Michael J. Gillette
4th edition 1999
Theatrical Design and Production: An
Introduction to Scene Design and Construction,
Lighting, Sound, Costume and Make-up
ISBN: 10: 0767411919
ISBN: 13: 978-0767411912
William Gaskill
2001
Designing Stage Costumes: A Practical Guide
ISBN: 10: 186126416X
ISBN: 13: 978-1861264169
Michael Holt
1988
Costume and Make-up (Theatre Manual)
ISBN: 10: 0714825123
ISBN: 13: 978-0714825120
45
4.2 Component 2: Text in Action
Written examination: 1 hour 30 minutes
40% of qualification
80 marks
A clean copy (no annotation) of the chosen set texts for Sections A and B must be taken
into the examination.
Terminology explained:
One complete text
Learners study one text selected from lists provided by WJEC:
Pre-1956.
Social, historical and
cultural
Teachers must ensure that learners study three texts that
represent a wide range of social, historical and cultural contexts.
The texts on the list have been carefully selected to enable this.
In addition, Learners must study the social, historical and cultural
elements as they develop an appreciation for the texts.
For example:
• When was it written?
• Why was it written?
• Who was it written for?
• Historic context
• Events and social issues
• Politics
• Ethics
• Cultural background and preoccupations
46
Live theatre
productions
Learners should view a range of live theatre throughout the
course. For Component 2, they should be able to draw influence
from what they have seen to inform their understanding.
Learners must be able to reference these productions when
answering questions for Component 2.
Learners are advised to keep notes on productions seen
including:
• Venue
• Title
• Playwright/composer
• Theatre company if relevant
• Names of performers
• Names of creatives
• Detailed responses to:
Acting
Directing
Design
Audience response
Text
Technique(s)
The term given to the play and/or piece of theatre being studied.
Acting:
Elements of performance that are utilised by the actor to portray
character on stage. Usually dependant on performance style. The
focus is usually on:
• Vocal characterisation and techniques
• Physical characterisation and styles
but can also include:
• Interaction with other performers
• Relationship with the audience
Rehearsal:
Exercises that are carried out in rehearsal by actors and/or
director to assist the actor in understanding the necessary
elements of the scene including: character, plot, theme, situation.
These can either be general or specific to a practitioner/company.
Examples:
General rehearsal texhniques:
• Hotseating
• Thought-tracking
• Role reversal
Practitioner/company specific:
• The magic 'if' (Stanislavski)
• Analytical rehearsal of emotion (Boal)
• Physicalisation of text (Berkoff / Frantic Assembly)
47
Communicate meaning
to an audience
How an actor, designer or director presents their ideas to an
audience. In order to do this they must have a clear
understanding of what that ‘meaning’ is. Actors, designers and
directors have to select techniques and conventions that will
portray their creative decisions to an audience. In design terms
this might be use of colour or a specific piece of music. Actors will
utilise vocal and physical techniques to present meaning.
Contemporary
audience
An audience that will watch the play today. Learners must
consider the original productions of the plays in order to assess
whether they are still relevant for a modern audience. If the play
is still relevant, how can theatre practitioners ensure that this is
sustained through their effective choice of acting, design or
directing techniques? If the play, or elements of the play, no
longer seems relevant to a contemporary audience, what
conventions, techniques and approaches can be utilised in order
to make it relevant?
Staging
The method of presenting a play or other dramatic performance.
If a learner is asked to stage an extract from a play, it generally
refers to the design content of the piece. Unless otherwise stated,
staging usually refers to:
• Style of performance
• Stage space and stage configuration
• Set / props
• Costume / make-up
• Lighting
• Sound
It can also refer to:
• Acting style
• Character interaction
• Blocking and positioning (proxemics)
Usually learners would acknowledge these last three criteria but
with no real detail when answering a full staging question.
If a question asks learners to concentrate on one element e.g.
costume or set, it is not necessary to address the other elements
of staging.
48
Original performance
conditions
The style(s) and conventions in which the piece was first
performed. Learners must fully understand these in order to
create work with either a faithful interpretation or a reinterpretation.
In theoretical terms, if learners are asked to suggest ideas of how
to present an extract to a contemporary audience, they will need
to be able to reference staging conventions on the original
production.
Approaches to SET TEXTS
All texts for Component 2 should be taught as pieces to be performed.
Learners should:
•
•
•
•
•
•
•
•
understand how they have been constructed to be performed and not read in
isolation
understand the craft of character development, interaction, plot development and
construction
experience practical work on the texts – working on staging scenes, character
interaction, character development
experience directorial methods used in rehearsal and consider why they are used.
This should include rehearsal techniques and methods of rehearsal
understand how the texts can be staged using all technical aspects of theatre i.e.
lighting, sound, set and props, costume, makeup and hair, multimedia (where
appropriate)
be aware of how texts can be adapted for a contemporary audience
have experienced live theatre which can influence their ideas for staging their
chosen texts
understand the cultural, social and theatrical context of the texts
49
Key Points:
Interpretation of character:
• How the character has been interpreted by the actor and/or the director
• What vocal/physical styles or techniques have been used?
• Motivation
• Interaction
• Relationship with the audience
• Function of the character
• Success of the performance of the character(s)
Vocal and physical performing skills including interaction
• Use of tone, pitch, intonation, pace, level
• Use of body, body language, gesture, mannerisms
• Interaction with other characters, proxemics
• Relationship with audience
Interpretation of design elements including:
• Sound:
style, content, period, music, level, soundscape, underscore, audio-visual, atmosphere,
success, relevance to piece
•
Lighting:
style, content, position, intensity, projection, audio-visual, specific details, specialist
equipment, atmosphere, success, relevance to piece
•
Set and props:
style, content, stage space, materials, levels, staging elements, furniture, specific props,
atmosphere, success, relevance to piece
•
Costume, hair and make-up:
style(s), period, relevance to character, materials used, colour, whole costume plot, details
e.g. wigs, accessories, personal props
50
Examples of what could be taught on each text:
(New Specification CPD 2016)
As You Like It
William Shakespeare
Component 2
Learners should understand how we think the text would have been performed
originally:
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Written in 1599 / included in the First Quarto 1623
Other texts written at same time e.g. Hamlet
First registered in 1600 / probably performed in the new Globe which was
finished in September 1599
Longest role for a female in the Shakespeare canon, although originally
performed by a young man / youth
Play linked to pastoral tradition ‒ country seen as idyllic compared to the
court / town /city
Performed in the open air
Links with other comedies where characters flee to a confusing world e.g. A
Midsummer Night's Dream, Twelfth Night, The Comedy of Errors
Melancholy character ‒ link to Malvolio in Twelfth Night
Use of the intelligent clown
Disguise used, which causes confusion
Play ends conventionally, with all four couples getting married
Comic rustic characters /exiled Duke
Audiences had expectations in a comedy ‒ sophisticated word play / slapstick
Music was important in this genre of play
Looking at the design of the text:
There has to be a transformation between the court and the forest.
How would the candidates achieve this?
In what era would the text be set?
Once the text has been read, give candidates a task to create a mood board for the
play:
• Encourage learners to cut out pictures, look for colours, material, quotes,
fabrics. Anything that conveys their ideas about the play
• Discuss the mood boards and their visual perspective of the text
51
•
•
•
These can then be used then as a visual reference to start their staging
concept
They can use elements from the mood board to create their setting
They can link to period, colour, style
The initial work may take over a week but it is worth it so that they can start to think
visually.
They can use these throughout the year.
Once they have drawn their ideas for the set, they can then create a set of costume
ideas for the characters.
Look at recent / past productions:
National Theatre 2015
Globe 2011
RSC 2013
REVIEW 1
REVIEW 2
Including reviews:
REVIEW 3
REVIEW 4
REVIEW 5
REVIEW 6
Exploring the performance and directorial perspective:
If learners have not worked on Shakespeare before they need to know the basics
about the verse and prose e.g. how the beats and stresses work. They need to able
to choose the key words in any lines.
There are hundreds of exercises for unlocking the verse and looking at subtext.
These will help them unlock the characters and their interaction.
There are excellent resources on the RSC and NT Education websites.
Two very good books are:
Cicely Berry – Voice and the Actor
Patsy Rodenburg ‒ The Need for Words
Further examples of study:
• The element of disguise needs to be explored in class and the confusion
caused by the mismatched lovers
• Jacques’ character needs to be explored e.g. he is an outsider and does not
fit in with the other groups in the text
• Staging the final masque with Hymen, with focus on movement and
interaction, as well as the other elements
52
Examples of combinations of THREE texts across the AS components:
Component 1
Text: Learner’s own
Text from Appendix A
choice
Reinterpretation
with
with
Faithful Interpretation
Contrasting
practitioner/theatre
company
Example 1
Component 2
One text selected
from the AS list
The Glass Menagarie
A Doll’s House
The Trojan Women
Tennesse Williams
Naturalism
Henrik Ibsen
Euripides
Boal
Example 2
Example 3
Example 4
Romeo and Juliet
Into the Woods
Hedda Gabbler
William Shakespeare
Elizabethan Tragedy
Naturalistic
Stephen Sondheim
Henrik Ibsen
Twelfth Night
Two
Cat on a Hot Tin Roof
William Shakespeare
Elizabethan Comedy
Naturalistic /
Elizabethan
Jim Cartwright
Tennessee Williams
Berkoff
Frantic Assembly
Metamorphosis
The Comedy of Errors
Trojan Women
Steven Berkoff
Physical theatre
William Shakespeare
Euripides
Katie Mitchell
415 BC
Greek Tragedy
Example 5
Threepenny Opera
Bertolt Brecht
Epic Theatre
My Mother Said I Never
Should
As You Like It
Charlotte Keatly
William Shakespeare
Berkoff
Example 6
Waiting for Godot
Blithe Spirit
Samuel Beckett
Absurdist
Noel Coward
Machinal
Sophie Treadwell
Artaud
Example 7
Loot
Antigone
Joe Orton
Comedy / Black farce
Sophocles
Hedda Gabbler
Henrik Ibsen
Julie Taymor
53
Sweeney Todd
The Maids
Stephen Sondheim
Musical Theatre
Jean Genet
Example 8
As You Like It
William Shakespeare
Brecht
Example 9
Art
The Persians
Yasmina Reza
Naturalism
Aeschylus
Cat on a Hot Tin Roof
Tennessee Williams
DV8
Example 10
The Bells
The Seagull
Leopold Lewis
Melodrama
Anton Chekhov
The Trojan Women
Euripides
Brecht
5. Co-teachability
The WJEC Eduqas AS is designed so that it can be taught alongside the WJEC Eduqas A level
Drama and Theatre specification.
Both the AS and A level are highly practical, exciting and inspiring courses which prepare
learners for further study at A level and/or in Higher Education.
Many of the teaching resources we have produced can be used for both qualifications and
we have ensured that the components of the AS qualification can be taught alongside
certain A level components.
Common elements include:
•
The reinterpreted text piece for Components 1 in both AS and A level
Which means that most of the practical preparation for AS C1 and A level C1 can be delivered
together. Practical work can be resubmitted for A level with the Creative Log reworked for A level.
•
The set text list for AS Component 2, is the same as the pre-1956 set text list for A
level Component 3
(See Approaches to Co-Teachability: Lesson Content)
Teachers are reminded that, although co-teachable, the AS Components are assessed at a
different level to those of the A level.
There are several ways of approaching schemes of work to cover both qualifications,
depending on centre needs.
Examples of teaching models are designed to suggest some of the routes by which coteachability can be achieved.
54
5.1 Co-teachability: Example Routes
Route 1:
AS in year 1, A level in year 2
Same Cohort:
AS and A level learners taught together.
Year 1
AS only students
Term 1:
Induction programme
AS students who may A level only students
move on to A level
Term 1:
Term 1:
Induction Programme.
Induction Programme.
Practical workshops on
Practical workshops on
practitioners and/or theatre practitioners and/or
companies.
theatre companies.
Practical workshops on
practitioners and/or theatre
companies.
Prepare
monologue/duologue for
AS Component 1
(4 weeks).
Prepare
monologue/duologue for
AS Component 1
(4 weeks).
Prepare
monologue/duologue for
AS Component 1
(4 weeks).
Assess
monologue/duologue
AS C1: Performance
Assess
monologue/duologue
AS C1: Performance
Performance from a text.
Performance from a text.
Assess
monologue/duologue re:
developing acting skills.
Exploration of faithful
interpretation of a text.
Start set text from list for
AS Component 2.
Start set text from list for
AS Component 2.
Choose 15 minute extract.
Choose 15 minute extract.
Choose 15 minute extract.
Start work on the practical
work.
Start work on the practical
work.
Start work on the practical
work.
Workshop:
Workshop:
Start set text from list for AS
Component 2/pre-1956 A level
list.
The choice of a monologue for the extract from a text is designed to support co-teachability.
Where an A level and AS cohort are taught together, a monologue can be utilised by way of an
induction programme of study for A level learners. This will not lead to formal assessment but
provides an excellent base on which to develop acting/design skills.
Term 2:
Term 2:
Term 2:
Choose text for
Choose text for
Choose text for
deconstruction.
deconstruction.
deconstruction.
55
Continue set text work for
AS Component 2.
Continue set text work for
AS Component 2.
Assess practical work AS
C1:
Assess practical work AS
C1:
Write evaluation for AS
Component 1.
Write evaluation for AS
Component 1.
Assess re: AS C1 criteria:
Assess re: AS C1 criteria:
Performance Workshop
Performance Workshop.
Performance Workshop
Performance Workshop
Continue set text work for A
level Component 3 – pre-1956
text.
Assess practical work
Practice evaluation for A level
Component 2: Creative Log.
Assess re: A level C1 criteria:
Theatre Workshop
The same text can be selected for reinterpretation for assessment. The approach is identical for
AS C1 and A level C1. The difference is the requirements for the reflecting elements. A Creative Log
is a feature of both qualifications. For AS, an Evaluation is also required. (See AS specification
and Component 1 section of the AS Guidance for Teaching.)
Term 3:
Term 3:
Term 3:
Finish set text work.
Finish set text work.
Finish set text work.
(Use AS exam as mock)
AS Component 2 exam.
AS Component 2 exam.
Start study of set text post1956 from A level
Component 3 list.
Start study of set text post1956 from A level Component
3 list.
Re-work Component 1 –
develop it for A level C1 re:
Continue study of Practitioners
and/or theatre companies.
Creative Log.
Begin study of Styles.
Re-assess reinterpretation
piece using A level
Component 1 assessment
criteria
56
Explore the concept of using
stimuli to devise theatre –
acting/design.
Year 2
A level students only
Term 1:
Continue set text post-1956 work.
Choose WJEC-set stimulus for devised work for Component 2.
Choose a different practitioner or theatre company for Component 2
devised piece.
Start work on devised piece.
Choose text extract and style for Component 2.
Term 2:
Rehearse both pieces and keep a record of the process for Component 2.
Introduction of: The Curious Incident of the Dog in the Night-Time for Component 3.
Arrange exam date with WJEC.
Examination of Component 2: Text in Action.
Term 3:
Revision of both set texts and Curious Incident of the Dog in the Night-Time.
Component 3 exam: Text in Performance.
57
Route 2:
AS in year 1, A level in year 2
Split Cohort:
AS and A level learners taught separately.
AS only students
Term 1:
Induction programme.
A level only students
Term 1:
Induction Programme.
Practical workshops on practitioners
and/or theatre companies.
Practical workshops on practitioners and/or
theatre companies.
Prepare monologue/duologue for AS
Component 1 (4 weeks).
Prepare monologue/duologue for AS
Component 1 (4 weeks).
Assess monologue/duologue
Component 1: Performance Workshop.
Assess monologue/duologue re: developing
acting skills.
Start set text from pre-1956 list for AS
Component 2.
Start set text ONE from pre-1956 list for A level
Component 3.
With a split cohort the basic subject study is the same for Component 1. There is scope to select
different texts for reinterpretation. The list for AS C1 and A level C1 are identical.
The choice of set text for AS and A level do not have to be the same. AS learners study one text
from the AS list. A level Learners can begin the study of the pre-1956 list. Choice of text for each
group of learners will be at the centre’s discretion.
Term 2:
Choose text for reinterpretation.
Term 2:
Choose text for reinterpretation.
Choose 15 minute extract.
Choose 15 minute extract.
Start the practical work.
Start work on the practical work.
Continue set text work for AS
Component 2.
Continue set text work for A level Component
3.
Assess practical work:
Performance Workshop.
Assess practical work
Component 1: Theatre Workshop.
Write evaluation for AS Component 1.
Practice evaluation for A level Component 2:
Creative Log.
58
Assess re: AS C1 criteria
Term 3:
Finish set text work.
Assess re: A level C1 criteria
Term 3:
Finish set text work.
AS Component 2 exam:
Text in Context.
Start study of set text from the post-1956 A
level Component 3 list.
If a post-1956 text has been selected for AS, a
pre-1956 text must be selected and vice versa.
Continue to study of Practitioners and/or theatre
companies.
Begin study of Styles.
Explore the concept of using stimuli to devise
theatre – acting/design.
Year 2
Year 2 of the A level is the same as for Route 1.
5.2 Approaches to Co-Teachability: LESSON CONTENT
Examples of how AS and A level components can be taught alongside each other. The
lesson content below examines three key areas:
1. Practical work
2. Set text study
3. Live performance
5. 2(i) Practical Components
Although it is recommended that the specifications at both levels are approached
practically in both qualifications, this section will focus on the practical components.
The study of practitioners and theatre companies is the same for AS Component 1 and A
level Components 1 and 2. The relevance of the working methods of a variety of
practitioners and/or theatre companies should be explored for direct relevance for
learners at AS and A level.
59
AS Component 1 (60% of qualification)
Learners perform/design:
1. An extract from a text of the learner’s
choice
A level Component 1 (20% of qualification)
2. A reinterpretation of an extract
1. A reinterpretation of an extract
3. A creative log for each
2. A creative log
performance/design
4. An evaluation of the process of creating
and realising the reinterpreted extract only
1. An extract from a text of the learner’s choice
Learners for AS are required to perform/design a ‘faithful interpretation of the text’. This
is of the learner’s choice and does not need to be from the AS list of texts. If a text from
this list is chosen then a different text must be selected for the reinterpretation. It must
also be different from the text selected for Component 2.
A level learners do not have to perform this text extract for assessment. It can, however,
be an effective element to A level study. Analysing the original concepts of a play and
acting/designing extracts provides A level learners with an excellent base from which to
explore applying alternative theatrical practices to text extracts for Component 1 and to
devised work for Component 2. Effective co-teaching will acknowledge that A level
learners will not be assessed for work in this area but will benefit from experiencing the
process. Dependent on the nature of the centre and the demographic of the teaching
group, this can be used to:
• assess A level learners with the potential of having them selecting to acquire the
AS qualification
• assess A level learners as part of the A level course (marks not used for final
assessment) but can be used as indicators of success of study. Treated as a mock
exam or part of the centre’s internal assessment
• part of the Induction Programme of study for the A level course.
For examples of approaches to this element, see AS Component 1: Extract from a text.
Example 1:
Text: Twelfth Night by William Shakespeare
Monologue: Viola
Examples of faithful interpretation:
Acting :
• Male playing a female disguised as a
boy
• Performed outdoors
• Direct address
• Use of verse
Design:
• Elizabethan costume
Example 2:
Text: Loot by Joe Orton
Duologue: Hal and Dennis (Act One)
Examples of faithful interpretation:
Acting :
• Comedy
• ‘Black farce’
• Naturalistic in style
• Clear subtext
Design:
• 1966 costume concepts
• Box set
60
•
•
Outdoor setting
Underscore with Elizabethan music
•
Music – 1960s
Example 3:
Text: Metamorphosis by Steven Berkoff
Monologue: Gregor (opening)
Examples of faithful interpretation:
Acting :
• Physical theatre
• Grotesque vocal characterisation
• Personification of inanimate objects
Design:
• Stylised period costume
• White face make-up
• Non-naturalistic set – skeletal frame
• Abstract sound scape
• Non-naturalistic lighting plot
Example 4:
Text: Sweeney Todd by Stephen Sondheim
Duologue/duet: Todd & Mrs. Lovett (End of
Act One)
Examples of faithful interpretation:
Acting :
• London accents
• Use of song
• Naturalistic
• Melodrama techniques
Design:
• 19th century costume
• Melodrama costumes
• Atmospheric lighting
• Minimalistic set
Example 5:
Text: Threepenny Opera by Bertolt Brecht
Monologue: Peachum (opening Act One)
Examples of faithful interpretation:
Acting :
• Epic style
• Direct address
• Alienation
Design:
• Brechtian approach to staging
• Use of projection and stark lighting
• Underscore music
Example 6:
Text: Waiting for Godot by Samuel Beckett
Duologue: Estragon & Vladimir (opening
scene)
Examples of faithful interpretation:
Acting :
• Absurdist
• Tragi-comedy
• Clowning
Design:
• Tramp costumes
• Abstract setting including a tree
• Non-naturalistic lighting
• Abstract sound
2. A reinterpretation of an extract
This element is identical for both AS C1 and A level C1. In theory, AS and A level learners
can work together. Teachers are reminded that different assessment criteria are applied
to the different qualifications. The groupings of the learners should take this into
account. It may be more effective to group AS learners together and A level learners
together.
For examples of approaches to this element see AS Component 1: Reinterpretation.
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3. A creative log for each performance/design
Both sets of learners should be encouraged to maintain a log throughout the process.
These can then be used to edit material for the creative log for both qualifications.
At both levels learners need to explain the process of creating their pieces of theatre,
outlining how they apply research from stage 1 (Researching) to the development of the
pieces in stage 2 (Developing).
Given the requirements of the creative log, co-teachability is fully possible.
Each log must contain:
1. how ideas are created and developed to communicate meaning as part of the theatre
making process, including:
•
•
how conventions, forms and techniques are used in the piece
how ideas are created, developed and refined
2. the connections between dramatic theory and practice, including:
•
•
•
research on text
research on practitioner / theatre company
relevance of research and how it was applied to the piece
AS:
Two creative logs – one for each extract
1000-1200 words each
A level:
Creative log re: the one extract
reinterpreted
1200-1500 words
Or
Suitably edited blog
Or
Suitably edited blog
Or
Audio-visual recording between eight and
eleven minutes
Or
Audio-visual recording between nine and
twelve minutes
The potential content of the creative logs is identical for AS and A level learners.
It is appropriate to the skill offered:
o annotated research
o diagrams
o photographs
o sketches
o charts
o visual images
o digital media
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4. An evaluation of the process of creating
and realising the reinterpreted extract only
1200-1500 words
See criteria below for similarities
AS Component 1
Evaluation:
1. Analysis and evaluation of process
including how the following were used in
creating and developing the piece:
A level learners are not required to submit
an evaluation for assessment for A level
Component 1. However, the skills needed
for the evaluation will be required or the
Process and Evaluation Report for
Component 2. It would be good practice
for A level learners to be familiar with the
requirements of the AS Evaluation.
A level Component 2
Process and Evaluation Report:
1. Connections between theory and
practice, including explanation of how:
•
•
the practitioner or company
methods and techniques,
conventions, forms and techniques
•
2. Analysis and evaluation of the final
realisation including:
•
•
relevant research on the theatre
practitioner or theatre company
and chosen contrasting style
informed their own practical work
the stimulus was used to interpret
the text and provide ideas for
devised work.
2. Analysis and evaluation of process,
including how:
use of performing or design skill
their own contribution to the
performance of the piece
•
•
•
dramatic conventions or design
techniques were used to create
meaning
the piece was refined and amended
for performance
live theatre influenced their own
work.
3. Analysis and evaluation of the final
performance or design to realise artistic
intentions, including:
•
•
•
63
the effectiveness of their
performing or design skills
the effectiveness of the practitioner
or company and stylistic techniques
in performance
their own contribution to the
success of the piece.
Co-teaching: Application of Assessment Grids
In the instance where AS and A level learners are taught Component 1: Reinterpretation
together and are examined at the same time, teachers must apply the appropriate
Performing Assessment Grid.
Below is an example (using AO1) of how the grids differ for each stage of the qualification:
AO1
Create and develop ideas to communicate meaning as part of
the theatre making process, making connections between
dramatic theory and practice
Band
AS
n/a
AS
AO1.1a.
Create and develop ideas to
communicate meaning as
part of the theatre making
process
Creative log and application in
practice
AO1.1b.
Make connections between
dramatic theory and practice
Creative log and application in
practice
n/a (AS)
17-20 marks (A level)
• Sophisticated and
creative ideas are
developed fully to
produce a refined,
accomplished and
coherent piece of
theatre
• A fully supported
selection of dramatic
conventions, forms
and techniques are
chosen to
communicate
meaning in a
sophisticated way
throughout the piece
• The performance
space and proxemics
are planned
imaginatively to
communicate
meaning in a
sophisticated way
• A comprehensive and
highly significant
•
•
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n/a (AS)
9-10 marks (A level)
A sophisticated
reinterpretation,
demonstrating an indepth understanding of
the extract within the
context of the text to
create a piece which
displays a clearly defined
structure with fully
developed characters
The practitioner/company
is fully explored* and
highly relevant aspects of
research, including
practitioner/company
techniques, methods,
style and conventions are
applied creatively and
skilfully in the making of
the piece
Band
A level
5
individual
contribution to the
creation and
development of the
piece
5
4
9-10 marks (AS)
13-16 marks (A level)
• Creative ideas are
well-developed to
produce a refined
and coherent piece of
theatre
• An appropriate
selection of dramatic
conventions, forms
and techniques are
chosen to
communicate
meaning throughout
the piece
• The performance
space and proxemics
are well-planned to
communicate
meaning in a
thoughtful way
• A significant
individual
contribution to the
creation and
development of the
piece
•
•
7-8 marks (AS)
9-12 marks (A level)
• Generally creative
ideas are developed
to produce a
generally refined and
coherent piece of
theatre
• A generally
appropriate selection
of dramatic
conventions, forms
•
65
9-10 marks (AS)
7-8 marks (A level)
A coherent
interpretation/
reinterpretation
demonstrating
understanding of the
extract within the context
of the whole text to
create a piece which
displays a well-defined
structure with developed
characters
The practitioner/company
is explored* and relevant
aspects of this research,
including
practitioner/company
techniques, methods,
style and conventions are
applied skilfully in the
making of the piece
4
7-8 marks (AS)
5-6 mark (A level)
A general interpretation/
reinterpretation
demonstrating an
appropriate
understanding of the
extract within the context
of the whole text to
create a piece which
displays a generally
defined structure with
3
•
•
3
•
•
•
•
and techniques are
chosen to
communicate
meaning throughout
most of the piece
The performance
space and proxemics
are generally wellplanned to
communicate
meaning
A generally
appropriate individual
contribution to the
creation and
development of the
piece
•
5-6 marks (AS)
5-8 marks (A level)
Some useful ideas
are developed to
produce an
inconsistent piece of
theatre
A few appropriate
dramatic
conventions, forms
and techniques are
chosen to
communicate
meaning in an
inconsistent way
The performance
space and proxemics
are planned
inconsistently to
communicate some
meaning
An inconsistent
individual
contribution to the
creation and
development of the
piece
•
•
66
generally developed
characters
The practitioner/company
is explored* in a general
way and general aspects
of this research, including
practitioner/company
techniques, methods,
style and conventions are
applied in a general way
in the making of the piece
5-6 marks
3-4 marks (A level)
An inconsistent
interpretation/
reinterpretation
demonstrating some
understanding of the
extract within the context
of the whole text to
create a piece which
displays an inconsistent
structure with some
character development
The practitioner/company
is explored* in an
inconsistent way and
some relevant aspects of
this research, including
some
practitioner/company
techniques, methods,
style and conventions are
applied inconsistently in
the making of the piece
2
2
•
•
•
•
1
•
•
•
•
3-4 marks (AS)
1-4 marks (A level)
A few ideas are
developed to
produce a limited
piece of theatre
Very few appropriate
dramatic
conventions, forms
and techniques are
chosen to
communicate
meaning in a limited
way
The performance
space and proxemics
are planned
haphazardly to
communicate little
meaning
A limited individual
contribution to the
creation and
development of the
piece
•
•
1-2 marks (AS)
n/a (A level)
Very few ideas are
developed to
produce a very
limited piece of
theatre
Very few appropriate
dramatic
conventions, forms
and techniques are
chosen to
communicate little or
no meaning
The performance
space and proxemics
are unplanned and
communicate little or
no meaning
A very limited
•
•
67
3-4 marks (AS)
1-2 marks (A level)
A partial interpretation/
reinterpretation
demonstrating limited
understanding of the
extract within the context
of the whole text to
create a piece which
displays a limited
structure with limited
character development
The practitioner/company
is explored* in a limited
way and few relevant
aspects of research,
including a few
practitioner/company
techniques, methods,
style and conventions are
applied in a limited way in
the making of the piece
1
1-2 marks (AS)
n/a (A level)
A very limited
interpretation/
reinterpretation
demonstrating a very
limited understanding of
the extract within the
context of the whole text
to create a piece which
displays a very limited
structure with little or no
character development
The practitioner/company
is explored* in a very
limited way and very few
relevant aspects of
research, including very
few practitioner/company
techniques, methods,
n/a
A level
0
•
individual
contribution to the
creation and
development of the
piece
style and conventions are
applied in a very limited
way in the making of the
piece
0 marks
No ideas are created
or developed to
communicate
meaning
0 marks
No interpretation or
application of
practitioner/company
methods and techniques
•
0
Please note that:
• mark descriptors for Band 5 A level do not exist for AS learners
• mark descriptors for Band 1 AS do not exist for A level learners
For example, if an AS and an A level learner both produce work where:
• Creative ideas are well-developed to produce a refined and coherent piece of theatre
Then the AS learner will be awarded a mark in Band 5 (AS Performing Assessment Grid)
whereas the A level learner with be awarded a mark in Band 4 (A level Performing
Assessment Grid).
This reflects the level of work expected for AS in comparison to the level expected for A
level.
This varied application of the assessment grids is relevant only when both qualifications are
being assessed together.
If learners are first assessed for AS level, teachers must re-assess the work using the A level
grids if the work is to be later submitted for A level.
Teachers could mark the work against both assessment grids and record the two sets of
marks for each learner:
• AS mark
• A level mark
The appropriate set of marks can then be submitted when the learner has decided which
qualification to be entered for.
This is only applicable when AS and A level learners are assessed together in the same
cohort. If taught in split cohorts the application of the relevant assessment grid is more
straightforward.
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5. 2(ii) Set Text Study
•
•
AS learners study one complete text from the AS list – AS Component 1
A level learners study two complete texts and one extract from a third contrasting
text – A level Component 3
AS Component 2
1. One set text
A level Component 3
1. Set text pre-1956
2. Set text post-1956
3. Extract from a third text:
The Curious Incident of the Dog in the NightTime.
The list for the AS set text is identical to the pre-1956 set text list for A level:
o
o
o
o
o
The Trojan Women, Euripides
As You Like It, William Shakespeare
Hedda Gabler, Henrik Ibsen
Machinal, Sophie Treadwell
Cat on a Hot Tin Roof, Tennessee Williams
The similarities in the specification are clear. The skills that are developed throughout the
study of all set texts are accumulative. The level of assessment will differ from AS to A
level.
There is a strong cross-over between all written components of the AS and A level
qualifications. The requirements below will illustrate how test study for AS and A level can
be co-taught.
Many of the common areas of study include:
• Theatre practices
• Performance space and stage configuration
• Design elements
• Construction of the text e.g. structure, language, stage directions
• Style
• Acting components e.g. vocal and physical characterisation
• Approaches to character
• Influences of live theatre productions
AS:
A level:
Learners must consider:
Learners must consider:
• the theatrical processes and practices
Section A:
• interpretation of character (e.g. through
motivation and interaction)
involved in interpreting and performing
theatre
69
• how conventions, forms and techniques
are used in drama and live theatre to
create meaning, including the:
• use of performance space and
spatial relationships on stage
• relationships between performers
and audience
• design of set, costume, make-up,
lighting, sound and props
• performer’s vocal and physical
interpretation of character
• how creative and artistic choices
influence how meaning is communicated
to an audience
• how performance texts are constructed
• vocal and physical performing skills
including interaction
• how performance texts are constructed
to be performed, conveying meaning
through
• structure
• language
• stage directions
• interpretation of design elements
including:
• sound
• lighting
• set and props
• costume, hair and make-up
to be performed, conveying meaning
through:
• structure
• language
• stage directions
• character construction
• the style of text
Section B:
• the social, historical and cultural context
of the text
• how performance texts are informed by
to be performed, conveying meaning
through
• structure
• language
• style of text
their social, historical and cultural contexts,
and are interpreted and performed for an
audience
• the influence of contemporary theatre
practice
• how performance texts are constructed
• how live theatre, seen as part of the
course, influences their decision making
and understanding of how drama and
theatre is developed and performed
• how the text approaches its theme
Section C:
• different types of stage
• character positioning and
movement/proxemics
• design elements including:
•
70
sound
•
•
•
lighting
set and props
costume, hair and make-up
• how live theatre, seen as part of the
course, influences their decision making
and understanding of how drama and
theatre is developed and performed
5. 2(iii) Live Performance
The importance of viewing live theatre to study at AS and A level cannot be stressed
enough. It enriches the learner’s experience of theatre and the study of drama and its
conventions.
It is also a requirement in both qualifications for leaners to analyse live theatre and apply
the influences of live theatre to their practical and theoretical work.
Key areas of analysis:
• playwright’s intentions
• social, historical and cultural implications
• structure
• style(s)
• design elements
• acting
• direction
• critical responses to the piece
• audience response
• personal response
Examples of where live theatre appears in the specifications:
AS
Component 2:
A level
Component 2:
(c) Explain how you would stage a
production of The Trojan Women. In your
answer, analyse and evaluate how any live
productions you have seen as part of the
course influence your decisions. [40]
4. Process and evaluation report
2. Analysis and evaluation process, including
how:
•
Illustrate your ideas for staging The Trojan
Women by referring to its:
•
71
dramatic conventions or design
techniques were used to create
meaning
the piece was refined and amended for
• stage design for the opening
• original performance conditions.
AS DRAMA and THEATRE Sample Assessment
Materials (page 6)
•
performance
live theatre influenced your own work
A LEVEL DRAMA and THEATRE Sample
Assessment Materials (page 7)
Component 3:
Section B
8. Racing Demon David Hare
Racing Demon is the first part of a trilogy that
looks at institutions in the 1980s.
Explain how you can interpret Act One, scenes
five and six, pages 20-24, for performance in
the theatre today, making it relevant to a
contemporary audience. In your answer you
must analyse and evaluate how any live
productions you have seen during the course
have influenced your decisions.
[40]
A LEVEL DRAMA and THEATRE Sample
Assessment Materials (page 24)
Component 3:
Section C
Question 11.
In your answer you must:
• analyse and evaluate how any live
productions you have seen during the
course have influenced your design
choices
A LEVEL DRAMA and THEATRE Sample
Assessment Materials (page 28)
72