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GCE AS and A Drama and Theatre Studies Teachers' Guide 1 Contents GCE A Level Drama and Theatre Studies Teachers' Guide Page 1. 2. 3. Introduction 1.1 - Rationale 1.2 - Overview of the Specification 4 5 Delivering the specification 2.1 - Pathways through the Specification 2.2 - Examples of Approaches AS 2.3 - Examples of Approaches A2 6 6 8 Support for Teachers 3.1 - Generic Resources 3.2 - NGfL Cymru 10 11 Unit Guides AS 4.1 - DA1 4.2 - DA2 4.3 - DA3 4.4 - DA3 evaluation 4.5 - DA4 set texts 4.6 - DA4 unseen text 12 34 40 41 60 63 Assessment Guidance 5.1 - DA1 5.2 - DA2 5.3 - DA3 5.4 - DA4 66 66 67 67 Contributors to the Teachers' Guide 68 4. 5. Re-Issued January 2012 GCE AS and A Drama and Theatre Studies Teachers' Guide 3 1. INTRODUCTION This Guide is one of a number of ways in which WJEC provides assistance to teachers delivering the specification. Also essential to its delivery are the Specimen Assessment Materials (question papers and marking schemes) and professional development (CPD) conferences. Other provision which you will find useful are: • • • • • Examiners' reports on each examinations series Free access to past question papers via WJEC's secure website Easy access to specification and other key documents on main website Regular CPD delivered by Chief Examiners Easy access to both the Subject Officer and to administrative sections Contact Points for GCE Drama are as follows: Catherine Webster (Subject Officer) [email protected] Tel: 029 2026 5316 Sara Evans (Subject Support Officer) [email protected] Tel: 029 2026 5142 Catrin Budd (Subject Support Officer) [email protected] Tel: 029 2026 5142 Subject page www.wjec.co.uk/drama INSET Section [email protected] www.wjec.co.uk/professionaldevelopment GCE AS and A Drama and Theatre Studies Teachers' Guide 4 1.1 Rationale The GCE AS/AL specification in Drama builds upon the work completed by pupils both at KS3 level and at GCSE, whilst, at the same time, accommodating the needs of candidates who may not have studied Drama at these levels. It promotes progression through the AS and AL and provides a suitable foundation for the study of Drama or a related area of study at further or higher education, and/or preparation for future employment and the world of work. The specification provides a coherent, satisfying and worthwhile course of study broadening and intensifying candidates' experiences in drama, regardless of whether they wish to progress to study further in the subject or not. The new specification is focused on practical dramatic skills and will enable students to work collaboratively to create devised and scripted performances from a text. Students will focus on theatrical practitioners as part of the course but not as an academic topic, students will be encouraged to discover the work of practitioners through practical experiences. They will develop an ability to analyse study texts and unseen texts as an actor and a director. The specification will develop skills that can be transferred to other subjects and enrich candidates' cultural development, involvement in and enjoyment of drama and theatre throughout their lives. GCE AS and A Drama and Theatre Studies Teachers' Guide 5 1.2 Overview of the Specification This specification is divided into a total of 4 units, 2 AS units and 2 A2 units. Weightings noted below are expressed in terms of the full A Level qualification. AS (2 units) DA1 20 % Practical performance 100 marks (80 UMS) Unit title: Performance workshop For this unit candidates will either act in a group or contribute their chosen technical production skill to a performance from a set text and a devised piece. They will work on the ideas of two practitioners. This unit is internally marked and externally moderated. DA2 30% Written paper (2 hour paper) 120 marks (120 UMS) Unit Title: Text in performance Candidates will answer three questions: • One pre – 1900 text from a prescribed list • One post –1900 text from a prescribed list. • Live theatre review The unit is externally marked. A LEVEL (the above plus a further 2 units) DA3 30% Practical performance 150 marks (120 UMS) Unit title: Practical performance from a set theme Candidates will be expected to work in response to a theme set by WJEC and prepare two performances. In each case candidates will either act or demonstrate a technical production skill with a group of performers. The performance will include: • Scenes/extracts from a published text • A piece devised by the group An evaluation of performance work for both pieces will be required. This unit is externally marked. DA4 20 % Written paper (2 ½ hour paper) 80 marks (80 UMS) Unit title: Text in Context 1. 2. Two set texts from a prescribed list: one pre -1900 and one post-1900. This is an 'open text' examination – candidates will be asked to discuss the play as a whole, including the following aspects: • theatrical context • performance history • theatrical challenges of text in terms of acting • theatrical challenges in terms of production skills • personal reaction to the text Directorial analysis of an unseen text. There will be four sections to the paper: • ground plan • design/costume • lighting/sound movement The unit is externally marked. GCE AS and A Drama and Theatre Studies Teachers' Guide 6 2. DELIVERING THE SPECIFICATION 2.1 Pathways through the specification Each teacher will have their own individual approach to delivering this specification. It is important that candidates realise the links between the two AS units and the subsequent AL units. 2.2 Examples of Approaches for AS There are two units at AS level and both are integrated and should be taught holistically. Although both units are assessed at different times, the skills needed are transferable from one unit to the other. There is more than one way of approaching the course. The notes in this guidance can be used or adapted to suit the needs of individual students and teachers. Below are two examples of how one could teach the AS specification, mapped out in the number of lessons per term. Model One Term 1 During term arrange 2 visits to the theatre. Weeks Activity 1-4 General workshop going over drama techniques, looking at improve, characterisation and narrative. 5-6 Introduction of first practitioner (Stanislavsky) using set play 'Bernada Alba'. Use text to illustrate and work on ideas. 7-8 Introduction of second practitioner (Artaud). Use themes from 'Bernada Alba' to develop devised work using his ideas. 9-10 Choose scenes for practical exam. 11-12 Commence first set text ('A Midsummer Night's Dream'). Use Stanislavsky's techniques to explore the text in class. Look and work practically on key scenes. Use different techniques such as freeze framing, hot seating, etc. Term 2 During term arrange 2 visits to the theatre. Weeks Activity 1-4 Prepare for DA1 exam. Perform at end of January. 5-6 Continue work on 'A Midsummer Night's Dream' using workshop techniques to consider design elements for the play. 7 - 12 Start new text ('Blue Remembered Hills'). Spend time staging the piece and using Stanislavsky's ideas to explore character. Use ideas of other practitioner e.g. Brecht to gain a different insight. Workshop ideas on staging. GCE AS and A Drama and Theatre Studies Teachers' Guide 7 Term 3 Weeks 1-3 4-6 7-8 10-12 Activity Finish second text. Revision of texts. Practise questions. Exams. Prepare reading for DA3. Model Two Term 1 During term arrange 2 visits to the theatre. Weeks Activity 1-4 Start set text 'The Country Wife'. Explore text in workshop using Stanislavsky as practitioner. 4-6 Start work on second text 'The Chairs' using Artaud as practitioner. 8-12 Choose text for DA1 exam. Start staging and developing character. Term 2 During term arrange 2 visits to the theatre. Weeks Activity 1-6 Prepare devised piece. Examine in mid Feb. 7-12 Return to set texts. Concentrate on staging the plays in a workshop situation. 7 - 12 Start new text ('The Children's Hour'). Spend time staging the piece and using Stanislavsky's ideas to explore character. Use ideas of other practitioner e.g. Brecht to gain a different insight. Workshop ideas on staging. Term 3 Weeks 1-4 Activity Revision of set text. It is important that teachers choose texts which will give students a broad picture of theatre and drama. Choosing plays from different periods or different genres is good practice. Consider the texts you would like to do in the second year and try to get a balance. Too much of one period or genre might be good for the teacher but boring for the students. GCE AS and A Drama and Theatre Studies Teachers' Guide 8 2.3 Examples of Approaches for A2 As with the AS, there are two further units at A level and both are integrated and should be taught holistically. Although both units are assessed at different times, the skills needed are transferable from one unit to the other. Below are two examples of how one could teach the A2 specification, mapped out in the number of lessons per term. Model One TERM ONE Weeks Activity 1-5 Text 1 (DA4). 6- 10 Text 2 (DA4). 11 - 12 Choose theme for DA3: pupils reading texts. 13 - 14 Practical work on texts combined with staging techniques for last question on DA4 (unseen text). TERM TWO Weeks Activity 1-8 Work on DA3 examination preparation. Examination to take place between March and April. 9 - 12 Use texts as practice for last question in DA4 (unseen text). TERM THREE Weeks 1-6 Activity DA4 revision and practical exercises. Model Two TERM ONE Weeks Activity 1-6 Text 1 (DA4). 7- 12 Text for DA3: blocking and learning of lines. 13 - 14 Begin work on DA3 devised scene(s). GCE AS and A Drama and Theatre Studies Teachers' Guide 9 TERM TWO Weeks Activity 1-2 Complete DA3 devised work. 3-6 DA3 examination preparation. Examination to take place between March and April. 7 - 12 Text 2 (DA4). TERM THREE Weeks 1-6 Activity DA4 revision and practical exercises. There can be variations on these models and teachers might wish to enter candidates for DA4 in the January slot. It could be a good practice run for them. GCE AS and A Drama and Theatre Studies Teachers' Guide 10 3. SUPPORT FOR TEACHERS The following resources are available which may assist you in teaching the AS and AL Drama and Theatre Studies specification. The resources are suggested and the list is not exhaustive. If you wish to recommend some resources that you have found useful, please let Angela or Jo know and we will add them to this guide. CPD courses will be organised periodically, usually in the autumn term to support teachers in delivering the specification and to provide feedback on the examination process. The CPD course booklet will be available via your CPD coordinator in school or you can access the list of courses via the Professional Development link on www.wjec.co.uk You can also apply for courses using the online form. Further advice and support can be offered by the subject team at WJEC. Catherine Webster (Subject Officer: 029 2026 316 [email protected]) and Sara Evans (Subject Support Officer: 029 2026 5361 [email protected]). 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://performingzone.starlightstudiographics.co.uk/lessonplans.php Some good shared resources here for Year 12 and 13, including suggested time lines, and handouts on practitioners (we suggest that you use the handouts rather than sharing them with the students who should experience the work practically rather than theoretically) 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 GCE AS and A Drama and Theatre Studies Teachers' Guide 11 Teaching Drama – A publication by Rhinegold with ideas on teaching Drama from KS3 to A2 produced six times during the year. Further information available on http://www.rhinegold.co.uk/magazines/magazines_catalogue.asp?m=1&id=144 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 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: 978-1557831613 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 3.2 National Grid for Learning – Cymru A particular source of resources and support for teachers of WJEC Drama and Theatre Studies GCE AS/2 has been created on the National Grid for Learning Cymru. There is a Welsh medium resource on staging a play; creating a scene; Greek theatre; Elizabethan theatre and European Theatre which can be found on: http://www.ngfl-cymru.org.uk/eng/vtc-home/vtc-aas-drama Much of this material is intended to be downloaded so that it can be edited by teachers to suit the needs of their own candidates and centres. The list of websites is comprehensive and the links are checked regularly to ensure that they are still live and of use to teachers. Please contact NGfL Cymru if you become aware of new and useful sites. Please keep returning to this site as new materials become available. It is hoped that teachers will be willing to contribute their own work and ideas to this site for the benefit of colleagues in other centres. GCE AS and A Drama and Theatre Studies Teachers' Guide 12 4. UNIT GUIDES AS 4.1 DA1 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 pupils. 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 will base their research on designers, lighting designers, etc. rather than entirely on the acting practitioners. They should be allowed to branch out and choose contrasting lighting designers, staging designers, costume designers, etc. Their chosen practitioners should be clear. The teacher will have to guide the technical students. The practitioners do not have to be alive! There are a lot of reference books and websites that can be of assistance. The groups can be arranged with up to 5 candidates acting and two doing technical skills. The groups can stay the same for both pieces or be different. The texts chosen can be different for each group or teachers may choose the same text for the whole class. The specification has been written to allow for flexibility and to take into account varying circumstances. If candidates 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 WJEC. The following notes offer some guidance on the aspects of each practitioner that should be included in your teaching. Please note that these are guidelines only and show basic concepts. It is up to the individual to consider the depth into which they should go. It is recommended that students keep a diary / journal / notebook of their practical sessions. Students 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 handouts given by the teacher and keep these together in the journal. This will not be assessed but it is good practice for students to self – evaluate their work and to link the work completed in DA1 with that in DA2. When choosing sections for the scripted section of the assessment, students can edit a text as much as they wish. They should be encouraged to experiment with the text and mould it to their own ideas. They should try to create a contrasting piece of devised theatre. There is no need to produce a completed script for this piece; a synopsis and outline on one side of A4 is sufficient. During the whole process students 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. Please note that this examination should take place between November and May. GCE AS and A Drama and Theatre Studies Teachers' Guide 13 Notes on DVD 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 DVD 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 DVD 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 DA1 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. If the person operating the camera knows the piece, it can be useful to use close up shots to capture individual performances. The light must be good for visibility and the disc 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. Centres should only submit work on DVD. The format of the DVD must be standard which can be played on any player and not just on a computer. No other format is acceptable. 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 DVD. 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 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 DVD (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. This is the equivalent of completing the front sheet of a written examination paper. GCE AS and A Drama and Theatre Studies Teachers' Guide 14 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 DVD. Design presentations must be made to the camera. Before they commence they must state clearly and slowly the centre name and number followed by their name, candidate number, chosen skill(s), the performance title and group number to which their skills are applied. It is essential that the DA1 paper work is completed (DA1(ii)) in relation to the DVD. The groups should be in the same order as the paper work and the time reference or the track/chapter number should be included for each group. This is essential for the moderator to find the correct group on the DVD recording. GCE AS and A Drama and Theatre Studies Teachers' Guide 15 Ritual / rhythm of theatre Rel .with audience Rebelled against theatrical style of age: realism/naturalism Influenced by surrealism. Spent time in mental hospital Antonin Ataud 1896—1948 Actor being strict /cruel with himself. No mental, physical barriers Developed theatre of cruelty or total theatre. Nonliterary theatre based on physical lang. Believed the audience should experience same as actors GCE AS and A Drama and Theatre Studies Teachers' Guide 16 Use of physical theatre techniques, study of photos and DVDs Rebelled against theatrical style of age— mid 60s well made play Gesture, text, sound, movement, lighting Steven Berkoff Influence of Marat Sade, Berliner ensemble Theatre as ritual—influence of Artaud and theatre of cruelty Influence of Chagrin and Le Coq GCE AS and A Drama and Theatre Studies Teachers' Guide 17 Educative role of theatre— audience always aware where they are Non-naturalistic style of presentation. Greek Eliz Masks Clarity– putting over message—gest Bertolt Brecht Verfremdung'making strange / alienation' Narrative techniques leading to epic theatre techniques Exaggeration and realism. Demonstration and emotion GCE AS and A Drama and Theatre Studies Teachers' Guide 18 Actor works from the inside out/ use of ritual Started to direct in mainstream theatre in 1950's Set up company in 60's influenced by Artaud Peter Brook Simplicity of theatre / hatred of holy theatre Seminal production MND. 1970 . Wrote 'Empty Space' 1968 Theatre of cruelty very important influence GCE AS and A Drama and Theatre Studies Teachers' Guide 19 Use of the imagination, reacting, ensemble Rebelled against theatrical style of age— melodrama Importance of text, historical authenticity, research. Studying life. Stanislavsky 1863—1938 Objective , status, superobjective, given circumstances The state of 'I am'. Background, history of character. Actor becomes character Truth / artistic truth. Appearance of truth GCE AS and A Drama and Theatre Studies Teachers' Guide 20 Idea of 'Unified stage picture'. All elements of design linked Rebelled against naturalism on stage Believed in elevation of director as artist Edward Gordon Craig 1872-1966 Famous prod. of 'Hamlet' for MAT Created a revolution in the lighting of sets. Got rid of footlights Built highly symbolic, simple designs GCE AS and A Drama and Theatre Studies Teachers' Guide 21 Suggested textbooks: Author Year of Publication Title Michael Chekhov 2nd revised edition 2002 To the Actor: On the Technique of Acting ISBN-10: 0415258766 ISBN-13: 978-0415258760 Peter Barkworth 2nd revised edition 1991 The 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 ISBN10: 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 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 GCE AS and A Drama and Theatre Studies Teachers' Guide 22 Films/DVDs that may be of interest: Title Description Twelfth Night 1996 film starring Imogen Stubbs, Steven Mackintosh, Miss Julie 1999 film directed by Mike Figgis, starring Saffron Burrows and Peter Mullan The House of Bernarda Alba 1987 in Spanish with English subtitles Oh What A Lovely War 2007 DVD release of Richard Attenborough's film The Caretaker 1963 Clive Donner's production starring Alan Bates and Donald Pleasence In camera (Huis Clos) 1954 film directed by Jacqueline Audry; accessible via youtube The Crucible 1996 film directed by Nicholas Hytner, starring Daniel Day-Lewis and Winona Ryder A Streetcar named Desire 1951 film directed by Elia Kazan, starring Vivien Leigh and Marlon Brando Notes on some of the texts listed in DA1 are available from www.ehdltd.co.uk The following pages contain the forms that centres should submit to WJEC related to the DA1 practical examination. These are available on the website. GCE AS and A Drama and Theatre Studies Teachers' Guide 23 GCE Drama & Theatre Studies DA1 DA1 PERFORMANCE WORKSHOP, acting, or technical production skills EXAMINATION TO TAKE PLACE BETWEEN NOVEMBER AND MAY Introductory notes Candidates will either act in a group or contribute their chosen technical production skill to a performance from a set text and a devised piece. Where more than one candidate in a group is offering technical skills, each candidate must demonstrate a different skill. They will work on incorporating the ideas of two practitioners from the list detailed on page 10 of the specification. Form DA1 (ii) should be submitted along with the DVD of the performances and signed centre approval form and centre mark sheets to the moderator no later than May 15. Please ensure that the following information is included in the DA1(ii) form: • • • • • the groups taking part and the candidates in them; the candidates' choice of acting or technical production skill; the set text for each group for the first performance including the name of the chosen practitioner; the candidates' characters in the devised piece including the name of the chosen practitioner; the form confirming suitability of content signed by the Head/Principal of Centre including the centre stamp. Please ensure that the order of groups presented in the DA1(ii) form is the same order as the groups perform on the DVD. Technical and design candidates must give a maximum 5 minutes presentation detailing their design concepts and how they developed through to the final performance. This must also be recorded on the DVD and sent to the moderator. Texts Groups must select one from any of the following texts for DA1: The Bacchae - Euripides Twelfth Night - Shakespeare The Hypochondriac - Molière The Rover - Behn A Flea in Her Ear - Feydeau Miss Julie - Strindberg The House of Bernada Alba - Lorca Oh What A Lovely War! - Littlewood et al The Caretaker - Pinter Translations - Friel The Shadow of a Boy - Owen The Permanent Way - Hare In Camera - Sartre Woman in Mind - Ayckbourn The Island - Fugard The Crucible - Miller Duck Variations - Mamet A Night on the Tiles - Vickery A Streetcar Named Desire - Williams GCE AS and A Drama and Theatre Studies Teachers' Guide 24 Original Welsh Tair - Povey Bargen - Bara Caws Y Cinio - Lewis Tafliad Carreg - Arad Goch Blodeuwedd - Lewis Acting The acting group should be between 2 and 5 candidates. The total performance time for the set text and devised piece together should follow the time formula of up to 10 minutes per candidate, 5 minutes per piece. Technical production skills No more than two candidates may offer technical production skills in any group. Each technical production skill must be different. Candidates may choose one from the following: • • • • stage design lighting design sound design costume/make-up design Technical candidates should be encouraged to take part in the rehearsal/devising process for both pieces. The DVD submitted to WJEC for moderation must included a presentation given by the technical design candidates, discussing the initial ideas and concepts and the development of those through to the final performance. Each candidate must give an individual presentation of no more than 5 minutes. GCE AS and A Drama and Theatre Studies Teachers' Guide 25 Drama and Theatre Studies AS, DA1 Marking Guidelines These notes should be read in conjunction with the specification. Candidate mark-sheet for DA1 Acting (DA1A) and Technical Production Skills (DA1 B, C, D and E) • • • For DA1 Acting and Technical Production Skills, teachers should record a mark out of 10 for each of the acting or technical production skill elements in the text column making a total out of 50. Record a mark out of 10 for each of the acting or technical production skill elements in the devised column making a total out of 50. Add both totals out of 50 and complete the grand total out of 100 in the centre total box. Submit these forms to the moderator, along with the DVD of the performances and technical candidate presentations, centre approval forms, signed by the Head of Centre, and form DA1 (ii). We advise centres to keep a copy of all paperwork. Marks for DA1 for all candidates should be submitted to WJEC using the online system via the secure website. GCE AS and A Drama and Theatre Studies Teachers' Guide 26 GCE DRAMA & THEATRE STUDIES DA1A This form should be submitted to the moderator, together with the DVD evidence of performance, centre approval form and centre mark sheets. Please note that technical design candidates must record a maximum five minute presentation, explaining the design concepts and development of work through to the final performance. Centre name_ Centre number Telephone: Candidate's Full Name BLOCK CAPITALS 2 3 4 5 6 7 Candidate's Full Name BLOCK CAPITALS Technical Skill ( as appropriate) skill No. in group Track number or time reference: Name of practitioner: Acting ( as appropriate) Character played or technical production skill selected 1 2 3 4 5 6 7 No. in group 1 2 3 4 5 6 7 Track number or nime reference: Name of practitioner: Candidate's Full Name BLOCK CAPITALS Acting ( as appropriate) Group number: Title of piece: Technical Skill ( as appropriate) skill No more than five candidates acting per group. Two additional technical and design candidates if required. Character played or technical production skill selected 1 Group number: Title of piece: No more than five candidates acting per group. Two additional technical and design candidates if required. Technical Skill ( as appropriate) skill No. in group Track number or time reference: Name of practitioner: Acting ( as appropriate) No more than five candidates acting per group. Two additional technical and design candidates if required. Group number: Title of piece: Character played or technical production skill selected GCE AS and A Drama and Theatre Studies Teachers' Guide 27 Candidate's Full Name BLOCK CAPITALS 2 3 4 5 6 7 Candidate's Full Name BLOCK CAPITALS Technical Skill ( as appropriate) skill No. in group Track number or time reference: Name of practitioner: Acting ( as appropriate) Character played or technical production skill selected 1 2 3 4 5 6 7 No. in group Track number or time reference: Name of practitioner: Candidate's Full Name BLOCK CAPITALS Acting ( as appropriate) Group Number: Title of piece: Technical Skill ( as appropriate) skill No more than five candidates acting per group. Two additional technical and design candidates if required. Character played or technical production skill selected 1 Group number: Title of piece: No more than five candidates acting per group. Two additional technical and design candidates if required. Technical Skill ( as appropriate) skill No. in group Track number or time reference: Name of practitioner: Acting ( as appropriate) No more than five candidates acting per group. Two additional technical and design candidates if required. Group number: Title of piece: Character played or technical production skill selected 1 2 3 4 5 6 7 Head of Drama & Theatre Studies_ Date_ If you wish to do so, please photo-copy this pro-forma for additional groups. Please make sure that each group is given a different consecutive number for identification purposes. Please ensure that DVD track numbers or time references are accurate. The group order on this form should be the same as the order of performances on the DVD. Centres will conduct their practical performance between November and May. GCE AS and A Drama and Theatre Studies Teachers' Guide 28 GCE DRAMA AND THEATRE STUDIES DA1 – Performance Workshop Centre number……………………….................. Name of centre………………………................. Date(s) of performance……………….............. I confirm that this centre considers all material intended for performance as part of the assessment of the GCE (DA1) qualification in Drama & Theatre Studies acceptable in terms of both content and treatment. Signed……………………………………(Head/Principal) Date………………………… School/college stamp This form should be submitted to the moderator, along with the DVD of the performances, form DA1(ii) and centre mark sheets. GCE AS and A Drama and Theatre Studies Teachers' Guide 29 DA1: Acting (AO1) Marks Interpretation of character and understanding of chosen practitioners Use of Voice Use Of Body/ Space Listening and responding Power to engage the audience 0-3 Little understanding of role/s with very limited acting skills. Little application of chosen practitioners' theories/ideas. A very limited use of vocal skills, showing little or no characterisation. A very limited use of movement and space, displaying no understanding of role. Listening and responding is very limited, with little interaction. A very limited performance with little engagement with the audience. 4-5 An adequate understanding of role/s using some acting skills. Some application of chosen practitioners' theories/ideas. An adequate use of basic vocal skills, showing simple characterisation. An adequate use of body movement/ space displaying basic understanding of role requirements. Listening and responding is adequate with basic interaction. An adequate performance with basic engagement with the audience. 6-7 A good understanding of role/s showing a good range of acting skills. Good application of chosen practitioners' theories/ideas. A good use of vocal skills A good use of body showing understanding of the movement/ space in link between voice and communicating role/s. character. Listening and responding is good, with clear evidence of interaction. A good performance with clear engagement with the audience. 8 - 10 An excellent understanding of role/s showing a detailed range of acting skills. Excellent application of chosen practitioners' theories/ideas. Excellent use of vocal skills showing detailed understanding of the link between voice and Listening and responding is excellent, with mature interaction. An excellent performance sustaining engagement with the audience. character. Excellent use of movement/ space in communicating a sensitive and disciplined role/s. GCE AS and A Drama and Theatre Studies Teachers' Guide 30 DA1 Technical & Design: Stage Design (AO1) Marks 0-3 4-5 6-7 8-10 Interpretation of scene and understanding of chosen practitioners A poor interpretation of the scene. The design concept will acknowledge hardly any requirements of the text and will reflect a lack of understanding of staging techniques & conventions. Little application of chosen practitioners' theories/ideas. An adequate interpretation of the scene. The design concept will acknowledge some requirements of the text and will reflect an adequate understanding of staging techniques & conventions. Some application of chosen practitioners' theories/ideas. A good interpretation of the scene. The design concept will acknowledge most of the requirements of the text and will reflect a good understanding of staging techniques and conventions. Good application of chosen practitioners' theories/ideas. A detailed and effective interpretation of the scene. The design concept marries well with the requirements of the text reflecting an accomplished understanding of staging techniques and conventions. Excellent application of chosen practitioners' theories/ideas. Relevance Decor Colour Model The design will show little relevance to the choice of scene. The design concept will be weak and there will no application of these ideas to the selected scene. The décor will be unsatisfactory and show very little relevance to the design. Selection of décor will reflect no creativity in relation to the theatrical style(s) chosen. The choice of colour for set and décor will be weak. There will be no relevance to the selected scene or any theatrical style(s) chosen. A weak model (or no model) will be presented. The model will not reflect the candidate's design concepts. It will also ignore all of the relevant elements of model making. The design will show a limited relevance to the choice of scene. The design concept will be adequate and there will be some application of these ideas to the selected scene. The décor will be adequate and show some relevance to the design. Selection of décor will reflect a limited creativity in relation to the theatrical style(s) chosen. The choice of colour for set and décor will be adequate and will show slight relevance to the selected scene and the theatrical style(s) chosen. An adequate model will be presented. The model will not always reflect the candidate's design concepts. It will also ignore some of the relevant elements of model making. The design will show a strong relevance to the choice of scene. There will be originality in the design concepts used and a good application of ideas to the selected scene. The décor will be effective and show a good relevance to the design. Selection of décor will reflect a clear degree of creativity in relation to the theatrical style(s) chosen. The choice of colour for set and décor will be good and will be mostly relevant to the selected scene and the theatrical style(s) chosen. A well made and effective model will be presented. The model will reflect most of the candidate's design concepts. It will also embrace the relevant elements of model making e.g. scale and relation to text and performer. The design will show an excellent relevance to the choice of scene. There will be strong originality in the design concepts used and an effective application of ideas to the selected scene. The décor will be effective and show an excellent relevance to the design. Selection of décor will reflect a high degree of creativity in relation to the theatrical style(s) chosen. The choice of colour for set and décor will be effective and will be completely relevant to the selected scene and the theatrical style(s) chosen. A well made and effective model will be presented. The model will fully reflect all of the candidate's design concepts. It will also embrace the relevant elements of model making e.g. scale and relation to text and performer. Excellent understanding of practitioner. GCE AS and A Drama and Theatre Studies Teachers' Guide 31 DA1 Technical & Design: Lighting Design (AO1) Marks 0-3 4-5 6-7 8-10 Interpretation of scene and understanding of chosen practitioners A poor interpretation of the scene. The design concept will acknowledge hardly any requirements of the text and will reflect a lack of understanding of lighting techniques & conventions. Little application of chosen practitioners' theories/ideas. An adequate interpretation of the scene. The design concept will acknowledge some requirements of the text and will reflect a limited understanding of lighting techniques & conventions. Some application of chosen practitioners' theories/ideas. Relevance Lighting construct Lighting during performance Knowledge of lighting board The lighting design will show little relevance to the choice of scene. The design concept will be weak and there will no application of these ideas to the selected scene. A poor lighting construct, if any, will be offered on paper. This will demonstrate a lack of understanding of lantern choice, position, colour and intensity. There will also be no level of creativity in the design. A poor manipulation of the lighting during performance, if any, will be demonstrated. The running of the lighting design will be awkward and will not show sensitivity to the performance. A poor knowledge of the lighting board and any relevant equipment will be presented. The candidate will demonstrate very unsatisfactory skills in operating lighting equipment. The lighting design will show an adequate relevance to the choice of scene. The design concept will be adequate and there will be some application of these ideas to the selected scene. An adequate lighting construct will be offered on paper. This will demonstrate an adequate understanding of lantern choice, position, colour and intensity. There will also be a limited level of creativity in the design. An adequate manipulation of the lighting during performance will be demonstrated. The running of the lighting design will not always be smooth and will not always be sensitive to the performance. A good interpretation of the scene. The design concept will acknowledge most of the requirements of the text and will reflect a good understanding of lighting techniques and conventions. Good application of chosen practitioners' theories/ideas. The lighting design will show a strong relevance to the choice of scene. There will be originality in the design concepts used and a good application of ideas to the selected scene. A good lighting construct will be offered on paper. This will demonstrate a good understanding of lantern choice, position, colour and intensity. There will also be a good level of creativity in the design. A good manipulation of the lighting during performance will be demonstrated. The running of the lighting design will be mostly smooth and demonstrate a good sensitivity to the performance. Adequate knowledge of the lighting board and any relevant equipment will be presented. The candidate will demonstrate adequate skills in operating lighting equipment. Illustrating how original concepts have led to the final execution of the lighting design will not be offered. A good knowledge of the lighting board and any relevant equipment will be presented. The candidate will be able to demonstrate clear skills in operating lighting equipment, illustrating how original concepts have led to the final execution of the lighting design. A detailed and effective interpretation of the scene. The design concept marries well with the requirements of the text reflecting an accomplished understanding of lighting techniques and conventions. Excellent application of chosen practitioners' theories/ideas. The lighting design will show an excellent relevance to the choice of scene. There will be strong originality in the design concepts used and an effective application of lighting techniques e.g. colour and gobos. An excellent lighting construct will be offered on paper. This will demonstrate an impressive understanding of lantern choice, position, colour and intensity. There will also be a high level of creativity in the design. An excellent manipulation of the lighting during performance will be demonstrated. The running of the lighting design will be smooth and demonstrate a full sensitivity to the performance. An effective knowledge of the lighting board and any relevant equipment will be presented. The candidate will be able to demonstrate an impressive set of skills in operating lighting equipment, illustrating how original concepts have led to the final execution of the lighting design. GCE AS and A Drama and Theatre Studies Teachers' Guide 32 DA1 Technical & Design: Sound Design (AO1) Marks 0-3 4-5 6-7 8-10 Interpretation of scene and understanding of chosen practitioners A poor interpretation of the scene. The design concept will acknowledge hardly any requirements of the text and will reflect a lack of understanding of sound techniques & conventions. Little application of chosen practitioners' theories/ideas. An adequate interpretation of the scene. The design concept will acknowledge some requirements of the text and will reflect an adequate understanding of sound techniques & conventions. Some application of chosen practitioners' theories/ideas Relevance Sound sequence Sound during performance Knowledge of sound desk The sound design will show little relevance to the choice of scene or action on stage. The design concept will be weak and there will be no application of these ideas to the selected scene. A poor sound sequence, if any, will be shown. This will not demonstrate understanding of location, mood, atmosphere or practical sound. There will be no creativity in the design. A poor manipulation of the sound during performance, if any, will be demonstrated. The execution of the sound design will be awkward and will not show sensitivity to the performance. A poor knowledge of the sound desk and any relevant equipment will be presented. The candidate will demonstrate very unsatisfactory skills in operating sound equipment. The sound design will show an adequate relevance to the choice of scene and action on stage. The design concept will be adequate and there will be some application of these ideas to the selected scene. An adequate sound sequence both on *tape and on paper will be shown. This will demonstrate an adequate understanding of location, mood, atmosphere and practical sound. There will be a limited level of creativity in the design. An adequate manipulation of the sound during performance will be demonstrated. The running of the sound design will not always be smooth and will not always be sensitive to the performance. An adequate knowledge of the sound desk and any relevant equipment will be presented. The candidate will demonstrate adequate skills in operating sound equipment. Illustrating how original concepts have led to the final execution of the sound design will not be offered. A good interpretation of the scene. The design concept will acknowledge most of the requirements of the text and will reflect a good understanding of sound techniques and conventions. Good application of chosen practitioners' theories/ideas. The sound design will show a strong relevance to the choice of scene and the action on stage. There will be originality in the design concepts used and a good application of ideas to the selected scene. A good sound sequence both on *tape and on paper will be shown. This will demonstrate a good understanding of location, mood, atmosphere and practical sound. There will be a good level of creativity in the design. A good manipulation of the sound during performance will be demonstrated. The running of the sound design will be mostly smooth and demonstrate a good sensitivity to the performance. A good knowledge of the sound desk and any relevant equipment will be presented. The candidate will be able to demonstrate clear skills in operating sound equipment, illustrating how original concepts have led to the final execution of the sound design. A detailed and effective interpretation of the scene. The design concept marries well with the requirements of the text reflecting an accomplished understanding of sound techniques and conventions. Excellent application of chosen practitioners' theories/ideas. The sound design will show an excellent relevance to the choice of scene and the action on stage. There will be strong originality in the design concepts used and an effective application of sound techniques. An excellent sound sequence both on *tape and on paper will be shown. This will demonstrate an impressive understanding of location, mood, atmosphere and practical sound. There will be a high level of creativity in the design. NB* tape denotes any storage device including: cassette, CD, MD, PC, Computer sound packages etc. An excellent manipulation of the sound during performance will be demonstrated. The running of the sound design will be smooth and demonstrate a full sensitivity to the performance. An effective knowledge of the sound desk and any relevant equipment will be presented. The candidate will be able to demonstrate an impressive set of skills in operating sound equipment, illustrating how original concepts have led to the final execution of the sound design. GCE AS and A Drama and Theatre Studies Teachers' Guide 33 DA1 Technical & Design: Costume / Make-up Design (AO1) Marks 0-3 4-5 6-7 8-10 Interpretation of scene and understanding of chosen practitioners A poor interpretation of the scene. The design concept will acknowledge hardly any requirements of the text and will reflect a lack of understanding of costume styles & conventions. Little application of chosen practitioners' theories/ideas. An adequate interpretation of the scene. The design concept will acknowledge some requirements of the text and will reflect an adequate understanding of costume styles & conventions. Some application of chosen practitioners' theories/ideas. A good interpretation of the scene. The design concept will acknowledge most of the requirements of the text and will reflect a good understanding of costume styles & conventions. Good application of chosen practitioners' theories/ideas. A detailed and effective interpretation of the scene. The design concept marries well with the requirements of the text reflecting an accomplished understanding of costume styles & conventions. Excellent application of chosen practitioners' theories/ideas. Relevance Costume realisation Costume in performance Understanding of costume sample The costume design will show little relevance to the choice of character, scene or action on stage. The design concept will be weak and there will no application of these ideas to the selected scene. A poor costume, if any, will be presented. This will demonstrate a very weak understanding of style, colour and fabric in relation to the selected character and scene. There will be no level of creativity in the design. A poor demonstration of the costume during performance. The costume will not be appropriate to the character or scene. A poor presentation of costume/ make-up samples. A lack of understanding of the concepts of costume design will be evident. Samples will not relate to selected characters and scene and will not compliment the text. The costume design will show an adequate relevance to the choice of character, scene and action on stage. The design concept will be adequate and there will be some application of these ideas to the selected scene. An adequate costume will be presented. This will demonstrate a limited understanding of style, colour and fabric in relation to the selected character and scene. There will be an adequate level of creativity in the design. An adequate demonstration of the costume during performance. The appropriateness of the costume to the character and scene will be limited. Sensitivity to the needs of performer will not be evident. An adequate presentation of costume/ make-up samples. This will demonstrate a lack of understanding of the concepts of costume design. Samples may not relate to selected characters and scene and may not compliment the text. The costume design will show a strong relevance to the choice of character, scene and the action on stage. There will be originality in the design concepts used and a good application of ideas to the selected scene. A good costume will be presented. This will demonstrate a good understanding of style, colour and fabric in relation to the selected character and scene. There will be a good level of creativity in the design. A good demonstration of the costume during performance. The appropriateness of the costume to the character and scene will be mostly evident. A good sensitivity to the needs of performer will be clear. A good presentation of costume/ make-up samples. This will demonstrate a good understanding of the concepts of costume design. Samples will relate to selected characters and scene and will mostly compliment the text. The costume design will show an excellent relevance to the choice of character, scene and the action on stage. There will be strong originality in the design concepts used and an effective application of costume techniques. A detailed and effective costume will be presented. This will demonstrate an impressive understanding of style, colour and fabric in relation to the selected character and scene. There will be a high level of creativity in the design. An excellent demonstration of the costume during performance. The appropriateness of the costume to the character and scene will be evident. An excellent sensitivity to the needs of performer will be clear. An effective presentation of costume/ make-up samples. This will demonstrate a high level understanding of the concepts of costume design. Samples will relate fully to selected characters and scene and will compliment the text. GCE AS and A Drama and Theatre Studies Teachers' Guide 34 4.2 DA2 The work done in DA1 is linked to the expectations in DA2. The practical work and work on practitioners informs the work done on the set texts. This will enable students to answer the questions on the exam paper with ease. They should be able to incorporate the practical work they have experienced in class into their answers. The set texts should not be taught with an over reliance on theory and history. They should be taught as an acting text with any ideas and discussions coming from this point. There should be very few lessons where pupils spend the majority of time reading and listening and not acting. The work on the practitioner should inform their analyses of the texts and enrich their answers. Teachers could create journals for each set text for candidates to note any practical work done on texts. They could have spaces for character descriptions / analysis, practical work on certain scenes, sub- text analysis. There could also be room to note their ideas about set design, costume, and lighting in key scenes. All this would avoid too much annotation in the text. This would also make an ideal tool when revising for the exam. The following notes offer some guidance on the aspects of the texts that should be covered for the purpose of the exam. These are only guidelines and teachers should experiment with all sorts of techniques to help the students gain a greater practical understanding of the texts. Techniques such as hot seating, freeze framing, status games, etc. are all useful tools to gain an understanding of the text. The work of the practitioners can also be used to gain insights into the texts. This will create a clear link with DA1. It is also recommended that teachers use any productions they have seen to help stimulate design and presentational ideas. All candidates, both technical and acting, have to have an insight into acting and design aspects of theatre. A Midsummer Night's Dream • • • • • • • • • • • Historical context Original performance conditions Multiple storylines within the play Themes of love, fate, dreams, magic Connections of characters in 'real' world and 'dream' world - Theseus/Hippolyta and Oberon/Titania Comedy within the play - the play within the play Contradiction between the order during the day and the strange mystical happenings of the night Performance of characters - vocal and physical challenges and advice Staging ideas - challenges of staging the play? Technical aspects - set, costume, lighting and sound Modern performances of the play GCE AS and A Drama and Theatre Studies Teachers' Guide 35 The Country Wife • • • • • • • • • • • • • Original performance conditions Conventions of Restoration Comedy Bawdy and rude humour Stereotypical characters Motivation of the characters Elements of deceit within the play Staging ideas – proxemics , kinetics Characterisation Discussion on any modern productions Interaction between characters within the play The problems the style of play presents to an actor Wycherley holds a mirror up to his own time What does a modern audience get from the play? The Government Inspector • • • • • • • • • • • • Historical context Original performance conditions Introduction of dramatic realism to the stage - Gogol (father of dramatic realism in Russia) Obvious satire of the excessive bureaucracy within the government in 19th century Russia Bribery and extortion is evident Humour is such that it becomes satirical Themes of corruption and self-deception Role of characters within the development of the themes Performance of characters - vocal and physical challenges and advice Staging ideas - challenges of the play? Technical aspects - set, costume, lighting sound Performances of the play The Chairs • • • • • • • • • • • Original performing conditions Theatre of the Absurd Links with uncertainty in society after WW2 Character interaction Symbolic nature of voice Abstract nature of the set Challenges for actors – physical and vocally Staging ideas – proxemic – kinetics Design ideas Discussion on modern productions of the play What does a modern audience get from the play? GCE AS and A Drama and Theatre Studies Teachers' Guide 36 The Children's Hour • • • • • • • • • • • Original performing conditions Well-made play Challenging sub-text for the period Character interaction Psychological depth of characters Realistic nature of the set Challenge for the actors – the sub-text Design ideas Staging ideas – proxemics , kinetics Discussion on modern productions of the play What does a modern audience get from the play? Blue Remembered Hills • • • • • • • • • • Originally a play for television Fluid, non-naturalistic nature of staging Challenge of actors playing children Toughness of themes and characters within the play Inherent cruelty of children Character interaction Design ideas Staging ideas – proxemics – kinetics Discussion on modern productions of the play What does a modern audience get from the play? Y Ffin • • • • • • • • Original production conditions Influence of Theatre of Absurd Character interaction Mysterious stranger – reality / dream Design ideas Staging ideas – proxemics , kinetics Discussion on modern productions of the play What does a modern audience get from the play? Live Theatre Review The live theatre review is the final element of the DA2 Text in Performance module. Candidates will be asked to discuss a performance of a live theatre production that they have seen throughout the year. The question will always specify what elements of the production they should discuss in their answers. It is important that candidates are given the opportunity to see a wide variety of productions, contrasting in both style and genres. This could range from large professional theatrical performances, to Theatre In Education productions. It must be pointed out that amateur productions are also perfectly acceptable. The better candidates, although discussing one production in detail, will draw on their theatrical experience to compare and contrast various elements of other productions to enhance their answers. GCE AS and A Drama and Theatre Studies Teachers' Guide 37 Teaching Techniques It is important that candidates are given time during lessons to discuss the various productions that they have seen. Don't feel that you have to start preparing the candidates' essay technique from the outset. Perhaps an idea would be to split the class into pairs or smaller groups with each pair preparing a presentation on either: • • • Acting / Role Interpretation Stage Design Technical Elements – Lighting, Sound • Critical Opinion Each candidate would in turn prepare a presentation on each element in order to improve his/her awareness of live theatre. Encourage pupils to express their views clearly at all times as opposed to only describing the various elements within the production. Essay questions could be set as homework questions following these presentations. However, it is suggested that one or two essay questions should be set during lessons in order to prepare candidates for the time constraint of the examination. Acting / Role Interpretation Actors' ability to identify with character Actors' ability to portray character Actors' interaction Use of voice Use of movement, gesture and posture Use of facial expression Actors' overall ability to engage an audience Stage Design Effectiveness of staging Effectiveness of chosen genre Effectiveness of chosen set Use of colour on the set Atmosphere created by set Lighting and Sound Type of lighting used Strength of lighting used Colour of lighting used Use of film or projection Effectiveness of lighting used to create mood and atmosphere Pre-recorded sound used Effectiveness of sound used to create mood and atmosphere Critical Opinion Overall strengths of the production Weaknesses of production Suggestions on how to improve various elements of the production Comparisons with other productions seen Reviews of and audience responses to productions seen GCE AS and A Drama and Theatre Studies Teachers' Guide 38 Before you go and see a production try and create a small guide to give to the pupils. A lot of theatres/ companies prepare them now. You are advised to download one and give it to the pupils. Reviews are a good thing to include. If you know the play, try to guide them to note key plot points or character points. Try to guide them to look for good use of voice, and movement. If you have a chance to see the production before them, even better! Back in class concentrate on the ACTING then the STAGING. Try not to discuss both at the same time as they will become confused for the purpose of the exam. Try and discuss the production in a lesson as soon as possible. Split the class to concentrate on different actors, set, lighting, sound. Discuss each aspect in turn. Ensure that pupils note good points/bad points about that acting. Note examples of good voice work and movement and ineffective use of voice and movement. Make sure they keep notes. Maybe it would be an idea to keep some kind of journal. Then consider the set. Did it create an appropriate environment for the play? Use of lighting and sound? All should be explored in detail. Get the candidates to write a review concentrating on either the acting or production skills. Preparing for the exam The best way is to discuss in the time after Easter which TWO performances they would discuss for their main performances, then which TWO performances to compare with from another production. Let them see the list given in the question paper to ensure that they discuss vocal, movement, interaction, use of set. They should cover all aspects somewhere in their answer. Encourage them to be critical and avoid words such as 'good' and 'effective'. There has to be more depth. When they compare, this accounts for 20% of the answer. They can be more critical in this section. As for what genres to use, it is very difficult to be prescriptive. What was apparent in the examination was that candidates found it difficult to discuss performances in Musicals because they could not get beyond the singing. If they go to see Musicals, maybe it is better to discuss the design aspects and technical side. If they do see Musicals which have detailed characters such as Sondheim that is fine, but they find it difficult to discuss Musicals from an acting standpoint. If the question asks for production skills, Musicals are very good and can be compared to other more straight plays. This gives candidates something to compare and contrast. In this question they only compare two productions. Suggested textbooks: Author Marcia Ferguson Year of Publication Title 2007 A Short Guide to Writing about Theatre ISBN13:9780321136732 ISBN10: 032113673X GCE AS and A Drama and Theatre Studies Teachers' Guide 39 Films/DVDs that may be of interest: Title Description A Midsummer Night's Dream Various versions, including 1999 film starring Kevin Kline, Michelle Pfeiffer and Rupert Everett The Children's Hour 2004 film starring Audrey Hepburn, Shirley Maclaine and James Garner There is a guide to writing about live theatre available via www.ehdltd.co.uk GCE AS and A Drama and Theatre Studies Teachers' Guide 40 4.3 DA3 Practical Performance The themes of the practical performance change every year and will be sent to school in the June before the end of year 12. They will also be available on the A Level Drama web page. Candidates are allowed to interpret the themes in any way: it could be a phrase from a song, a word or a character in a painting. The text chosen must have a link with their chosen theme. The text can be from any period and must be appropriate to the candidates' ability. More able candidates should be offered more challenging texts so that they are able to show the full range of their acting skills. The devised piece should have a clear link with the theme as well. Timings are as follows: 2 candidates = 20 minutes (2 x 10 min performances) 3 candidates = 30 minutes (2 x 15 min performances) 4 candidates = 40 minutes (2 x 20 min performances) Centres should follow the formula of 5 minutes per candidate per piece. A minute's grace is allowed either side. Therefore two candidates should perform a set text piece of between 8 -12 minutes, and a devised piece of the same length. A group of three should perform a set text piece of between 12 – 18 minutes, and a devised piece of the same length, and so on. Candidates will be penalised one mark for every one minute they are over the time constraints. Centres do not have to keep the same group for both performances. It is up to the centre how they want to arrange the groups. Candidates should be aware that they should be using two different styles in both pieces. They may decide to use a physical theatre approach in one piece and a Brechtian approach in the second piece. This should build on their work that has been completed on practitioners in Yr 12. They do not have to stick slavishly to one practitioner but might copy the style of a theatre group such as Kneehigh, Complicite, Frantic Assembly, Earthfall and Headlong. It is perfectly acceptable for candidates to copy the style of a performance which they have seen and liked. Again, the emphasis here is that there are two different styles in the pieces. Candidates will perform both pieces in front of an external examiner. The examiner has the right to deduct marks if candidates go more than 2 minutes over the time for each piece. It is up to the teacher to ensure that candidates adhere to the timing. The old excuses of 'they were enjoying themselves' and 'I did try' will still result in marks being deducted. While they are preparing the roles for both pieces, candidates should be keeping a journal or diary of how they developed their ideas. They should concentrate on the individual and group work undertaken. During rehearsals and after performances of sections of the texts, candidates should evaluate their performances as an individual and as a group. This prepares them for the evaluation of their performances 24 hours after the exam. They will get used to using appropriate vocabulary and to expressing themselves. This will help them to focus on evaluating certain details in their performances and linking them to rehearsal techniques. These should be done as 10 minute sessions at the end of the lesson so that they become common practice. GCE AS and A Drama and Theatre Studies Teachers' Guide 41 When choosing the texts, there has to be an honest discussion between teacher and candidate. The candidate should choose the piece that will get him/her the best mark and will show off the candidate's skills. Careful consideration must be given to the assessment criteria. The final choice is obviously the candidate's but so many good candidates have underachieved in the past purely as a result of the wrong choice of piece. The exam takes place in March /April. WJEC will allocate you an appropriate time, once your completed dates form has been received by the office. On the day, the visiting examiner will require: • • • • a programme with pictures if possible; the composite mark sheet (DA3) with all candidates listed in examination number order; an individual mark sheet for each candidate with the candidate's name and examination number; the centre approval form signed and stamped by the headteacher or a member of senior staff. The running order of the examination is down to the centre. The centre may choose to do all of the text pieces first followed by all of the devised pieces, or they may select a mixture. This is the centre's decision. Technical candidates must be introduced to the examiner. The examiner will conduct a viva with them after the performance. The technical candidates only have to show one skill but also in two different styles. They could be influenced by current practitioners in the theatre. An obvious influence is the group they are working with and the styles they adopt for their pieces. There should be an audience present as this is essential to the evaluation stage. If possible, it is a good idea to have a session with the candidates before they write their evaluation to direct their ideas. The examiner will give the teacher a set of papers for the candidates to use the next day. 4.4 DA3 Evaluation This will take place 24 hours after the practical exam. The candidates will have an hour and a half to write an evaluation. The exam paper will ask them to write the evaluation using the five headings: • • • • • text: individual performance text: group performances devised: individual performances devised: group performances overview of performances and rehearsal period. Candidates should be encouraged to link the work carried out in the rehearsals with the final performances. They should also try to cover different technical aspects of acting, i.e. voice, movement, staging, interaction. They should have covered all of these aspects somewhere in the evaluation. GCE AS and A Drama and Theatre Studies Teachers' Guide 42 The evaluations are then sent to the examiner that visited the centre. It is a good idea to record the performances to keep as a record for the department and in the event of Enquiries About Results (EARs). The following pages contain the forms required by WJEC for the DA3 practical examination. These are also available on the website. GCE AS and A Drama and Theatre Studies Teachers' Guide 43 GCE Drama & Theatre Studies DA3 DA3 PERFORMANCE ON A SET THEME, acting, or technical production skills EXAMINATION TO TAKE PLACE BETWEEN MARCH AND APRIL. Introductory notes Candidates will be expected to work in response to a theme set by WJEC. They will prepare two performances and make an evaluation of the performance. In each performance, candidates will either act or demonstrate a technical production skill with a group of performers. The performance will include scenes/extracts from a published text and a piece devised by the group. All pieces must be linked to the chosen theme. The theme will be distributed to centres via a circular during the summer term, a year prior to assessment. The themes will also be available on the A level Drama web page. This unit is assessed by an external examiner. Please note that an outline of the devised piece must be sent to the visiting examiner before the assessment visit. Candidates must choose plays not studied in other units. All performances must take place on the same day, or if the centre has a particularly large number of candidates, within a sequence of consecutive days. We strongly recommend that centres video all performances. Acting The acting group should be between 2 and 4 candidates. The total performance time for the set text and devised piece together should follow the time formula of up to 10 minutes per candidate, 5 minutes per piece. Technical production skills No more than two candidates may offer technical production skills in any group. Each technical production skill must be different. Candidates may choose from one the following: • stage design; • lighting design; • Sound design; • costume/make-up design. Technical candidates should be encouraged to take part in the rehearsing/devising process for both pieces. Each candidate will have a viva with the external examiner. Please note that performances that go over the maximum time of 5 minutes per candidate per piece will incur a penalty. Please use the first part of the form to inform WJEC of : • the date, duration, time and venue for the performance • the total number of candidates entered • the number of candidates opting for acting and the number taking the technical option • the texts studied for DA2 and DA4 Please use the second part of the form to list candidates in each group. You should complete two boxes per group: one for the text piece and one for the devised piece. It is possible for candidates to work in different groups for both pieces, but the same theme must be selected for both pieces. Please indicate on the form which text(s) the groups performed in DA1. GCE AS and A Drama and Theatre Studies Teachers' Guide 44 These forms should be submitted to WJEC by January (in the year of assessment). Forms DA3 and DA3 (A, B, C, D or E) should be completed by the centre, providing candidate and centre details. These forms should then be passed to the external examiner on the day of the examination along with the form confirming suitability of content signed by the Head/Principal of Centre including the centre stamp. It is helpful if the examiner is given a programme with the running order of the examination, and if possible, photographs of the candidates. Form DA3 Please list the candidates in candidate number order. Forms DA3 ( A, B, C, D or E) Please provide the centre name, number and candidate name and number on the form. Please ensure that the correct form for the skill offered by the candidate is completed. 24 hours after the examination, the candidates must complete an evaluation of their performance. The visiting examiner will deliver copies of the question paper on the day of the practical examination. Candidates should complete their answers in the usual examination answer booklet. The evaluations should then be sent on to the visiting examiner. If the practical examination takes place over more than one day in a centre, then it is expected that all candidates will complete their evaluations on the day following the final day of examinations. GCE AS and A Drama and Theatre Studies Teachers' Guide 45 Advanced Drama & Theatre Studies DA3: PRACTICAL PERFORMANCE ON A SET THEME Centre name_ Centre number _Contact telephone no. Preferred date of performance(s) At least two alternative dates must be specified. Please delete those days when it will not be convenient to hold the practical performance(s). Once the date has been confirmed, it will not be possible to change it. Week 1 Week 3 Week 2 Week 4 Week 5 Time of performance(s) Venue (if different from centre) Total number of candidates for DA3 Number of candidates taking the acting option Number of candidates taking the technical production skill option Total estimated duration of all group performances, including scene changes Titles of DA1 texts studied: Titles of DA2 texts studied: Titles of DA4 texts studied: Signed Head of Drama Date This pro-forma must be returned to Angela Perkins, WJEC, 245 Western Avenue, Cardiff, CF5 2YX by January. WJEC cannot guarantee the provision of preferred dates to any centres submitting their pro-forma after this date. Should any of the details indicated in this pro-forma change, centres must inform WJEC immediately. WJEC will contact those centres with incomplete, insufficient, inappropriate or problematic returns with brief guidance, as soon as possible after the submission. GCE AS and A Drama and Theatre Studies Teachers' Guide 46 GCE Drama and Theatre Studies: DA3 External Examination Please complete two boxes for each group (one for the text performance and one for the devised). Centre name_ Centre number Telephone: Candidate’s Full Name BLOCK CAPITALS 2 3 4 5 6 DA1 text performed : TOTAL PERFORMANCE TIME : Candidate’s Full Name BLOCK CAPITALS Technical Skill ( as appropriate) skill No. in group Theme selected: Text or devised? Acting ( as appropriate) Character played or technical production skill selected 1 2 3 4 5 6 DA1 text performed : TOTAL PERFORMANCE TIME : No. in group Theme selected: Text or devised? Candidate’s Full Name BLOCK CAPITALS Acting ( as appropriate) Group number: Title of piece: Technical Skill ( as appropriate) skill No more than four candidates acting per group. Two additional technical and design candidates if required. Character played or technical production skill selected 1 Group number: Title of piece: No more than four candidates acting per group. Two additional technical and design candidates if required. Technical Skill ( as appropriate) skill No. in group Theme selected: Text or devised? Acting ( as appropriate) No more than four candidates acting per group. Two additional technical and design candidates if required. Group number: Title of piece: Character played or technical production skill selected 1 2 3 4 5 6 DA1 text performed : TOTAL PERFORMANCE TIME : GCE AS and A Drama and Theatre Studies Teachers' Guide 47 Theme selected: Text or devised? No. in group Candidate’s Full Name BLOCK CAPITALS 2 3 4 5 6 DA1 text performed : TOTAL PERFORMANCE TIME : Candidate’s Full Name BLOCK CAPITALS Technical Skill ( as appropriate) skill No. in group Theme selected: Text or devised? Acting ( as appropriate) Character played or technical production skill selected 1 2 3 4 5 6 DA1 text performed : TOTAL PERFORMANCE TIME : No. in group Theme selected: Text or devised? Candidate’s Full Name BLOCK CAPITALS Acting ( as appropriate) Group number: Title of piece: Technical Skill ( as appropriate) skill No more than four candidates acting per group. Two additional technical and design candidates if required. Character played or technical production skill selected 1 Group number: Title of piece: No more than four candidates acting per group. Two additional technical and design candidates if required. Technical Skill ( as appropriate) skill Group number: Title of piece: Acting ( as appropriate) Centre Name: No more than four candidates acting per group. Two additional technical and design candidates if required. Centre Number: Character played or technical production skill selected 1 2 3 4 5 6 DA1 text performed : Head of Drama & Theatre Studies_ TOTAL PERFORMANCE TIME : Date_ If you wish to do so, please photo-copy this pro-forma for additional groups. Please make sure that each group is given a different consecutive number for identification purposes. GCE AS and A Drama and Theatre Studies Teachers' Guide 48 GCE DRAMA & THEATRE STUDIES DA3: Practical Performance Name of Centre: ………………………………………………. DA3 Centre number: ………………………. Examiner: Date: Office Use Total Mark (150) BLOCK CAPITALS Evaluation Mark (50) Candidate’s Name (Surname first) Practical Mark (100) Candidate’s Examination Number List of all candidates GCE AS and A Drama and Theatre Studies Teachers' Guide 49 DA3A GCE DRAMA & THEATRE STUDIES DA3: Practical Performance Candidate name: Candidate number: Centre name: Centre number: PERFORMANCE Element Text Mark /10 Devised Mark /10 Interpretation of character Use of voice Use of body/space Listening and responding Power to engage the audience Comments on Performance (including justification of marks awarded and reference to Levels of Achievement) PERFORMANCE SUB-TOTAL PERFORMANCE TOTAL /50 /50 /100 Over/ GCE AS and A Drama and Theatre Studies Teachers' Guide 50 EVALUATION Mark /10 Element Individual role in a scene/extract from a published text Group performance in a scene/extract from a published text Individual role in devised piece Group role in a devised piece Evaluation of whole performance Comments on Evaluation /50 EVALUATION TOTAL TOTAL MARK Examiner: /150 Date: GCE AS and A Drama and Theatre Studies Teachers' Guide 51 DA3B GCE DRAMA & THEATRE STUDIES DA3: Practical Performance (Technical and Design: Stage Design) Candidate name: Candidate number: Centre name: Centre number: PERFORMANCE Element Text Mark /10 Devised Mark /10 Interpretation Relevance Decor Colour Model (Examiner to check) Comments on Performance (including justification of marks awarded and reference to Levels of Achievement) PERFORMANCE SUB-TOTAL PERFORMANCE TOTAL /50 /50 /100 Over/ GCE AS and A Drama and Theatre Studies Teachers' Guide 52 EVALUATION Mark /10 Individual role in a scene/extract from a published text Group performance in a scene/extract from a published text Individual role in devised piece Group role in a devised piece Evaluation of whole performance Comments on Evaluation /50 EVALUATION TOTAL /150 TOTAL MARK Examiner: Date: GCE AS and A Drama and Theatre Studies Teachers' Guide 53 DA3C GCE DRAMA & THEATRE STUDIES DA3: Practical Performance (Technical and Design: Lighting Design) Candidate name: Candidate number: Centre name: Centre number: PERFORMANCE Element Text Mark /10 Devised Mark /10 Interpretation Relevance Lighting Construct Lighting during performance Knowledge of lighting board Comments on Performance (including justification of marks awarded and reference to Levels of Achievement) PERFORMANCE SUB-TOTAL PERFORMANCE TOTAL /50 /50 /100 Over/ GCE AS and A Drama and Theatre Studies Teachers' Guide 54 EVALUATION Mark /10 Individual role in a scene/extract from a published text Group performance in a scene/extract from a published text Individual role in devised piece Group role in a devised piece Evaluation of whole performance Comments on Evaluation EVALUATION TOTAL TOTAL MARK /50 /150 GCE AS and A Drama and Theatre Studies Teachers' Guide 55 DA3D GCE DRAMA & THEATRE STUDIES DA3: Practical Performance (Technical and Design: Sound Design) Candidate name: Candidate number: Centre name: Centre number: PERFORMANCE Element Text Mark /10 Devised Mark /10 Interpretation Relevance Sound Sequence Sound during performance Knowledge of sound desk Comments on Performance (including justification of marks awarded and reference to Levels of Achievement) PERFORMANCE SUB-TOTAL PERFORMANCE TOTAL /50 /50 /100 Over/ GCE AS and A Drama and Theatre Studies Teachers' Guide 56 EVALUATION Mark /10 Individual role in a scene/extract from a published text Group performance in a scene/extract from a published text Individual role in devised piece Group role in a devised piece Evaluation of whole performance Comments on Evaluation EVALUATION TOTAL TOTAL MARK /50 /150 GCE AS and A Drama and Theatre Studies Teachers' Guide 57 DA3E GCE DRAMA & THEATRE STUDIES DA3: Practical Performance (Technical and Design: Costume/Make-up Design) Candidate name: Candidate number: Centre name: Centre number: PERFORMANCE Element Text Mark /10 Devised Mark /10 Interpretation Relevance Costume/Make-up Costume/Make-up in performance Understanding of costume/make-up Sample Comments on Performance (including justification of marks awarded and reference to Levels of Achievement) PERFORMANCE SUB-TOTAL PERFORMANCE TOTAL /50 /50 /100 Over/ GCE AS and A Drama and Theatre Studies Teachers' Guide 58 EVALUATION Mark /10 Individual role in a scene/extract from a published text Group performance in a scene/extract from a published text Individual role in devised piece Group role in a devised piece Evaluation of whole performance Comments on Evaluation EVALUATION TOTAL TOTAL MARK /50 /150 GCE AS and A Drama and Theatre Studies Teachers' Guide 59 GCE DRAMA AND THEATRE STUDIES DA3 – Performance on a Theme Centre number……………………….................. Name of centre………………………................. Date(s) of performance……………….............. I confirm that this centre considers all material intended for performance as part of the assessment of the GCE (DA3) qualification in Drama & Theatre Studies acceptable in terms of both content and treatment. Signed…………………………………… Date………………………… School/college stamp (Head/Principal) GCE AS and A Drama and Theatre Studies Teachers' Guide 60 4.5 DA4 Set Texts This unit links directly with all other units. It can be seen as a synoptic unit because it uses all the skills that candidates have learnt both practically and academically throughout the course. Two texts need to be studied: one from each group. There are a range of texts covering different genres. It is a good idea to choose texts which are different to the ones chosen at DA2. This is a recommendation, as an example of good teaching. The specification states that candidates should explore the following: • • • • theatrical context theatrical challenges of text in terms of acting theatrical challenges in terms of production ideas personal reaction to the text The questions will be based on a whole play response. They may take the form of a question on performing certain role/roles or on staging the whole play. All these responses can be discussed and prepared in class. An active, practical approach is to be encouraged whilst exploring the texts in class. There is no need to study the whole text in class but study certain key scenes and moments within the text. The candidates should be able to read the rest of the text themselves! A text can be played with in lessons: characters explored, themes investigated. You could apply practitioners to certain sections to see if interpretation changes. It is important that candidates are given the opportunity to explore characters in depth so that they have a clear idea of how they would perform that part. Some written work should be given to link with this work. This may be only one side of A4 consisting of what candidates did in the lesson – analysing what they did and how effective it was. Once the candidates are familiar with the text, they should move on to explore staging the play. There are many ways to lead on this, but the best approach is visual. Start with images of the play or its environment and then interpret them for the stage. There are a lot of ideas available via NGfL on getting candidates to think visually. It is important that candidates understand the historical and theatrical contexts of their texts. Although there is no direct question in the exam, this information will inform their understanding of staging and character. This does not mean pages and pages of notes. It could be a five minute Powerpoint presentation presented by each candidate. Below is list of points which may be covered in each text: Section A Electra original performance conditions trends in modern productions details of contemporary interpretation story linked to well known legend other versions by both Aeschylus and Euripides exploration of the plight of central character – Electra concept of revenge and moral right Orestes and Electra's claim to be hard done by GCE AS and A Drama and Theatre Studies Teachers' Guide 61 belief that evil should be punished by the Gods Sophocles could be ironic saying that the brother and sister are just as evil creation of dramatic tension within the text, e.g. arrival of Orestes role of women within the play – three very strong characters – Mother and two daughters role of honour in the play role of chorus in questioning Electra link with Antigone: heroic- paying an old debt exploration of the language used in the play – rhetoric is Sophocles celebrating heroism and stoicism in the play? play staged in front of the palace – modern staging? relationship between Electra and her sister proxemics and kinetics in key scenes personal opinion. All's Well That Ends Well original performance conditions no evidence of exact date of performance – included in First Folio of 1623 categorised as a problem play mixture of myth and reality complex nature of Helena's character: modern character in many ways the clash between the old: Countess and king and the young comic elements – Parolles; the magic element of Helena's cure of the King background of war – Bertram joins the army to fight the plot devices – the bed trick and the ring /Helena's pregnancy the nobility of the Countess – a wise, content old woman who feels sorry for Helena multi-location of the play presents many problems the ending can be seen as positive or negative Bertram – ambivalent character – arrogant youth or misunderstood colourful background characters – Diana, Widow Capilet feminist angle to the play modern productions of the play – how have they solved the problems? proxemics and kinetics of key scenes personal opinion. Uncle Vanya historical and theatrical context modern productions link with Stanislavsky and naturalism exploration of the characters and their lives of failure the presentation of the theme of failure and of ennui the play moves from the outside to the dark part of the house by the end practical work on the character of Vanya – a man who can do nothing right the desperation of Sonya – her final speech encapsulates the play the proxemics and kinetics of key scenes exploration of the sub-text and atmosphere created through silence the use of sound to create drama and mood ideas for their own settings – explore modern settings the importance of the women in the play – Sonya, Yelena, Maria links with other plays by Chekhov. GCE AS and A Drama and Theatre Studies Teachers' Guide 62 Section B The Threepenny Opera historical and theatrical context modern productions link with Brecht's ideas about theatre source 'The Beggar's Opera' influence of Weill and cabaret original production exploration of main characters – Mack, Peachum, Mrs Peachum, Tiger Brown, Polly, Lucy presentation of themes in play – capitalism, poverty, loyalty, honour use of songs – staging of these songs alienation elements within the play staging problems - concept for own staging personal opinion. The Rose Tattoo historical and theatrical context original / modern productions links with other plays by Williams the central fudging of reality and fantasy use of theatrical effects such as lighting and sound symbolism of the play e.g. rose exploration of character of Serafina – her search for the truth the tragic elements of the play the portrayal of the Sicilian society the Italian fire within the characters proxemics and kinetics of key scenes ideas for staging the play personal opinion. Far Away / A Number • • • • • • • • • • • • • • • • • historical and theatrical context links with other work by Churchill play as a reaction to issues of import at the beginning of 21st century sparseness of text – explore sub-text no location or very little in either play – why? elliptical nature of the text – constantly looking for meaning the sense of prevailing danger in 'Far Away' the parade as a symbol and grotesque symbol does the close of the play offer hope? anti-war stance of the play – link to British plays of 70's modern productions 'A Number' offers complicated argument How to stage the long dialogues? proxemics and kinetics of key scenes how to differentiate the Bernards- exploration of sub-text ideas for staging personal opinion. GCE AS and A Drama and Theatre Studies Teachers' Guide 63 Lysh • • • • • • • • • • • • • • 4.6 links to other work of Williams personal experience central to play use of light – video and music to create a world main characters – all the same character? detailed stage directions from playwright; Sandra – the therapist links like a chorus; three other characters can be seen as facets of same person; portrayal – brutal at times of the life of an alcoholic; links with other plays; written in a poetic mode; problem of long complex speeches; search for a subtext; proxemics and kinetics of key scenes; personal opinion. DA4 Unseen Text The last question on the DA4 paper is about the staging of an unseen piece of a play. The question expects candidates to: • • • • • draw a ground plan of their set; detail their ideas for any furniture, props and costumes; give appropriate movements; create a set of lighting cues; create a set of sound cues. In this paper there is a specific space for justification of candidates' ideas. Work on this question begins in the September with candidates practising drawing ground plans of sets they have devised in class for the texts they are studying. They can use any exercises on short passages of the texts to create movement plots. The same exercise can be repeated for lighting/ sound plots. The passages do not have to be long and it is quite a good exercise to give candidates a time restriction so that they have to think quickly. It is best to start doing one skill at a time, then combine them all when they stage their pieces for DA3. These pieces are excellent opportunities to develop candidates' confidence in answering these questions. Once candidates have mastered the style of the question it does not matter what extract they get in the exam. GCE AS and A Drama and Theatre Studies Teachers' Guide 64 When planning their ground plan they should think about: • • • • • • • exits /entrances audience position sightlines clarity of the sketch clear labelling keeping any writing to a minimum proper labelling of stage areas e.g. CS on proscenium arch. When describing and justifying their set they need to: • • • • • have the correct stage shape have the correct set style include detail of colour include detail of furniture/ props include detailed description of costume. It is best to avoid sketches as these waste time. With the lighting they need to consider: • • • • • • colour of light light changes intensity of light type of atmosphere being created special lighting effects any AV effects. With the sound they need to consider: • • • • type of sound type of mood to be created volume of sound any use of music. All ideas have to be justified. This is clearly expected in the mark scheme. The extract in the exam paper can be from any period and any genre / style. It will not be a piece that will be difficult to understand because of the language, but will offer many staging challenges. Try and give candidates a range of pieces, about two sides of A4 with no more than five main characters. Try then to cut out any long stage directions or any detailed descriptions of the set as envisaged by the playwright. The piece does not have to be from the opening of the play. GCE AS and A Drama and Theatre Studies Teachers' Guide 65 Suggested textbooks: There are guides to the various set texts available from www.ehdltd.co.uk Films that may be of interest: Title Description Blue Remembered Hills 2005 BBC version; also accessible on youtube All's Well That Ends Well BBC Shakespeare Collection DVD Uncle Vanya Judi Dench BBC Collection DVD The Threepenny Opera 1931 film directed by George W. Pabst, BFI GCE AS and A Drama and Theatre Studies Teachers' Guide 66 5. ASSESSMENT GUIDANCE 5.1 DA1 We are in the process of putting together exemplar material demonstrating various grades. This will be accompanied by commentary, to assist teachers in marking the DA1 practical performance. This will be accessible via the secure website. 5.2 DA2 Centres are advised that candidates should use the specified editions of text, from the specification, as there will be references to page numbers on the examination paper. Annotation on the texts should be limited only to underlining and/or highlighting. Candidates are not permitted to take any extra material into the examination. It is important that candidates carefully read the extract from the text on which the question is based before attempting their response. It is also worth noting that candidates should read and re-read the question carefully to ensure that they are adequately covering all aspects required. Common faults in responding to questions on the texts include: no reference to context; no textual reference; not answering the question; answering on the wrong section; the candidate using a prepared answer whether the question asked for this or not; not going to the end of the scene; not covering the indicative content. Exemplar material for DA2 is available via the secure website (www.wjecservices.co.uk). You will need a username and password from your Exams Officer to access this. GCE AS and A Drama and Theatre Studies Teachers' Guide 67 5.3 DA3 We are in the process of putting together exemplar material demonstrating various grades. This will be accompanied by commentary, to demonstrate standards in the DA3. This will be accessible via the secure website. Candidates must complete a written evaluation of their DA3 work, 24 hours after the practical examination. This must be completed under formal supervision. Candidates will not have access to notes or other materials when writing their evaluation. The visiting examiner will leave copies of the question paper for candidates and their responses should be completed in the standard examination answer book. Once completed the evaluations should be sent to the visiting examiner who will assess the work. Please note that this work is not teacher assessed. A copy of the question is printed below. 1. Analyse and evaluate the work that you and your group presented in DA3 (performance on a set theme). You should include detail on the challenges you faced during the rehearsal process and the strengths and areas for development in the final performance/production skill. In your answer you should refer specifically to: • • • • • text: individual performance text: group performance devised: individual performance devised: group performance overview of performances and rehearsal period. [50 marks] Exemplar material for DA3 Evaluation is available via the secure website. 5.4 DA4 Centres are advised that candidates should use the specified editions of text in the specification. Annotation on the texts should be limited only to underlining and/or highlighting. Candidates are not permitted to take any extra material into the examination. It is important that candidates read and re-read the question carefully to ensure that they are adequately covering all aspects required in their response. Candidates should be reminded of the need to justify their choices, giving reasons in their response. GCE AS and A Drama and Theatre Studies Teachers' Guide 68 Common Weaknesses and in DA4 responses include: Sections A and B Acting • • • • • • • • • Lack of textual reference Lack of reference to other interpretations of the role Not discussing key scenes Description at the expense of analysis Lack of reference to movement of the character Lack of reference to use of voice of the character Lack of reference to work completed in class Lack of reference to interaction with other characters Lack of clear understanding of the character's journey throughout the play Staging • • • • • • • • • • Lack of reference to productions seen or discussed Lack of textual reference Lack of overall concept Uncertainty as to the type of stage used Lack of clarity about set styles Lack of reference to lighting or sound Costume not linked to the overall concept Lack of awareness of other interpretations of the play Inaccuracy of historical facts Section C • • • • • • Untidy/unclear ground plans Ground plans not including the basics, e.g. audience position, entrances and exits, type of stage, areas of stage etc. Too much description at the expense of analysis Cue sheets not showing opening positions Cues not being set opposite correct piece of dialogue Lack of preparation/practice in responding to unseen texts Exemplar material for DA4 is available via the secure website. Contributors to the Teachers' Guide Mr Peter Davies, Chief Examiner Mr Wyn Jones, Principal Examiner Mr Richard Tunley, Chair of Examiners Miss Michelle Richards, Freelance actor GCE Drama and Theatre Arts - Teachers' Guide/ED 21.01.14.