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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
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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
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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
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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
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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
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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
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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
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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
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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:
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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:
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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:
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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:
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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:
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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:
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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:
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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
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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
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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
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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.