Download GCSE Drama Preparing to Teach Component 3

Approaches to Component 3:
Interpreting Theatre
Written exam
Exam Requirements
Component 3: Interpreting Theatre (40% of qualification)
Written exam – 60 marks
Section A: Set Text
45 marks
A series of questions on one set text from a choice of five. Candidates
will be assessed on their ability to explore the set text as an
• actor,
• designer,
• director
THEREFORE IT IS IMPERATIVE THAT THE TEXTS ARE TAUGHT
PRACTICALLY.
Exam Requirements
Component 3: Interpreting Theatre (40% of qualification)
Written exam – 60 marks
Section B: Live Theatre Review
15 marks
One question from a choice of two requiring analysis and
evaluation of a given aspect of a live theatre production
seen during the course.
Section A Set Texts
The Tempest by William Shakespeare
The Caucasian Chalk Circle by Bertolt Brecht
Hard to Swallow by Mark Wheeller
War Horse by Michael Morpurgo, adapted by Nick
Stafford
DNA by Dennis Kelly
Focus of the Exam Paper
1 hour and 30 minutes for learners to demonstrate their knowledge
and understanding of how drama and theatre is developed and
performed and to analyse and evaluate a piece of live theatre.
It is an open book exam
Section A – Set Text.
• Centres must approach the study of the text practically
• Study text from viewpoint of director, actor and designer
• Use of appropriate theatrical terminology
Focus of the Exam Paper
Section B – Exploration of live theatre.
• Centres must ensure that learners have viewed at least one piece of
live theatre (this can include streaming of productions e.g. NT live)
• Learners will be required to consider the role of the actor, designer
and director as a member of the audience.
Assessment of Set Text
• Section A (45 marks) targets AO3 demonstrate knowledge
and understanding of how drama and theatre is
developed and performed.
• Section A consists of structured questions on the set texts
which will increase in tariff (15 marks being the highest).
Performance Skills/Directorial Skills
Any of the questions in Section A could require candidates to draw
upon their understanding and experiences as actors and directors.
Sample question for ‘viewpoint of director’:
Name two rehearsal techniques that a director can use to prepare an
actor for the role of ***** in this scene.
[2]
Explain how these two techniques would help the actor prepare for
this role in performance.
[4]
Directorial Skills
Practical approaches should focus on how the director would work with the actors in
rehearsal in order to realise their roles in performance. This requires an exploration of
the characters and techniques that directors/actors use in rehearsal in order to bring
out those features identified. Performance skills can also be explored at the same
time.
Potential directorial techniques to explore could include:
Thought-tracking,
Hot-seating,
Role-on-the-wall,
Vocal and/or physical exercises, focused on particular aspects,
Status games,
Improvisation.
(For more, see handout in packs)
Performance Skills
Performance skills can be developed at the same time as the directorial techniques.
The candidates would need to be encouraged to format their lesson notes so that
they are clear which is which.
Sample question for ‘viewpoint of actor’:
Explain how an actor playing the role of Anna in this extract, could communicate her
character to the audience.
In your answer refer to:
•
character motivation
•
voice
•
movement
•
interaction.
See Component 3 practical resource handbook in packs
[15]
Design/Technical Skills
Any of the questions could also ask the candidates to consider the technical aspects of the
play.
Sample questions for ‘viewpoint of designer’
Briefly describe the social class of the Dunbar family. [2]
Explain how any one line in the extract illustrates their social class. [3]
Suggest a suitable costume for Catherine and explain how it could be used to show her social
class. [4]
Explain how at least one key scene can be designed for a thrust stage . [15]
In your answer refer to:
•
structure and style
•
set
•
mood and atmosphere
•
how the play as a whole was originally staged.
See Component 3 practical resource handbook in packs
Original Staging Conditions
Learners need to be aware of the original staging
conditions of the play.
Task one
Watch You Tube clips or look at pictures from the
original production. Encourage your students to
comment on the staging used. Discuss this as a class.
Section B - Response to Live Theatre
Sample question for ‘viewpoint of an audience member’:
Analyse and evaluate the use of lighting and sound in two key scenes, to communicate
meaning to the audience.
[15]
In your answer refer to:
•
the style of the production
•
how lighting and sound are used to create atmosphere and communicate meaning
•
your response to the performance as an audience member.
OR
Analyse and evaluate how vocal skills in two key scenes communicate meaning to the
audience.
In your answer refer to:
•
the style of the production
•
how vocal skills are used to create character and communicate meaning
•
your response to the performance as an audience member.
[15]
Responding to Live Theatre
Learners should be encouraged to watch live and/or streamed
theatre productions throughout the course. They should develop the
skills of analysis and evaluation in response to what they see. Some
of the following approaches could be taken (see examples in pack):
 Watching clips on You Tube, followed by group discussion
 Using templates to help with note taking
 Allocating small groups to concentrate on specific aspects of a
production and then lead the post-’visit’ discussion on it in class
 Questions given to learners to answer about the production
 Checklist of what to cover in their observations
Any Questions?
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