WJEC A-Level Drama and Theatre Revision

Year 12

• Set text: structure and context
  • 1.1 The design reflects • Subtle and effective sustaining audience throughout the piece whole text the design interest throughout
  • 1.2 The design • The piece displays a well- practitioner/company changes/variations most of the cues/set/costumes are well- defined structure with the in performance in a as appropriate to the performance
  • 1.3 The design cues/set/costumes well-defined structure with the practitioner/company of the time performance
  • 1.4 The design reflects • Adequate use of attempt made to communicate meaning in an within the context of the whole the design sustain audience adequate way text practitioner/company changes/variations engagement during
  • 1.5 The design cues/set/costumes • The piece displays an adequate in performance in an but mostly relevant some of the are planned/organised structure with some adequate way, to the scene performance
• Character and motivation
  • 2.1 interpretation of character (e.g. through motivation and interaction)
  • 2.2 rehearsal techniques
  • 2.3 vocal and physical performing skills including interaction
  • 2.4 different types of stage (proscenium arch, theatre in the round, traverse and thrust)
  • 2.5 character positioning and movement/proxemics
• Performance conventions
  • 3.1 The performance space and performance in an proxemics are used well to effective way communicate meaning in a thoughtful way
  • 3.2 Competent interaction reflects the conventions, forms and with other performers techniques are chosen to practitioner/style in where appropriate communicate meaning performance in a throughout most of the piece generally effective way
  • 3.3 The performance space and proxemics are generally used well to communicate meaning
  • 3.4 A few appropriate dramatic sustained throughout the other performers which is during some of the conventions, forms and performance mostly relevant to the performance
  • 3.5 Very few appropriate reflects the other performers which is dramatic conventions, forms practitioner/style in not generally relevant to and techniques are chosen to performance in a limited the scene communicate meaning in a way limited way
• Practitioner methods
  • 4.1 A significant individual explored* fully and relevant contribution to the creation aspects of this research, and development of the piece including practitioner/company techniques, methods, style and conventions are applied
  • 4.2 The design cues/set/costumes well-defined structure with the practitioner/company of the time performance
  • 4.3 A competent individual explored* and mostly relevant the text contribution to the creation and aspects of this research, development of the piece including practitioner/company techniques, methods, style and conventions are applied well in
  • 4.4 An adequate individual • The practitioner/company is contribution to the creation and explored* in an adequate way development of the piece and some relevant aspects of this research, including some practitioner/company techniques, methods, style and
  • 4.5 A limited individual including a few practitioner/company contribution to the creation techniques, methods, style and and development of the piece conventions are applied in a limited way in the making of the piece
• Directorial interpretation
  • 5.1 No ideas are created or • No interpretation or application of • No character • No vocal or physical • No communication developed to communicate practitioner/company methods interpretation or link skills displayed and with audience
  • 5.2 A coherent interpretation of the design skills level of and coherent piece of theatre interpretation/reinterpretation text is sustained resulting in a communication of
  • 5.3 Creative ideas are developed • A mostly coherent • A mostly coherent • Competent and • An effective level of well to produce a mostly refined interpretation/reinterpretation interpretation of the mostly consistent communication of
  • 5.4 An adequate interpretation is skills, sustained for communication of an adequate piece of theatre interpretation/reinterpretation sustained for some some of the meaning and
  • 5.5 A partial interpretation of the skills which are communication of produce a limited piece of interpretation/reinterpretation text not sustained meaning and
• Acting skills
  • 6.1 lighting design
  • 6.2 sound design
  • 6.3 set design (including props)
  • 6.4 costume design (including hair and make-up) Designers must contribute fully to the creation of the piece of theatre. Centres must give careful consideration to the combination of design skills in a particular group, and the
  • 6.5 lantern positions (with a clear acknowledgment of the different acting areas)
• Set and props
  • 7.1 design elements including o sound o lighting o set and props o costume o hair o make-up
  • 7.2 how live theatre, seen as part of the course, influences their decision making and understanding of how drama and theatre is developed and performed Note: staging combines the role of director and designer. It generally includes
  • 7.3 the social, historical and cultural context of the text
  • 7.4 the influence of contemporary theatre practice
  • 7.5 how live theatre, seen as part of the course, influences their decision making and understanding of how drama and theatre is developed and performed
• Lighting
  • 8.1 colours (e.g. using filters, gels, glass gobos)
  • 8.2 intensities and fade durations
  • 8.3 lantern positions (with a clear acknowledgment of the different acting areas)
  • 8.4 use of lighting elements e.g. lanterns, gobos, barn doors, iris, colour scrollers, movers, prisms, motorised gobos, use of video (a.v.) Sound design Learners must produce a sound design with at least 8 different cues. The design should include
  • 8.5 how conventions, forms and techniques are used in drama and live theatre to create meaning, including the o design of set, costume, hair, make-up, lighting, sound and props o use of performance space and spatial relationships on stage
• Sound
  • 9.1 sound clips
  • 9.2 measurements
  • 9.3 costume sketches
  • 9.4 use of voice, speech and sound o pitch o pace o pause o accent o volume o clarity
  • 9.5 Design techniques and changes or variations in the use of them such as Lighting design o intensity o focus o angle o special effects o colour o gobos o types of lantern Sound design o music o sound effects o live and recorded sounds o volume
• Costume and make-up
  • 10.1 choice of design features e.g. lighting, sound, set, costume and make-up
  • 10.2 planning of design including cues, to complement the action
  • 10.3 the learner's individual contribution to the making of the piece
  • 10.4 costume sketches
  • 10.5 how research on the practitioner or company has been used to make the piece of theatre
• Live theatre analysis
  • 11.1 how relevant research, independent thought and analysis of live theatre informs decision making in their own practical work
  • 11.2 how theatre makers collaborate to create theatre
  • 11.3 use theatrical techniques to create meaning in a live theatre context as theatre makers through o research and development of ideas o interpretation of texts o devising o amending, rehearsing and refining work in progress
  • 11.4 analyse and evaluate the process of creating their own live theatre and the effectiveness of the final outcome
  • 11.5 interpret, analyse and evaluate live theatre performance by others
• Evaluating performance choices
  • 12.1 a set of drawings/designs
  • 12.2 make-up for the same two actors including hair design where relevant
  • 12.3 use of costume elements e.g. fabric, texture, colour, weight 5. Evaluating Upon completion of the performance, learners are required to analyse and evaluate the final performance or design. The evaluation must be between
  • 12.4 the effectiveness of the final performance/design realised in performance
  • 12.5 their performing or design skills, including how they contributed to the performance of the piece

Year 13

• Advanced set-text interpretation
  • 1.1 deconstruction of text • concentrates on classic texts
  • 1.2 re-interpretation of classic texts • dance/physical theatre
  • 1.3 stage imagery important • text in Welsh and in English
  • 1.4 text in Welsh and in English
  • 1.5 mix of physical theatre and text work Theatre Companies
• Historical performance conditions
  • 2.1 develop an understanding and appreciation of how the social, cultural and historical contexts of performance texts have influenced the development of drama and theatre
  • 2.2 understand the practices used in twenty-first century theatre making
  • 2.3 experience a range of opportunities to create theatre, both published text- based and devised work
  • 2.4 participate as a theatre maker and as an audience member in live theatre
  • 2.5 understand and experience the collaborative relationship between various roles within theatre
• Contemporary performance practice
  • 3.1 songs/music • contemporary performance
  • 3.2 collaborative work with production • installations, sense of place
  • 3.3 Brechtian techniques • interdisciplinary, multi-media
  • 3.4 text in Welsh and in English
  • 3.5 work rooted in history, culture and
• Comparing interpretations
  • 4.1 how conventions, forms and techniques are used in the piece
  • 4.2 how ideas are created, developed and refined 2. the connections between dramatic theory and practice, including research on the extract in context (stage 1a) and research on the practitioner (stage 1b) or company and how relevant research is applied
  • 4.3 annotated research
  • 4.4 diagrams
  • 4.5 photographs
• Directorial concept
  • 5.1 statement/question
  • 5.2 concept 1. Turn around 2. The Wall, Dannie Abse or Eifionydd, R. Williams Parry 3. Benedictus (Armed Man), Karl Jenkins 4. Mona Lisa, Leonardo Da Vinci
  • 5.3 The following grid should be used twice, once for the devised piece and once for the text piece. Each piece is marked separately out of 45
  • 5.4 It should be noted that the bands have been designed to assist the marking process by identifying individual levels of achievement and they do not correlate with AO1.1a. AO2
  • 5.5 A highly appropriate selection of the role is sustained sophisticated performance
• Actor–audience relationship
  • 6.1 participate as a theatre maker and as an audience member in live theatre
  • 6.2 understand and experience the collaborative relationship between various roles within theatre
  • 6.3 develop and demonstrate a range of theatre making skills
  • 6.4 develop the creativity and independence to become effective theatre makers
  • 6.5 adopt safe working practices as a theatre maker
• Scenography
  • 7.1 Set design
  • 7.2 Costume design
  • 7.3 Hair design
  • 7.4 Make-up design
  • 7.5 Lighting design
  • 7.6 Sound design
  • 7.7 Props
• Design integration
  • 8.1 measurements
  • 8.2 costume sketches
  • 8.3 fabric swatches
  • 8.4 application of performing/design skills
  • 8.5 realising the artistic intentions of the group including how their individual contribution enhances the final performance and how well they communicate through performance/design
• Theatre practitioners
  • 9.1 interactive Theatre • epic theatre
  • 9.2 forum Theatre • no fourth wall
  • 9.3 image Theatre • episodic structure
  • 9.4 invisible Theatre • political message
  • 9.5 theatre of the Oppressed
• Social, cultural and historical context
  • 10.1 develop an understanding and appreciation of how the social, cultural and historical contexts of performance texts have influenced the development of drama and theatre
  • 10.2 understand the practices used in twenty-first century theatre making
  • 10.3 experience a range of opportunities to create theatre, both published text- based and devised work
  • 10.4 participate as a theatre maker and as an audience member in live theatre
  • 10.5 understand and experience the collaborative relationship between various roles within theatre
• Live theatre evaluation
  • 11.1 the theatrical processes and practices involved in interpreting and performing theatre
  • 11.2 how conventions, forms and techniques are used in drama and live theatre to create meaning, including the o use of performance space and spatial relationships on stage o relationships between performers and audience
  • 11.3 how relevant research, independent thought and analysis of live theatre informs decision making in their own practical work
  • 11.4 analyse and evaluate the process of creating their own live theatre and the effectiveness of the final outcome
  • 11.5 interpret, analyse and evaluate live theatre performance by others
• Constructing an extended analytical response
  • 12.1 Aims and objectives
  • 12.2 develop and apply an informed, analytical framework for making, performing, interpreting and understanding drama and theatre
  • 12.3 understand the practices used in twenty-first century theatre making
  • 12.4 experience a range of opportunities to create theatre, both published text- based and devised work
  • 12.5 participate as a theatre maker and as an audience member in live theatre