A Level Drama and Theatre Pre Induction Task 2019 - Mirfield ...
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A Level Drama and Theatre
Pre‐Induction Task 2019
Welcome to your first experience of working at
A level in Drama & Theatre!
What is the course aiming to do?
A Level Drama and Theatre demands practical, creative energy and strong verbal/written
communication skills in equal measure. Whilst extending your ability to create drama and
theatre in performance, the course allows you to analyse in writing your findings concerning
how drama works in theory and in practice, developing your reflective abilities in order to
become an informed critic.
The course will involve taking part in intense practical sessions, discussion and written
reflection as you study plays, playwrights, practitioners and periods of theatre history. It will
be expected that you learn how to research and present information, lead rehearsals and
workshops in which you apply practitioner theory to practical work, direct others and devise
original work.
The Course!
The A Level course comprises of 3 components:
Component 1: Devising
Students devise an original performance piece using one key extract from a performance text and a
theatre practitioner as stimuli. The performance is worth 20 marks. Accompanying this will be a
2500‐3000 word portfolio, worth 60 marks.
80 marks
40% of the qualification.
Component 2: Text in Performance
A group performance of one key extract (36 marks) and a monologue or duologue (24 marks).
60 marks
20% of the qualification.
Component 3: Theatre Makers in Practice
Written examination: 2 hours 30 minutes.
Section A: Live Theatre Evaluation
Students answer one question from a choice of two requiring them to analyse and evaluate a live
theatre performance they have seen (20 marks).
Section B: Page to Stage: Realising a Performance Text
Students answer two questions on how they might interpret and realise an extract in performance.
It will be an unseen extract from their chosen text (Machinal). Students answer from the perspective
of a performer and a designer (36 marks).
Section C: Interpreting a Performance Text
Students answer one question (from a choice of two) based on an unseen section from the
chosen performance text (Woyzeck). Students will demonstrate how their re‐imagined
production concept will communicate ideas to a contemporary audience. They will also need
to outline how the work of the chosen theatre practitioner has influenced their overall
production concept and demonstrate an awareness of the performance text in its original
performance conditions (24 marks).
80 marks
40% of the qualification.
Task
For your development as a theatre maker, the work of theatre practitioners and companies will
inform your rehearsals and performance.
Research the listed practitioners and create either a Knowledge Organiser (see examples below)
concisely summarising your findings on one practitioner or a 750 word essay comparing your
research on two practitioners.
Practitioners: Antonin Artaud, Kneehigh, Bertolt Brecht, Joan Littlewood, Steven Berkoff,
Punchdrunk, Complicite, Constantin Stanislavski.
Knowledge Organiser Example 1:
1. Brecht (1898 – 1956) was born in Episodic Structure
Germany. The story is divided into episodes.
2. He was concerned about society and Often these episodes do not have to follow on from one another, they stand
politics at this time. He wanted to convey a alone, independently.
Each ‘episode’ has a caption that sums it up: John leaves his wife.
social or political message in his theatre.
These will be announced at the start of each episode, through narration or in
3. His plays often drew parallels with current
writing (placards).
affairs and poked fun at important people. They sometimes include a question: Who’s to blame?
4. As a result he was sent into exile from
Technical Elements
Germany in 1933. To constantly remind the audience they are watching a performance and
5. He wanted people to think during his prevent them from getting immersed in the plot, characters and emotion:
performances. The actors perform with the house lights on so the audience members
6. He was not interested in exploring remain aware of each other during the performance. Scene changes happen
character. in view of the audience. Characters might be dressed in black rather than
7. He thought that if the audience became individually costumed. Set, costume and props are all kept simple and
emotionally involved with a character it representational. Often one prop can be used in a variety of ways. A suitcase
might become a desk, or a car door or a bomb.
would prevent them from thinking about
Plus: music and dancing are used to break up the action, scenes are
the issues or message he was trying to
sung rather than spoken, SFX are performed by the actors, stage
communicate.
directions are spoken aloud and actors exchange roles during the
8. So he came up with techniques which
performance.
prevented this from happening and Epic
theatre was born. MORE!
Gestus is a clear character gesture or movement used by the actor that
captures a moment or attitude rather than delving into emotion. So every
gesture is important. Could the audience tell by the actor’s gestures alone what
was happening in the scene?
Narration
It relies on the facts. Brecht didn’t want the actors to be the character onstage, only to show them as
A narrator announces the scene and tells the a type of person. For this reason Brecht will often refer to his characters by
audience what is going to happen. archetypal names, such as ‘The Soldier’ or ‘The Girl’
There is not always an assigned narrator.
The characters themselves dip in and out of
narration during the performance. The ‘goodies’ are rooted in reality. They are recognisable and life‐like.
The actor detaches themselves from the The ‘baddies’ are extreme and exaggerated. They are stereotypes.
character, speaking about their character in Brecht wanted to express his feelings about this group of people.
third person.
One of the characters tells the audience the
And Finally… Brecht died aged 58… He requested to be buried in coffin
pros and cons of the dilemma they are faced
with a stiletto through his heart… He revolutionised theatre… He wanted to
with.
The narration is not expressive or animated, get them to question and challenge, not simply accept and enjoy… He made
instead the tone is cool and detached. it possible for theatre to make a difference.
Knowledge Organiser Example 2: Knowledge Organiser Example 3:
Go to the Theatre!
There are so many great theatres in and around the area – showing a vast array of work – go and see
something this summer!
Local Theatres
Leeds Playhouse
Leeds Grand Theatre
Carriageworks Theatre, Leeds
Lawrence Batley Theatre, Huddersfield
The Viaduct, Halifax
Victoria Theatre, Halifax
Further Afield
Bradford Alhambra
Doncaster CAST
Sheffield Theatres; Lyceum, Crucible, Studio
Grand Opera House, York
York Theatre Royal**********************Performance Recommendation this Summer**********************
Bradford Alhambra
Tuesday 10th to Saturday 14th September 2019
The Girl on the Train adapted from Paula Hawkins’ novel – and international
phenomenon selling over twenty million copies worldwide – this gripping new
play starring Samantha Womack and Oliver Farnworth will keep you guessing
until the final moment.
Rachel Watson longs for a different life.
Her only escape is the perfect couple she watches through the train window
every day, happy and in love. Or so it appears. When Rachel learns that the
woman she’s been secretly watching has suddenly disappeared, she finds
herself as a witness and even a suspect in a thrilling mystery in which she will
face bigger revelations than she could ever have anticipated.
Samantha Womack has starred extensively in television, film and theatre. She
is best known for playing Ronnie Mitchell in BBC1’s EastEnders with leading
roles in Mount Pleasant and Game On, and the hit films, The Kingsman series.
Recent stage credits include Morticia in The Adam’s Family, South
Pacific and Guys and Dolls. As well as his extensive career on the stage, Oliver
Farnworth has starred in Hollyoaks and as Andy Carver in ITV’s Coronation
Street.
'This is a must, don't miss it'
★★★★
WhatsOnStage
‘A first class thriller filled with twists and turns. Be sure to grab a ticket’
Daily Echo
‘Must see theatre’
★★★★
ReviewsHub
Recommended age 14+.You can also read
