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Theatre practitioners

12 dot points across 12 inquiry questions. Click any dot point for a focused answer with worked past exam questions where available.

What is Artaud's Theatre of Cruelty and how does it assault the senses of an audience?

Artaud and the Theatre of Cruelty, including total theatre, the assault on the senses, breaking the actor-audience barrier, ritual, sound, light and movement, and the aim of provoking a primal, subconscious response.
A focused answer on Artaud and the Theatre of Cruelty for AQA A-Level Drama and Theatre, covering total theatre, the assault on the senses, breaking the actor-audience barrier, ritual, sound, light and movement, and the aim of provoking a primal, subconscious response in the audience.
9 min answer →

What is Steven Berkoff's total theatre and how does it use mime, ensemble and heightened physicality?

Steven Berkoff and total theatre, including stylised mime, exaggerated physicality and vocal delivery, the ensemble creating set and sound with their bodies, heightened language and direct address, and grotesque, satirical characterisation.
A focused answer on Steven Berkoff and total theatre for AQA A-Level Drama and Theatre, covering stylised mime, exaggerated physicality and vocal delivery, the ensemble creating set and sound, heightened language and direct address, and grotesque, satirical characterisation.
9 min answer →

What is Brecht's epic theatre and how does the alienation effect make an audience think?

Brecht and epic theatre, including the alienation effect, gestus, episodic structure, direct address, placards and song, and how these devices encourage an audience to think critically rather than become emotionally absorbed.
A focused answer on Brecht and epic theatre for AQA A-Level Drama and Theatre, covering the alienation effect, gestus, episodic structure, direct address, placards and song, and how these political devices encourage an audience to think critically rather than become emotionally absorbed.
9 min answer →

How does Complicite make theatre, and what role do ensemble, multimedia and physical imagination play?

Complicite and collaborative, devised theatre, including ensemble physicality rooted in Lecoq, imaginative transformation of objects and space, integrated multimedia and design, non-linear storytelling, and director Simon McBurney's process.
A focused answer on Complicite for AQA A-Level Drama and Theatre, covering ensemble physicality rooted in Lecoq, imaginative transformation of objects and space, integrated multimedia and design, non-linear storytelling, and the collaborative process led by Simon McBurney.
9 min answer →

What is DV8 Physical Theatre's approach, and how do verbatim text, dance and political risk-taking combine?

DV8 Physical Theatre and Lloyd Newson, including the fusion of dance and theatre, verbatim and documentary text set to movement, the exploration of social and political issues, risk-taking choreography, and the use of film.
A focused answer on DV8 Physical Theatre for AQA A-Level Drama and Theatre, covering the fusion of dance and theatre, verbatim and documentary text set to movement, the exploration of social and political issues, risk-taking choreography, and the use of film.
9 min answer →

What is Frantic Assembly's approach to physical theatre and devising?

Frantic Assembly and physical theatre, including ensemble physicality, building blocks and devising methods, choreographed movement and lifts, the integration of design and music, and storytelling led by the body.
A focused answer on Frantic Assembly and physical theatre for AQA A-Level Drama and Theatre, covering ensemble physicality, building blocks and devising methods, choreographed movement and lifts, the integration of design and music, and storytelling led by the body.
9 min answer →

How does Katie Mitchell direct, and what role do detailed research, the actor's inner life and live cinema play?

Katie Mitchell as director, including a rigorous research-led process, a Stanislavskian focus on the actor's inner life and given circumstances, precise design and sound, and the live cinema technique of filming a performance on stage.
A focused answer on Katie Mitchell for AQA A-Level Drama and Theatre, covering her rigorous research-led process, a Stanislavskian focus on the actor's inner life and given circumstances, precise design and sound, and the live cinema technique.
9 min answer →

How does Kneehigh make theatre, and what role do storytelling, music, puppetry and a playful aesthetic play?

Kneehigh Theatre and popular storytelling, including the adaptation of myth and folk tale, live music and song, puppetry and visual invention, a rough, playful aesthetic, and site-responsive ensemble performance.
A focused answer on Kneehigh Theatre for AQA A-Level Drama and Theatre, covering the adaptation of myth and folk tale, live music and song, puppetry and visual invention, a rough, playful aesthetic, and site-responsive ensemble performance.
9 min answer →

What is Jacques Lecoq's approach to the expressive body, and how do mime, neutral mask and play shape the performer?

Jacques Lecoq and the pedagogy of movement, including the neutral mask, mime and gesture, the seven levels of tension, play and complicite, the via negativa of stripping back, and ensemble physical storytelling.
A focused answer on Jacques Lecoq for AQA A-Level Drama and Theatre, covering the neutral mask, mime and gesture, the seven levels of tension, play and complicite, the via negativa of stripping back, and ensemble physical storytelling.
9 min answer →

What was Joan Littlewood's Theatre Workshop and how did improvisation, ensemble and political comedy shape it?

Joan Littlewood and Theatre Workshop, including collaborative improvisation and devising, the trained ensemble, popular and political theatre, the influence of Brecht and Stanislavski, and the documentary musical Oh What a Lovely War.
A focused answer on Joan Littlewood and Theatre Workshop for AQA A-Level Drama and Theatre, covering collaborative improvisation and devising, the trained ensemble, popular and political theatre, the influence of Brecht and Stanislavski, and the documentary musical Oh What a Lovely War.
9 min answer →

What is Punchdrunk's immersive theatre, and how do site, mask, free movement and detailed design shape the audience?

Punchdrunk and immersive theatre, including site-specific staging in transformed buildings, the masked, free-roaming audience, detailed sensory design and discoverable narrative, one-on-one encounters, and movement-led, largely wordless performance.
A focused answer on Punchdrunk for AQA A-Level Drama and Theatre, covering site-specific staging in transformed buildings, the masked free-roaming audience, detailed sensory design and discoverable narrative, one-on-one encounters, and movement-led performance.
9 min answer →

What is Stanislavski's system and how does it create naturalistic, believable acting?

Stanislavski and naturalism, including the system of psychological realism, given circumstances, the magic if, objectives and units, emotion memory, and how the approach produces truthful, believable performance.
A focused answer on Stanislavski and naturalism for AQA A-Level Drama and Theatre, covering the system of psychological realism, given circumstances, the magic if, objectives and units, emotion memory, and how this approach creates truthful, believable performance.
9 min answer →