Edexcel A-Level Drama and Theatre: Drama and theatre skills overview quiz quiz

Reading it as a story about real people whose lives we follow for the plot

Reading it silently for the plot, focusing on what happens to the characters

Reading it as a poem, attending closely to its imagery, rhythm and word choice

Reading it as a blueprint for a live event a maker realises for an audience

Coherence: a single concept that every other choice serves

Performing the lead role and carrying the production from the stage

Building the set and managing the technical fit-up before opening night

Writing the script and revising the dialogue throughout the rehearsals

Posture

Pace

Gesture

Stillness

The speed and rhythm of a performer's speech across a scene

The colour and intensity of the lighting used to light the stage

The meaningful use of distance and spatial relationship between performers

The fabric and cut of a costume and what it might signal about a character

In the round

Thrust

Proscenium arch

Traverse

Because the marks need the specific choice (angle, colour, intensity, transition) and its effect on the audience

Because lighting is not assessed in this component, so any reference to it is wasted in the answer

Because only the sound design is assessed here, and lighting belongs to a quite different part of the course entirely

Because the phrase dramatic lighting is too long to write out repeatedly across a timed answer

Plot, character, theme, setting

Set, lighting, sound, costume

Voice, body, movement, stillness

Director, performer, designer, audience

Naming the character's emotion and stating clearly how the character feels in the scene

Listing every vocal and physical skill in the performer's toolkit to show full coverage

Converting the emotion into specific, motivated vocal and physical choices and their effect

Describing the costume the character wears and the colours the designer has chosen for the role

It has no meaning for the audience and is simply a practical necessity between scenes

It only saves time backstage and has no effect on how the audience reads the character

It is purely decorative and chosen by the designer for its visual appeal alone on stage

It can stage a character's transformation as a visible event the audience reads at once

Because there is no fixed front, so blocking must keep faces and key actions visible to all sides

Because the audience cannot hear the dialogue clearly when seated around the acting area

Because these configurations are never actually used in professional theatre productions today

Because the lighting is impossible to rig effectively over an audience seated on more than one side

A real wall built at the back of the stage to close off the acting area

The imaginary boundary between the stage and the audience in naturalism

The fourth design element, sitting alongside set, lighting and sound

A type of stage lighting used to wash the back wall of the set evenly

Because only the director matters and the performers and the designers simply carry out the instructions given out to them

Because designers do not make meaning and their work is purely practical rather than interpretive in any way

Because a moment of meaning is usually built by several makers at once, and integration is what the higher bands reward

Because performers work entirely alone and never respond to the design choices made around them on the stage