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Eduqas A-Level Drama and Theatre Text in Performance (Component 3): a complete overview

A complete overview of Component 3, Text in Performance, in Eduqas A-Level Drama and Theatre. Explains the 2 hour 30 minute written exam, its three sections (Section A structured questions, Section B essay, Section C printed extract), the two complete set texts (one pre-1956, one post-1956), the open-book rule, and how to answer as a theatre maker for AO3 and AO4 across 120 marks (40 per cent).

Generated by Claude Opus 4.817 min readEduqas A690 Component 3

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Jump to a section
  1. The three sections
  2. The set texts and the period rule
  3. The open-book rule
  4. Answering as a theatre maker
  5. How Component 3 is assessed
  6. Check your knowledge

Component 3: Text in Performance is the written exam of Eduqas A-Level Drama and Theatre, lasting 2 hours 30 minutes and worth 120 marks (40 per cent), assessing AO3 and AO4. It has three sections on three texts: Section A (structured questions on one complete set text), Section B (an essay on a second complete set text from a different period) and Section C (a printed extract from a third). You answer as a theatre maker. This overview ties the module together; each part has a matching dot-point page. Always confirm your centre's set texts and the current Eduqas rules.

The three sections

The paper examines three texts in three sections. Section A sets shorter, structured questions on one complete set text, usually realising specific moments. Section B is a single extended essay on a second complete set text from a different period, building a sustained concept across the whole play. Section C sets a question on an extract from a third, contrasting text, printed in the paper. Each section is answered as a theatre maker, with choices tied to the audience.

The set texts and the period rule

You study two complete performance texts (for Sections A and B) and an extract from a third (for Section C), representing a range of social, historical and cultural contexts. Of the two complete texts, one must be written before 1956 and one after 1956, guaranteeing historical contrast. Texts are chosen by your centre from the lists Eduqas publishes, which change periodically, so confirm your centre's chosen texts and the current list rather than relying on an example.

The open-book rule

For Sections A and B you may take clean, unannotated copies of your two complete set texts into the exam. The open book is for reference and accuracy, not for reading on the day, since the marks are in your choices. The Section C extract is printed in the paper. Open-book arrangements have changed between series, so confirm the current rules.

Answering as a theatre maker

Every answer is written from a theatre-maker perspective: performer (vocal and physical choices), director (concept and staging) and designer (set, costume, lighting, sound). Whatever the role, choose a precise moment, decide the interpretation, make specific choices grounded in the text, and justify each by the audience effect. This realisation demonstrates AO3, and evaluating the effect earns AO4.

How Component 3 is assessed

The paper carries two objectives:

  • AO3 - demonstrate knowledge and understanding of how drama and theatre is developed and performed (the realisation of the texts in performance).
  • AO4 - analyse and evaluate (the effect of the choices, and across the sections that invite it).

There is no AO2 in the written exam: you describe and justify performance and design choices on paper, you do not perform them.

Check your knowledge

A mix of recall and applied questions on Component 3. Attempt them, then check against the solutions.

  1. State the duration, marks and weighting of Component 3. (3 marks)
  2. Name the three sections and the text each examines. (3 marks)
  3. State the pre-1956 and post-1956 rule. (2 marks)
  4. Which sections are open book, and what may you bring? (2 marks)
  5. How do you access the Section C text? (1 mark)
  6. Which assessment objectives does Component 3 carry? (2 marks)
  7. Name the three theatre-maker perspectives. (3 marks)

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