Eduqas A-Level Drama and Theatre: practitioners and theatre makers overview quiz quiz

Cool critical detachment so the audience judges the social situation

An overwhelming sensory assault that disorients and unsettles the audience

Belief in and empathy for a truthful, motivated character

Laughter directed at broad, exaggerated comic caricature on stage

A technique for making the audience cry by heightening the emotional pull of the story

A particular lighting state used to signal a change of mood or location on stage

A specific style of mime drawn from the European physical theatre tradition

Deliberate distancing that stops the audience being absorbed so they watch critically

A physical or vocal action that crystallises a social relationship or attitude

A long, introspective monologue in which a character reveals private feeling

A visible change of scenery carried out openly in front of the watching audience

A recurring musical key or motif that underscores the action of an epic play

Literal physical violence and graphic bloodshed staged in front of the audience

Rigour and sensory intensity, an overwhelming and transformative experience

Deliberately cruel, wounding dialogue exchanged between the characters on stage

Harsh, demanding criticism of the actors during the rehearsal and devising process

Naturalistic dialogue staged behind a conventional proscenium-arch frame

Detailed open-book analysis of a printed set text in performance

Sensory assault, ritual and repetition, and breaking the actor-audience barrier

Choreographed lifts and partnered movement sequences performed in total silence

Strict psychological naturalism in which all stage technique is carefully hidden

Verbatim testimony spoken plainly, drawn only from recorded real interviews

Open, bare staging in which the actors stand still and rely on the spoken word

Precise mime, exaggeration, and the ensemble used as set, machine or chorus

Devising from a stimulus with choreographed physical sequences and lifts (Building Blocks)

Building immersive, site-responsive built worlds for the audience to wander through freely

Closed-book analytical essay writing about a chosen set play and its staging

Verbatim political documentary assembled word for word from recorded interviews

Conventional proscenium-arch naturalism viewed from fixed seats in the auditorium

Immersive, site-responsive work in which the audience moves through a built world

Brechtian placard theatre that interrupts the action with captions and direct address

Stanislavskian chamber drama built on intimate, truthful psychological realism

Light, escapist musical comedy designed chiefly to entertain a mainstream audience

Lavish period costume drama set in the past and staged for historical spectacle

Political dance-theatre, often from verbatim testimony, on real social issues

Loosely improvised stand-up comedy responding to the audience in the moment

You must use the same single practitioner in both practical components throughout

Practitioners are entirely optional and need not inform either practical component

You must draw on all of the named practitioners equally across the two practical components

You use one practitioner or company in Component 1 and a different one in Component 2

From the material and the audience effect you want the method to deliver

By picking whichever practitioner you happen to know best and feel safest using

By taking the practitioners strictly in alphabetical order of their surnames

By choosing whichever practitioner is the most famous and widely studied one

To use up the available word count with extra material that pads out the response

Because the marks (AO1 and AO2) are in applying the method as a specific choice with an audience effect

Because textbook definitions of a practitioner's key terms are formally banned by the exam board in the assessment

To impress the ensemble and the examiner with the breadth of your theoretical reading