Eduqas A-Level Drama and Theatre: Text in Action (Component 2) overview quiz quiz

By a written examination paper sat at the end of the course under timed conditions

Internally by the centre's own teachers, with no external check or moderation at all

Externally by a visiting examiner who marks the live performances

By the students themselves, who assess their own and each other's live performances

Two separately devised original pieces, each developed from its own distinct stimulus

Two written essays on prescribed set texts, answered under examination conditions

A solo monologue performed live, together with a written review of a piece of live theatre

A devised piece from a stimulus and an extract from a professionally produced text

It must be different from the practitioner used in Component 1

It must always be Stanislavski, whatever was used elsewhere on the course

It must be exactly the same practitioner as the one chosen for Component 1

No practitioner influence is required at all for the devised piece in this component

A finished, fully written script that the company simply learns and performs

A starting point from which you create original material

A detailed mark scheme that tells the company how the work will be assessed

A prescribed set text studied for the written examination component

To save rehearsal time by reusing the same staging and performance choices

Because the examiner requires the two pieces to be in identical matching styles

To demonstrate range and stretch the performer or designer differently

It does not actually need to contrast in style with the devised piece at all

Any original text the student writes themselves for the piece

Only a play written by Shakespeare, with no other options

The student's own Component 3 set text studied for the exam

A professionally commissioned or produced text

It is interpretation of an existing script, not original invention

It is also devised from scratch, exactly like the first piece in the component

It is submitted in written form only and is never actually performed live for the examiner

It is realised without making any deliberate performance or design choices at all

Casting the company and setting out a detailed production budget for the whole piece

Documenting how the devised piece was made, and analysing and evaluating own and others' work

Summarising the full plot of the piece and listing every prop that appears on stage

Designing the show's poster and writing the printed programme that is handed out to the audience on the night

AO3 entirely alone

AO2 together with AO3

AO1, AO2 and AO4

AO4 entirely on its own

The process and evaluation report

The stimulus

The mark scheme

The two live performances

Performer or designer, applied to both pieces

Only as a performer, with no design route offered

Only as a designer, with no acting route offered

Only as a director, overseeing but not appearing

Choosing a famous or well-known stimulus that other centres have used before

Two pieces that are too similar, or a devised piece with no clear practitioner influence

Rehearsing the two pieces far too much in the final weeks before the visiting examiner attends the centre

Writing a process and evaluation report that runs on too long and becomes repetitive