Eduqas A-Level Drama and Theatre: Theatre Workshop (Component 1) overview quiz quiz

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

By a visiting examiner only, who attends the centre to mark the live performance

Internally assessed by the centre and externally moderated by Eduqas

It is not formally assessed and carries no marks towards the qualification

A straight, faithful performance of a whole play from beginning to end

Writing an extended analytical essay on a prescribed dramatic set text

Analysing a live theatre production you have attended as an audience member

Reinterpreting an extract through the methods of one practitioner

Re-staging the extract through a practitioner's methods so it communicates in a new way

Cutting the extract down so that it runs noticeably shorter than the original printed script

Updating only the costumes and props while leaving the staging entirely unchanged

Translating the text of the extract into a different and more accessible language

In simply naming the practitioner's chosen method clearly and correctly in the creative log

In concrete vocal, physical, spatial and design choices tied to an audience effect

In writing a full and detailed biography of the chosen practitioner or company

In the sheer overall length and ambition of the reinterpreted performance piece

To save rehearsal time by simply reusing the same handful of staging ideas all the way through the extract

Because the examiner simply counts up the total number of separate effects you include

Because the method is a unified logic that makes the extract read as one re-imagined world

It does not really need to be coherent as long as each individual moment is striking

Designing the set and overseeing how the staging space is physically built

Writing up the creative log that documents the company's whole rehearsal process

Operating the lighting and sound desk live during the assessed performance itself

Realising the reinterpretation through vocal and physical acting skills

Set, costume, lighting or sound

Only set design and nothing else

Only lighting and sound, never set

Marketing, publicity and front of house

AO1 (creating and developing ideas to communicate meaning for performance)

AO2 (applying skills to realise artistic intentions in performance)

AO3 (demonstrating knowledge of how drama is developed and performed)

AO4 (analysing and evaluating your own work and the work of others)

Plot summary, character notes and the play's themes

Cast list, a detailed set plan and a full lighting plot

Research, development, and reflective evaluation

Introduction, main body and a closing conclusion

To make the finished creative log noticeably longer and more substantial for the moderator

Because keeping a diary-style account of the rehearsals is expressly banned by the specification

To impress the rest of the cast and company with how organised your process has been

Because it is the only evidence of your thinking for the moderator and justifies the mark

AO1 and AO2

AO2 and AO3 only

AO3 only

All four equally

Choosing a famous or well-known practitioner that other centres also tend to pick

Performing the extract as written and bolting on a few practitioner-style touches

Using far too much physical movement throughout the whole of the reinterpreted extract

Writing a creative log that runs on far too long and repeats itself across the sections