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Practitioners and theatre makers

6 dot points across 6 inquiry questions. Click any dot point for a focused answer with worked past exam questions where available.

What is Artaud's Theatre of Cruelty, and how do you turn sensory assault, ritual and the broken barrier into concrete choices for an Eduqas reinterpretation or devised piece?

Antonin Artaud and the Theatre of Cruelty: sensory assault through light, sound, movement and image, non-verbal communication, ritual and repetition, and breaking the actor-audience barrier, applied to overwhelm an audience below reason in Component 1 or Component 2 (AO1 and AO2).
Antonin Artaud's Theatre of Cruelty for Eduqas A-Level Drama and Theatre: sensory assault through light, sound, movement and image, non-verbal communication, ritual and the broken actor-audience barrier, and how to apply them as concrete choices that overwhelm an audience below reason, to earn AO1 and AO2.
13 min answer →

What defines Steven Berkoff's stylised total theatre, and how do you apply mime, exaggeration and ensemble as concrete choices for an Eduqas reinterpretation or devised piece?

Steven Berkoff and stylised total theatre: heightened physicality and mime, exaggeration and grotesque caricature, the ensemble as set and chorus, direct address and rhythmic, poetic delivery, applied to a reinterpretation or devised piece (AO1 and AO2).
Steven Berkoff's stylised total theatre for Eduqas A-Level Drama and Theatre: heightened physicality and mime, exaggeration and caricature, the ensemble as set and chorus, direct address and rhythmic delivery, and how to apply them as concrete choices when reinterpreting an extract or devising, to earn AO1 and AO2.
13 min answer →

What is Brecht's epic theatre, and how do you apply the alienation effect and gestus as concrete choices in an Eduqas reinterpretation or devised piece?

Bertolt Brecht and epic theatre: the alienation effect (Verfremdung), gestus, episodic structure, placards, song, direct address and visible technique, applied to make an audience think critically about society in Component 1 or Component 2 (AO1 and AO2).
Bertolt Brecht's epic theatre for Eduqas A-Level Drama and Theatre: the alienation effect, gestus, episodic structure, placards, song, direct address and visible technique, and how to apply them as concrete choices that make an audience think critically when reinterpreting an extract or devising, to earn AO1 and AO2.
14 min answer →

How do you choose one practitioner for Eduqas Component 1 and a different one for Component 2, and apply each one's methods coherently?

Choosing a practitioner for each component: selecting one practitioner or company for the Component 1 reinterpretation and a different one for the Component 2 devised piece, matching method to material, and applying each coherently across the whole piece (AO1 and AO2).
How to choose practitioners for Eduqas Drama and Theatre: one practitioner or company for the Component 1 reinterpretation and a different one for the Component 2 devised piece, matching the method to the material and intended audience effect, and applying each coherently across the whole piece to earn AO1 and AO2.
13 min answer →

What do the Eduqas-listed theatre companies (Frantic Assembly, Complicite, Kneehigh, Punchdrunk, DV8) bring, and how do you apply their devising and physical methods practically?

Physical, devised and immersive theatre companies: Frantic Assembly and Complicite (collaborative, movement-led storytelling), Kneehigh (storytelling theatre), Punchdrunk (immersive, site-responsive work) and DV8 (verbatim physical theatre), and how to apply their methods to a reinterpretation or devised piece (AO1 and AO2).
The Eduqas-listed theatre companies for A-Level Drama and Theatre: Frantic Assembly and Complicite (movement-led ensemble storytelling), Kneehigh (storytelling theatre), Punchdrunk (immersive site-responsive work) and DV8 (verbatim physical theatre), and how to apply their devising and physical methods as concrete choices to earn AO1 and AO2.
14 min answer →

What is Stanislavski's system, and how do you apply psychological realism practically when reinterpreting an extract or devising for Eduqas Drama and Theatre?

Konstantin Stanislavski and psychological realism: the system of given circumstances, objectives and units, the magic if, emotion memory and the through-line, applied to create truthful, motivated performance in Component 1 or Component 2 (AO1 and AO2).
Konstantin Stanislavski's system for Eduqas A-Level Drama and Theatre: given circumstances, objectives and units, the magic if, emotion memory and the through-line, and how to apply psychological realism practically when reinterpreting an extract in Component 1 or devising in Component 2 to earn AO1 and AO2.
14 min answer →