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).

What this dot point is asking

Eduqas requires you to apply a practitioner or company in both practical components, and the two must be different: one drives the Component 1 reinterpretation and a different one drives the Component 2 devised piece. This page is about the strategic choice, reading the extract or stimulus for its potential, matching a method to it and to the audience effect you want, and then applying that method coherently across the whole piece. The choice and its justification earn AO1, and the realisation earns AO2.

The answer

The practitioner is the engine of each practical component, so choosing well is half the work. The strongest candidates learn a small number of practitioners deeply and pick the one whose method best unlocks the material.

Match the method to the material and the effect

Start from the material (the Component 1 extract, the Component 2 stimulus) and the audience effect you want, then choose the method that delivers it.

• A social or political argument, or a desire to make the audience think critically, suits Brecht.
• Psychologically truthful character work suits Stanislavski.
• A visceral, ritual or nightmarish experience suits Artaud.
• A bold, stylised, physical treatment suits Berkoff.
• A story told through movement, contact and transformation suits Frantic Assembly or Complicite.
• An immersive world suits Punchdrunk; a social issue from testimony suits DV8.

The different-practitioner rule

Component 2's practitioner must be different from Component 1's. This pushes you to develop range, so plan two practitioners across the course, choosing each to suit its component's material.

Apply the method coherently

Whichever you choose, the method must govern the whole piece. A reinterpretation or devised piece that switches approach from moment to moment reads as a sampler; one unified method makes it read as a single, coherent world.

Examples in context

A candidate might choose Berkoff for a Component 1 reinterpretation of a stylised, heightened extract, building a bold physical and ensemble treatment, and then choose Brecht for a Component 2 devised piece on a social issue, using the alienation effect and gestus to make the audience think critically. The two components show genuine range, each method suits its material, and each governs its piece coherently. The realised choices are the AO2 evidence, and the documented reasoning is part of the AO1 evidence.

Try this

Q1. State the rule about practitioners across the two practical components. [2 marks]

• Cue. You apply a practitioner or company in both, and the Component 2 practitioner must be different from the Component 1 practitioner.

Q2. Explain how you would match a practitioner to a piece about a social injustice you want the audience to judge. [3 marks]

• Cue. Brecht suits it: the alienation effect and gestus keep the audience critical and make the politics visible, so the method matches the material and the intended effect.

Q3. Explain how you would choose a practitioner or company to suit the demands of your extract or stimulus. [10 marks]

• What the marker wants. A choice driven by the material and the intended audience effect, justified and tested on key moments, different across the two components, and applied coherently across the whole piece (AO1 and AO2).

A note on application

This guide is AI-written and not individually human-reviewed. The approved practitioner and company list and the different-practitioner requirement are set by Eduqas and reviewed periodically, so always confirm the current rules and names with your centre, and choose each practitioner from the material and the audience effect.