DramaQ&A by dot point

Analysing a live performance for Section B: describing a specific moment precisely, naming the performance or design choices used, and explaining their effect on the audience (AO4).

Evaluating the acting in a live performance for Section B: judging how effectively a performer used physical and vocal skills, supporting the judgement with specific evidence and reasons (AO4).

Evaluating the design of a live performance for Section B: judging how effectively set, lighting, sound or costume supported the production, with specific evidence and reasons (AO4).

Understanding Component 3 Section B: answering two questions analysing and evaluating a live theatre performance you have seen, using up to 500 words of permitted notes (AO4).

Analysing and evaluating your own devising process and performance for Component 1 (AO4): making specific, honest judgements about what worked, why, and what you would change, against the piece's intention.

Developing and rehearsing the devised piece for Component 1: refining material through rehearsal, applying performance or design skills, collaborating, and shaping the piece for an audience (AO1 and AO2).

Creating and developing an original devised piece from a stimulus for Component 1: generating and selecting ideas, shaping a structure and intention, and using drama techniques to build the piece (AO1).

Producing the Component 1 portfolio: documenting the creating, developing and refining process and analysing and evaluating it, within the permitted formats and word or time limits (AO1 and AO4).

Combining physical, vocal and spatial skills to create a sustained, believable characterisation and to show a character's development and relationships to an audience (AO2).

Using physical skills (posture, gesture, facial expression, movement, gait, stillness, body language and use of levels) to create character and communicate meaning to an audience (AO2).

Using spatial skills (proxemics, levels, positioning, use of the stage space, blocking and stage configurations) to communicate relationships and meaning to an audience (AO2).

Using vocal skills (clarity, pace, pitch, pause, projection, tone, accent, emphasis, intonation and volume) to create character and communicate meaning to an audience (AO2).

Managing the Component 3 written exam: dividing the 1 hour 45 minutes between Section A and Section B, and reading the command words (explain, discuss, analyse, evaluate) to answer in the right mode (AO3 and AO4).

Structuring Component 3 Section A answers: matching the length and depth of each response to its mark tariff and command, scaling from short performer answers to developed director and designer answers (AO3).

Understanding the Edexcel GCSE Drama assessment model: the three components, their weightings and marks, the four assessment objectives and how they are distributed, so revision targets the right skills (AO1 to AO4).

Using context in the Component 3 written exam: weaving the circumstances of the set text's creation and first performance into directorial and design choices where the question requires it, so context shapes a decision rather than sitting apart (AO3).

Using costume design (fabric, colour, condition, silhouette, period, accessories, hair and make-up) to communicate character, status, period and meaning to an audience (AO2 and AO3).

Using lighting and sound design (colour, intensity, angle, transitions, cues, sources, volume and timing) to create mood, focus, atmosphere and meaning for an audience (AO2 and AO3).

Using set design and staging (stage configuration, levels, scenery, furniture, entrances, colour and style) to establish location, period, mood and meaning for an audience (AO2 and AO3).

Taking a design route (costume, lighting, set or sound) in Components 1 and 2: realising a design that supports the performance, meeting the minimum requirements, and documenting and evaluating the design (AO2 and AO4).

Interpreting a character and a playwright's text for performance: reading the script for intentions, subtext and stage directions, and making justified interpretive choices that suit the text's style (AO2).

Performing the Component 2 extracts: applying physical, vocal and spatial skills with control to realise an interpretation, sustaining characterisation across both extracts for the visiting examiner (AO2).

Understanding the Component 2 assessment: performing in or designing for two key extracts of a published play that contrasts in time, genre and playwright with the Component 3 set text, marked by a visiting examiner (AO2).

Answering the designer part of Component 3 Section A: discussing how you would use one design element (costume, sound, staging, lighting or set) to enhance the printed extract for the audience, with developed, justified choices (AO3).

Answering the director parts of Component 3 Section A: discussing how you would use production elements (such as lighting, set, sound, the performers' skills and the stage space) to bring the printed extract to life, with reference to context (AO3).

Answering the performer parts of Component 3 Section A: explaining how you would use physical and vocal skills to play a role in the printed extract, with a reason or effect for each choice (AO3).

Studying one complete performance text practically for Component 3 Section A: knowing the plot, characters, structure and key moments, and being ready to make performer, director and designer choices on an unseen printed extract (AO3).

Applying a practitioner's methods (such as Brecht or Stanislavski) to devising, performance and directing: selecting techniques that suit the intention and justifying their effect on the audience (AO1, AO2 and AO3).

Understanding Brecht and epic theatre: the aim to make the audience think, and the techniques (the alienation effect, direct address, narration, placards, song, episodic structure and multi-rolling) used to achieve it (AO2 and AO3).

Using drama techniques and conventions (still image and tableau, thought tracking, narration, monologue, flashback, cross-cutting, physical theatre, choral movement and direct address) to communicate meaning to an audience (AO1 and AO2).

Understanding Stanislavski and naturalistic acting: the aim of truthful, believable performance, and the techniques (emotional memory, the magic if, given circumstances, objectives and the through line) used to achieve it (AO2 and AO3).

Understanding theatrical styles: distinguishing naturalism from non-naturalism (stylised, physical, epic and abstract theatre), recognising their conventions, and choosing a style to suit a performance (AO2 and AO3).