Eduqas GCSE Drama (C690): complete guide to the three components and the written exam

WJEC Eduqas GCSE Drama (specification C690) combines two practical components with one written exam. The practical work is created and performed in the studio, while the written paper tests a studied set text and a live production seen during the course. This page is the index: below is a map of the three components, the six study areas on this site, the four assessment objectives, and how to study each part. Always confirm your centre's chosen set text and practitioner against the current Eduqas specification.

The three components

Eduqas assesses GCSE Drama through two practical components and one written paper.

• Component 1: Devising Theatre. Non-exam assessment worth 40% of the GCSE, internally assessed and externally moderated. Students devise an original piece from a stimulus, investigate a practitioner or genre, keep a portfolio of supporting evidence, give a final performance, and write an evaluation.
• Component 2: Performing from a Text. A performance worth 20%, marked by a visiting Eduqas examiner. Students perform two extracts from one published play as a performer (or realise design for it).
• Component 3: Interpreting Theatre. A written exam worth 40%, lasting 1 hour 30 minutes. Section A is on a studied set text; Section B is an evaluation of one live production seen during the course.

The six study areas

This site breaks the course into six modules, each with dot-point answer pages, an overview guide and a quiz.

Devising theatre

The devising process from stimulus to performance, investigating a practitioner or genre, the portfolio of supporting evidence, the final devised performance, and evaluating the devised work. This is Component 1.

Performing from a text

Choosing a play and two extracts, acting skills for performance, performing as a designer, building an interpretation and concept, and the visiting examiner. This is Component 2.

Set text study

Approaching the set text, its social and historical context, studying it as a performer, studying it as a designer and director, and answering Section A. This is Component 3 Section A.

Live theatre review

Watching and recording live theatre, analysing the performers, analysing the design and staging, evaluating the directorial concept and audience impact, and writing the Section B response. This is Component 3 Section B.

Drama techniques and roles

Explorative and rehearsal techniques, dramatic conventions and devices, genres and theatrical styles, staging configurations, and the roles and responsibilities in theatre. This underpins every component.

Design elements

Set and staging design, costume and make-up, lighting, sound, and integrating the design elements. This underpins the written paper and both practicals.

The four assessment objectives

Every component is assessed against the same four objectives, so mastering them as transferable theatre-making skills matters more than memorising notes on a single text.

• AO1 - create and develop ideas to communicate meaning as part of the theatre-making process (assessed mainly in devising).
• AO2 - apply theatrical skills to realise artistic intentions in live performance (assessed in the practical components).
• AO3 - demonstrate knowledge and understanding of how drama and theatre is developed and performed (the heart of Section A).
• AO4 - analyse and evaluate their own work and the work of others (the heart of the live theatre evaluation).

Across the qualification the headline weightings are AO1 20%, AO2 30%, AO3 30% and AO4 20%. AO2 (practical realisation) and AO3 (knowledge of how theatre is made and performed) carry the most marks; AO4 (analysis and evaluation) dominates Section B and the devising evaluation.

The skills that run across the course

Each area rewards knowledge, but the marks come from applying it as a theatre maker.

1. Theatre vocabulary. Use precise terms for techniques, conventions, staging and design, and apply them to specific moments rather than in general.
2. Interpretation and justification. Explain the choices a performer, director or designer would make, and justify the intended effect on the audience.
3. Analysis and evaluation. Analyse how meaning is created in performance, then evaluate how successful and effective the choices were.

How to study Eduqas Drama

Drama rewards a maker's eye and disciplined written technique together.

1. Think like a performer, director and designer. The set-text questions ask you to justify choices for voice, movement, set, costume, lighting and sound, so study the play in performance, not just on the page.
2. Keep live-theatre notes. Record specific moments, choices and effects from the production you see, because Section B demands precise examples and the play must differ from your set text.
3. Document the devising process. The portfolio is assessed on the creating, developing and evaluating work, so write throughout the project, not at the end.
4. Drill the terminology. The written paper rewards exact vocabulary for techniques, staging and design, so it must be automatic.
5. Apply, do not describe. Marks come from linking a specific choice to its intended effect on the audience, not from general description.

The areas, dot point by dot point

Each module has an overview guide, dot-point answer pages and a quiz. Browse the full set at /gcse-eduqas/drama/syllabus.

For the official specification

Eduqas publishes the full specification (C690), the set-text list, past papers and mark schemes at eduqas.co.uk. Always revise from the current specification and Eduqas's own past papers, because set texts and the practical tasks are board-specific and reviewed periodically.