Practitioners and companies overview quiz - WJEC A-Level Drama and Theatre quiz

A truthful, psychologically real performance

A critical, distanced audience

An assault on the senses

A purely physical, mimed world

The lighting and sound design

The director's concept

The full set of facts about the character's situation the actor takes as true

The audience's expectations

To absorb the audience emotionally

To keep the audience at a critical distance so they think rather than empathise

To overwhelm the senses

To create a naturalistic illusion

A lighting state

A change of costume

A piece of recorded sound

A physical or vocal action that crystallises a social relationship or attitude

A rigorous assault on the senses and subconscious to shock the audience out of complacency

Literal on-stage violence and gore

Cruel treatment of the actors

A naturalistic depiction of suffering

Detailed naturalistic dialogue

Programme notes

Sound, light, movement and space

The interval

With detailed realistic scenery

Through stylised mime, using the ensemble's bodies

With projected video only

By leaving the stage empty and describing them

That it is loose and improvised

That it avoids the ensemble

That it is precise, controlled and purposeful

That it is always naturalistic

Movement decorates the dialogue

They avoid movement entirely

Movement is always improvised live

Movement is integrated with text to express character and relationship

A song performed on chairs

A building-block task generating movement around two performers and a chair to explore a relationship

A lighting cue

A method of writing dialogue

You must use the same practitioner in both

You must use three practitioners

You apply one practitioner in Component 1 and a different one in Component 2

Practitioners are optional in both

Whichever is most famous

Whichever needs the least rehearsal

The alphabetical order of their names

Fit: the methods that best serve the material's meaning and intended audience effect

Stanislavski

Brecht

Artaud

Frantic Assembly

Applying their techniques consistently

Naming the practitioner once and then ignoring their methods

Documenting choices in the log

Matching the practitioner to the material

Only in the written exam

Nowhere; it is not recorded

In the creative log (Component 1) and the process and evaluation report (Component 2)

In the set text copy

Both want the same critical distance

Stanislavski wants a sensory assault; Brecht wants naturalism

Neither has an effect on the audience

Stanislavski wants belief and absorption; Brecht wants critical distance