Wales Β· WJECSyllabus
Drama syllabus, dot point by dot point
Every dot point in the Wales Dramasyllabus, with a focused answer for each one. Click any dot point for a worked explainer, past exam questions, and links to related dot points. Written by Claude Opus 4.8, Anthropic's latest AI.
Practical components (Components 1 and 2)
Module overview β- How does WJEC Component 2 Text in Action work as a non-exam assessment, and what is assessed across the two contrasting pieces and the process and evaluation report?Component 2 Text in Action: the externally assessed non-exam assessment in which you create and perform two contrasting pieces from a WJEC stimulus, a devised piece using one practitioner or company and a performance of a text extract in a different style, assessed by a visiting examiner and documented in a process and evaluation report, worth 40 per cent for AO1, AO2 and AO3.12 min answer β
- How does WJEC Component 1 Theatre Workshop work as a non-exam assessment, and what is assessed in the reinterpreted extract and the creative log?Component 1 Theatre Workshop: the non-exam assessment in which you reinterpret an extract from a WJEC-supplied text using the working methods of one practitioner or recognised company, create and perform it as a performer or designer, and document the process in a creative log, worth 20 per cent and assessing AO1, AO2 and AO3.11 min answer β
Practitioners and companies
Module overview β- What is Artaud's Theatre of Cruelty, and how do you apply its assault on the senses as concrete choices when staging a text or devising?Antonin Artaud and the Theatre of Cruelty: total theatre as an assault on the senses, the primacy of sound, light and movement over text, ritual and the plague metaphor, breaking the audience-stage barrier, applied as concrete choices to provoke a visceral response (AO3, and AO1 and AO2 in the practical work).13 min answer β
- What is Steven Berkoff's style of total and physical theatre, and how do you apply mime, exaggeration and ensemble as concrete choices?Steven Berkoff and physical total theatre: stylised mime and the creation of objects and settings with the body, exaggerated and grotesque physicality, heightened vocal delivery, ensemble work and direct address, applied as concrete choices for a heightened, non-naturalistic style (AO3, and AO1 and AO2 in the practical work).13 min answer β
- What is Brecht's epic theatre, and how do you apply the alienation effect and gestus as concrete choices when staging a text or devising?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 when staging a text or devising (AO3, and AO1 and AO2 in the practical work).13 min answer β
- How do you choose a practitioner or company for each component, and apply their methods consistently rather than mentioning them in passing?Choosing and applying a practitioner or company: selecting one practitioner or company whose methods suit Component 1 and a different one for Component 2, matching the practitioner to the material, and applying their techniques as sustained, concrete choices documented in the log and report (AO1, AO2 and AO3).12 min answer β
- What is Frantic Assembly's style of physical, devised ensemble theatre, and how do you apply choreographed movement and building-block techniques as concrete choices?Frantic Assembly and physical ensemble theatre: devised, choreographed movement integrated with text, building-block devising methods such as chair duets and round-by-through, lifts and contact work, and design-led storytelling, applied as concrete choices for fluid physical theatre (AO3, and AO1 and AO2 in the practical work).13 min answer β
- What is Stanislavski's system of psychological realism, and how do you apply it as concrete choices when staging a text or building a role?Konstantin Stanislavski and psychological realism: the system of given circumstances, the magic if, objectives and the super-objective, emotion memory, units and actions, and truthful naturalistic performance, applied as concrete choices when staging a text or building a role (AO3, and AO1 and AO2 in the practical work).13 min answer β
Text in Performance (Component 3)
Module overview β- How do you watch, record and evaluate live theatre, and how is that knowledge tested in the written exam?Evaluating live theatre: watching professional productions, recording specific moments of performance and design, and analysing and evaluating their effect on an audience to inform exam answers and practical work, the live evaluation skill assessed under AO4 (with AO3).13 min answer β
- How do you answer the Component 3 Section A structured questions on a complete set text as a theatre maker?Section A structured questions: answering shorter, structured questions on one complete set text by realising specified moments in performance through vocal, physical, spatial and design choices justified by audience effect, working open book with a clean copy (AO3 and AO4).12 min answer β
- How do you plan and write the Component 3 Section B essay on a complete set text as a theatre maker?Section B the essay: a single extended essay on a second complete set text from a different period, building a sustained directorial or design concept across the whole play and justifying staging choices by their effect on an audience, working open book with a clean copy (AO3 and AO4).13 min answer β
- How do you answer the Component 3 Section C question on a printed extract from a third contrasting text as a theatre maker?Section C the set extract: answering a question on an extract from a third contrasting text, printed in the paper, by realising the extract in performance with specific staging and design choices justified by their effect on an audience (AO3 and AO4).12 min answer β
- What are the WJEC set text requirements, including the pre-1956 and post-1956 rule, and how should you study a set text for performance?The set texts and the pre-1956 and post-1956 rule: studying two complete performance texts (one written before 1956, one after) for Sections A and B plus an extract for Section C, choosing from the WJEC lists, and studying each text as a script for performance rather than as literature (AO3 and AO4).13 min answer β
- How do you write about a text as a performer, a director and a designer, and what choices does each role make in the Component 3 exam?Staging a text as performer, director and designer: making and justifying vocal and physical choices (performer), spatial and staging choices (director) and set, costume, lighting and sound choices (designer), each tied to the effect on an audience, the core skill across every section of Component 3 (AO3 and AO4).13 min answer β
- How is the WJEC A-Level Drama and Theatre Component 3 written exam structured, and what does each section ask of you as a theatre maker?Component 3 Text in Performance: a 2 hour 30 minute written examination in three sections on two complete set texts (one pre-1956, one post-1956) and a printed extract from a third contrasting text, answered as a theatre maker, assessing AO3 and AO4 across 120 marks (40 per cent).13 min answer β