Empty reply does not make any sense for the end user
I used to dread trying to teach the 20 mark questions because there is so much that’s expected of these students. This is a good breakdown, thank you.
The powerpoints really breakdown what is required in each section of the coursework - AQA haven’t really been that clear so this has helped.
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Find past papers and mark schemes, and specimen papers for new courses, on our website at aqa.org.uk/pastpapers
This specification is designed to be taken over two years.
This is a linear qualification. In order to achieve the award, students must complete all assessments at the end of the course and in the same series.
GCSE exams and certification for this specification are available for the first time in May/June 2018 and then every May/June for the life of the specification.
All materials are available in English only.
Courses based on this specification should encourage students to:
Component 1: understanding drama.
This component is a written exam in which students are assessed on their knowledge and understanding of how drama and theatre is developed and performed (AO3), including in connection to a set play and on their ability to analyse and evaluate the live theatre work of others (AO4).
The paper constitutes 40% of the GCSE.
Students have 1 hour and 45 minutes to answer the paper.
Section b: study of set text.
In the exam students are expected to demonstrate knowledge and understanding of the subject content.
See Knowledge and understanding for details.
In Section A students answer four multiple-choice questions on professional theatre maker roles and/or terminology.
Section A is marked out of 4.
In Section B students answer short and extended questions on one set play chosen from the list below.
The choice of set plays for the GCSE exam is:
Play | Edition | Taught from/until |
---|---|---|
by Arthur Miller | Methuen Student Editions, ISBN 978-1350245778 | |
by Willy Russell | Methuen Modern Classics, ISBN 978-0413767707 | |
by Malorie Blackman/Dominic Cooke | Nick Hern Modern Plays, ISBN 978-1854599391 | |
by Jules Verne/Laura Eason | Nick Hern Modern Plays, ISBN 978-1848425170 | |
by Andrew Bovell | Nick Hern Modern Plays, ISBN 978-1848425767 | |
by William Shakespeare | Palgrave Macmillan, ISBN 978-0230232082 | |
by Shelagh Delaney | Methuen Drama, ISBN 978-1408106013 | |
by Francis Turnly | Methuen Drama, ISBN: 978-1-350-07625-9 | |
by Tanika Gupta | Methuen Drama, Student Editions, ISBN: 978-1-3501-9057-3 |
Students are expected to know and understand the characteristics and context of the whole play they have studied.
One extract from each set play is printed in the question paper. Students answer questions relating to that extract, referring to the whole play as appropriate to the demands of the question.
Where relevant they may support their answers with sketches or diagrams.
All students must be prepared to answer questions from the perspective of a performer.
The exam will include one compulsory short answer question for all students linking design and context and/or theatrical conventions. Students don't need to have gained practical experience of design to answer this question.
One part of Section B will offer students the choice of answering as either a performer or designer (lighting, sound, set, costume, puppets).
Section B is marked out of 44.
Students are permitted to refer to a clean copy of their chosen play during the exam. This must not be annotated and must not contain any additional notes, marks, alterations or inclusions.
Students must not answer Section B and Section C of the exam on the same play ie the live production seen cannot be their set play.
In Section C students answer one question (from a choice) on the work of theatre makers in a single live production.
Students must have experienced live production as an audience member as part of their course.
They should be able to discuss a variety of aspects of one production giving a personal analysis and evaluation of the theatrical elements and how successfully meaning was communicated to the audience.
Students are assessed on their knowledge and understanding of the subject content detailed in Knowledge and understanding as well as their analytical and evaluative skills.
Section C is marked out of 32.
This is a practical component in which students are assessed on their ability to create and develop ideas to communicate meaning for theatrical performance (AO1), apply theatrical skills to realise artistic intentions in live performance (AO2) and analyse and evaluate their own work (AO4).
Component 2 constitutes 40% of the GCSE.
It is marked by teachers and moderated by AQA.
For this component students are required to complete the following two assessment tasks:
The Devising log is marked out of 60.
Each student's contribution to the final devised performance is marked out of 20.
These stimuli may be, but are not limited to:
We recommend that students choose one or more genres or performance styles for their devised piece but this is not a mandatory requirement. Genres and performance styles include but are not limited to:
Costume designers may choose to include make-up and/or hair and/or masks. Set designers may choose to include design of props.
Each student must choose one specialism only.
They are assessed in relation to this specialism for both the Devising log and devised performance.
Performer | Between and students |
Lighting designer | Maximum of student |
Sound designer | Maximum of student |
Set designer | Maximum of student |
Costume designer | Maximum of student |
Puppet designer | Maximum of student |
In the case of only two students entering, both students must nominate themselves as performer.
Cross-sex casting is permitted.
Performer | Must develop and perform character . |
Lighting designer | Must create lighting design. The design must show a range of lighting effects/states and cues/transitions designed to meet the demands of the devised piece being performed. |
Sound designer | Must create sound design. The design must show a range of sound effects and cues/transitions designed to meet the demands of the devised piece being performed. |
Set designer | Must create set design. The design must be for one setting, showing dressings and props designed to meet the demands of the devised piece being performed. |
Costume designer | Must create costume design for performer. The design must show clothing and accessories (and hair and make-up if applicable) designed to meet the demands of the devised piece being performed. |
Puppet designer | Must create puppet design. The design must show a complete puppet designed to meet the demands of the devised piece being performed. |
1 Or more than one if appropriate to the subject matter and performance style of the piece.
Teachers must ensure that students have the opportunity to take an equal and active part in the creative and collaborative devising process regardless of their chosen specialism.
Assessors must assess the design and not its execution.
Designs should be realised in performance to the full extent possible within any practical constraints. Design students should have an awareness of how their design will impact on the live performance as a whole.
Each student is required to complete a Devising log documenting the creation and development of their ideas to communicate meaning through a devised piece and analysing and evaluating their individual contribution to the devising process and the final devised piece.
Section 2: development and collaboration.
In this section students are expected to explain their initial ideas, research and intentions for the devised piece.
The student must explain:
In this section students are expected to explain the process they undertook to refine their initial ideas and intentions into a final devised piece.
This section offers students the opportunity to demonstrate their analytical and evaluative skills with respect to their own devised work.
Students are expected to analyse and evaluate the ways in which they individually contributed to the devising process as a whole and to the final devised piece, exploring their strengths and the learning opportunities taken from the experience.
The Devising log evidence presented for assessment must be the student's own work.
Details of admissible evidence types for the Devising log can be found below:
Entirely written | 400–600 words | 2,500 words |
Written accompanied by: | 2–4 A4 pages | 15 sides of A4 including no more than 2,500 words |
Written accompanied by audio/visual/audiovisual recording(s) | 200–400 words and 2–3 minutes | 1,500 words and 12 minutes |
Entirely audio/visual/audiovisual recording(s) | 3–4 minutes | 15 minutes |
Details of our requirements for recordings are provided at aqa.org.uk/drama
Students and teachers will be required to sign a Candidate record form (CRF) to fully authenticate each student's work.
Students do not have to be directly supervised at all times whilst they are completing their Devising log. However there must be adequate supervision to ensure that work can be authenticated.
Teachers may provide guidance and support to students so that they are clear about the requirements of the task they need to undertake and the marking criteria that will be used.
Teachers may provide guidance to students on the suitability of their response to the task particularly if it means they will not meet the requirements of the specification.
Teachers must follow JCQ instructions regarding the provision of feedback to students.
Each student is required to contribute to a devised duologue or devised group piece.
The assessed performance for this component cannot be a monologue.
Duologue ( performers) | Must be between and minutes. |
Group performance ( or performers) | Must be between and minutes. |
For group performances playing time for each performance should reflect the number of performance students in the group eg a group with six performance students should work to the upper time limit.
Teachers are required to ensure minimum performance times are met.
If a student's performance does not meet the required duration a penalty is applied to the mark (the size of the penalty depends on the severity of the timing infringement). It may also result in schools or colleges being investigated for maladministration.
The performance/designs presented for assessment must be the student’s own work.
Teachers must provide programme notes for the moderator.
These must include photographs of each student so that each student is clearly identifiable to the moderator.
The programme notes must also state each student’s chosen specialism.
In addition each student must offer a statement of their individual dramatic intentions to justify their theatrical choices.
The Statement of Dramatic Intentions must be completed by the student on the template AQA provides. This statement is not assessed directly but should be used to support assessment. Assessment must not take place without reference to the student’s Statement of Dramatic Intentions.
Assessed performances must be recorded with a single camera from an audience perspective from start to finish and be unedited.
Each student being assessed must identify themselves by name and candidate number at the start of the recording.
Students must also state their chosen specialism.
Close-ups of set, costume and puppet design students’ work must be included at the beginning of the recording.
Full details of our requirements for recordings are provided at aqa.org.uk/drama
It is expected that during the devising process teachers will support students through the provision of workshops.
Teachers should offer advice and guidance on the choice of genre, style and content plus suitable working methods and materials as appropriate for the chosen specialism.
Teachers must not direct the performance under any circumstances and must follow JCQ instructions regarding the provision of feedback to students.
For authentication regular monitoring should be undertaken by the teacher so that the work is seen at each developmental stage.
Students do not have to be directly supervised at all times during performance preparation but there must be adequate supervision to ensure that work can be authenticated.
Teachers are not permitted to provide any guidance to students whilst the assessed performance is being carried out.
Each performance must be carried out in live performance conditions and ideally under stage lighting. There is no requirement for students to perform within a full production context ie with full set and costume.
All performance preparation and the live performance itself must be carried out in a setting which has been formally risk assessed and deemed safe.
The performance space should enable the student to fulfil their chosen specialism as much as possible.
Students should be aware of health and safety factors related to both their chosen specialism and their performance piece as a whole.
Non-examinees are permitted to perform alongside performance candidates, but only where absolutely necessary in order to make the group size up to the minimum number of performers. They must be students not staff.
Technical support may be provided to design students. This may be by non-examinee students or staff.
This component is a practical component in which students are assessed on their ability to apply theatrical skills to realise artistic intentions in live performance (AO2).
Component 3 constitutes 20% of the GCSE.
It is marked by AQA.
Each student's contribution to each key extract performance is marked out of 20.
Extract 1 and Extract 2 must be taken from the same play and understood in the context of the whole play.
The play chosen must:
Teachers must ensure that all students have sufficient opportunity to demonstrate their chosen specialism (to enable them to access the full range of marks).
Instructions for play approval updated. Teachers must seek play approval before the visiting exam.
Playwright: Arthur Miller Description: Historical drama Performance style: Naturalistic Time period: 1945 to 1965 | |
Playwright: Willy Russell Description: Musical/adaptation from a musical Performance style: Musical theatre Time period: 1965 to 1985 | |
Playwright: Dominic Cooke Description: Teen drama Performance style: Epic Time period: 1995–2015 | |
Playwright: Laura Eason Description: Comedy Performance style: Storytelling theatre Time period: 1995 to 2015 | |
Playwright: Andrew Bovell Description: Suburban drama Performance style: Australian realism Time period: 2000 to 2020 | |
Playwright: Shelagh Delaney Description: Kitchen sink drama Performance style: Naturalism Time period: 1950–1970 | |
Playwright: William Shakespeare Decription: Tragedy Performance style: Verse drama Time period: Elizabethan | |
Playwright: Francis Turnly Description: Political thriller Performance style: Epic Time period: 2010 to present day | |
Playwright: Tanika Gupta Description: Historical drama Performance style: Ensemble Time period: 2010 to present day |
Schools/colleges must seek AQA approval of their play choices by submitting a Play Approval Form directly to their allocated AQA GCSE NEA (non-exam assessment) adviser. Teachers must seek approval well in advance of the visitng exam date in case they are not approved. All play approval forms must be submitted by 31 January at the latest.
Play choice approval is an essential part of the specification. Failure to seek timely approval will be treated as maladministration and failure to gain timely approval may result in delays to the assessment taking place.
If your school/college is new to teaching this specification, please contact AQA to be allocated an AQA NEA Adviser.
The key extracts chosen for study must be significant to the play as a whole ie pivotal to plot, character(s) or theme(s).
The key extracts chosen must be continuous and individually last at least 10 minutes in duration if the full extract were to be performed.
Students can perform an abridged version of the key extract if needed (to provide a coherent performance within the minimum performance times stated) but the wording itself must not be modified.
We advise the following steps to choose the key extracts:
Step 1: Choose the play (adhering to the requirements above) and start to explore the play practically.
Step 2: Focus on two sections of the play, perhaps a section of the play at the beginning and a section at the end (this is just a suggestion). Each section must be substantial. This is defined as taking at least 10 minutes to perform if performed. Large groups will need to study longer sections (see Step 3). Students should study the two sections chosen in depth, taking time to thoroughly explore and interpret each one.
Step 3: Identify how much of each section needs to be performed to meet the relevant AQA minimum performance time. The minimum performance time varies depending on the number of performers in the group. If the group is large, collectively the group is likely to need to perform the whole section they have studied (which may have needed to have been more than the minimum 10 minutes, see Step 2). If the performance is to be a monologue, the performer will only need to perform part of the section they have studied.
NEA Advisers are able to provide guidance about the selection and use of key extracts.
Each student must choose to be assessed as a:
Students have to choose the same specialism for both extracts.
Requirements in relation to the number of students per specialism are as follows:
Performer | Between and students |
Lighting designer | Maximum of student |
Sound designer | Maximum of student |
Set designer | Maximum of student |
Costume designer | Maximum of student |
Puppet designer | Maximum of student |
In the case of only one student entering, this student must nominate himself/herself as performer.
Students must apply their chosen specialism as follows:
Performer | Must perform character/interpret role per extract . The performer may perform the same character in both extracts or perform different characters in each extract. |
Lighting designer | Must create lighting design per extract. The lighting design must be different for each extract ie the student must design two different lighting plots, one for each extract. Each design must show a range of lighting effects/states and cues/transitions designed to meet the demands of the extract being performed. |
Sound designer | Must create sound design per extract. The sound design must be different for each extract ie the student must create two different sound plots, one for each extract. Each design must show a range of sound effects and cues/transitions designed to meet the demands of the extract being performed. |
Set designer | Must create set design per extract. The set design must be different for each extract ie the student must either design two different settings, one for each extract, or adapt a single set for each extract. Each design must show dressings and props designed to meet the demands of the extract being performed. |
Costume designer | Must create costume for Performer per extract. The costume design must be different for each extract ie the student must either design two different costumes, one for each extract, or adapt a single costume for each extract. Each design must show clothing and accessories, and hair and make-up if applicable, designed to meet the demands of the extract being performed. |
Puppet designer | Must create puppet per extract. The puppet design must be different for each extract ie the student must either design two different puppets, one for each extract, or adapt a single puppet for each extract. Each design must show a complete puppet, designed to meet the demands of the extract being performed. |
2 Or more than one role if appropriate eg in a multi-role play.
Teachers must ensure that students have the opportunity to take an equal and active role in the creative and collaborative process regardless of their chosen specialism.
All designs must be assessed in live performance:
Design students are not assessed on their ability to operate equipment associated with their design.
Designs should be realised in performance to the full extent possible within any practical constraints.
Design students should have an awareness of how their design will impact on the live performance as a whole.
Extract 1 may be a monologue, duologue or a group piece.
Extract 2 may be a monologue, duologue or a group piece.
Monologue ( performer) | Must be between and minutes. |
Duologue ( performers) | Must be between and minutes. |
Group performance ( or performers) | Must be between and minutes. |
3 Students are not required to perform the full key extract.
For group performances playing time for each performance should reflect the number of performance students in the group. For example a group with six performance students should work to the upper time limit.
The performances/designs presented for assessment must be the student’s own work.
It must be very clear to the AQA assessor when the performance of Extract 1 is over and the performance of Extract 2 has begun. This is because each student will be awarded two marks for Component 3: one for Extract 1 and one for Extract 2. The distinction between Extract 1 and Extract 2 may be achieved in a variety of different ways and, as long as the distinction is clear to the AQA assessor, any method is acceptable.
Teachers must provide programme notes for the examiner at the start of the performance.
The programme notes must include photographs of each student so that each student is clearly identifiable to the examiner.
The programme notes must also state each student’s chosen specialism, chosen play and if they are performing, the character(s) they are playing.
In addition each student must offer a statement of their individual dramatic intentions to justify their theatrical choices and provide the examiner with a context for the productions he/she is assessing.
The Statement of Dramatic Intentions must be completed by the student on the template AQA provides. This statement is not assessed directly but is used to support assessment. Assessment must not take place without reference to the student’s Statement of Dramatic Intentions.
Students must also state the chosen specialism and chosen play and if they are performing, the character(s) they are playing.
It is expected that during the rehearsal process teachers will support students through the provision of workshops.
For authentication, regular monitoring should be undertaken by the teacher so that the work is seen at each developmental stage.
Each performance must be carried out in live performance conditions and ideally under stage lighting. There is no requirement upon students to present their key extracts within a full production context ie with full set and costume.
The performance space should enable students to fulfil their chosen specialism as much as possible.
Students should be aware of health and safety factors as they relate to both their chosen specialism and the performance piece as a whole.
Assessment objectives (AOs) are set by Ofqual and are the same across all GCSE Drama specifications and all exam boards.
The exams and non-exam assessment will measure how students have achieved the following assessment objectives:
AO1 | 20 | 20 | ||
AO2 | 10 | 20 | 30 | |
AO3 | 30 | 30 | ||
AO4 | 10 | 10 | 20 | |
Overall weighting of components | 40 | 40 | 20 | 100 |
The marks awarded on the papers will be scaled to meet the weighting of the components. Students’ final marks will be calculated by adding together the scaled marks for each component. Grade boundaries will be set using this total scaled mark. The scaling and total scaled marks are shown in the table below.
Component 1 | 80 | 1 | 80 |
Component 2 | 80 | 1 | 80 |
Component 3 | 40 | 1 | 40 |
Total scaled mark: | 200 |
The assessment criteria below details the mark bands with descriptors for the assessment of students' work.
These are the mark schemes to be used for the Devising log in Component 2. They are level of response mark schemes.
Level of response mark schemes are broken down into levels, each of which has a descriptor. The descriptor for the level shows the average performance. There are marks in each level. Before you apply the mark scheme to a student’s response you should review the response.
Step 1 Determine a level – Start at the lowest level of the mark scheme and use it as a ladder to see whether the response meets the descriptor for that level. The descriptors for the level indicate the different qualities that might be seen in the student’s response. If the response meets the lowest level then go to the next one and decide if it meets this level, and so on, until you have a match between the level descriptors and the response.
When assigning a level look at the overall quality of the response. If the response covers different aspects of different levels of the mark scheme you should use a best fit approach and use the variability of the response to decide the mark within the level, ie if the response is predominantly level 3 with a small amount of level 4 material it would be placed in level 3 but awarded a mark near the top because of the level 4 content.
Step 2 Determine a mark – Once you have assigned a level you need to decide on the mark. The exemplar materials used during teacher standardisation will help. You can compare the student’s response with the marked and annotated examples to determine if it is the same standard, better or worse.
This is the mark scheme to be used for Section 1 of the Devising log in Component 2. There are 20 marks available for this section.
Devising log Section 1 (20 marks) | ||
---|---|---|
Band | Mark | Descriptors |
4 | 16–20 | response: |
3 | 11–15 | response: |
2 | 6–10 | response: |
1 | 1–5 | response: |
0 | 0 | Nothing worthy of credit. |
This is the mark scheme to be used for Section 2 of the Devising log in Component 2. There are 20 marks available for this section.
Devising log Section 2 (20 marks) | ||
---|---|---|
Band | Mark | Descriptors |
4 | 16–20 | response: |
3 | 11–15 | response: |
2 | 6–10 | response: |
1 | 1–5 | response: |
0 | 0 | Nothing worthy of credit. |
This is the mark scheme to be used for Section 3 of the Devising log in Component 2. There are 20 marks available for this section.
The assessment objective being assessed is AO4: Analyse and evaluate their own work and the work of others.
Devising log Section 3 (20 marks) | ||
---|---|---|
Band | Mark | Descriptors |
4 | 16–20 | analysis and evaluation: |
3 | 11–15 | analysis and evaluation: |
2 | 6–10 | analysis and evaluation: |
1 | 1–5 | analysis and evaluation: |
0 | 0 | Nothing worthy of credit. |
This is the mark scheme to be used for the Devised performance in Component 2.
There are 20 marks available. Award either 1 mark, 2 marks, 3 marks, or 4 marks for each of the following five criteria.
The assessment objective being assessed is AO2: Apply theatrical skills to realise artistic intentions in live performance.
4 | use of theatrical skill. | range of theatrical skills demonstrated. | contribution to the effectiveness of the piece. | work throughout. | realisation of individual artistic intention. |
3 | use of theatrical skill. | range of theatrical skills demonstrated. | contribution to the effectiveness of the piece. | Work has or moments. | in realising individual artistic intention. |
2 | in use of theatrical skill, . | range of theatrical skills demonstrated. | contributions to the effectiveness of the piece. | ideas. | success in realising individual artistic intention. |
1 | in use of theatrical skill. | range of theatrical skills demonstrated. | contribution to the effectiveness of the piece. | success in realising individual artistic intention. | |
0 | Nothing worthy of credit. | Nothing worthy of credit. | Nothing worthy of credit. | Nothing worthy of credit. | Nothing worthy of credit. |
* This must be judged against the Statement of Dramatic Intentions provided by the student (how far has the student met their aims?).
Component 3 is marked by a visiting AQA assessor using the assessment grid below.
Two extracts will be performed to the AQA assessor, each marked out of 20 marks.
The assessment grid below applies to both performances individually.
Band | Mark | Descriptors |
---|---|---|
4 | 16–20 | contribution to performance: |
3 | 11–15 | contribution to performance: |
2 | 6–10 | contribution to performance: |
1 | 1–5 | contribution to performance: |
0 | 0 | Nothing worthy of credit. |
IMAGES
VIDEO
COMMENTS
Introduction. This work has been produced by Drama students as part of their school curriculum time, studying how to devise drama using a stimulus. It offers teachers an insight into how the devising process can be recorded by students in their portfolio for Devising Drama (component 01/02). As these responses have not been through moderation ...
This work has been produced by Drama students as part of their school curriculum time, studying how to devise drama using a stimulus. It offers teachers an insight into how the devising process can be recorded by students in their portfolio for Devising Drama (component 01/02). As these responses have not been through moderation,
Section 2: Development and collaboration. In this section students are expected to explain the process they undertook to refine their initial ideas and intentions into a final devised piece. The student must explain: how they developed and refined their own ideas and those of the pair/group. how they developed and refined the piece in rehearsal.
The Devising log must comprise three sections, each marked out of 20 marks: Section 1: Response to a stimulus; Section 2: Development and collaboration; Section 3: Analysis and evaluation. Section 1: Response to a stimulus. In this section students are expected to explain their initial ideas, research and intentions for the devised piece.
Devising. There are different dramatic techniques that can be included in a practical piece of work, including both vocal and physical elements, to help to bring a stimulus to life. It is vital to ...
Structure sheets and sentence starters to support learners to write their Devising Coursework (Log) for Component 2 of AQA's GCSE Drama. Fully customisable and adaptable to suit the needs of your learners/their performance piece. Perfect resource to support ECTs teaching the component for the first time or those teaching out of specialism.
Component 2: Devising drama. This is a practical component in which students are assessed on their ability to create and develop ideas to communicate meaning for theatrical performance (AO1), apply theatrical skills to realise artistic intentions in live performance (AO2) and analyse and evaluate their own work (AO4).
Devising: Developing Your Ideas Devising: Developing Your Ideas Initiating the Devise Process. Start with spontaneous improvisation: This can lead to interesting ideas and may be a good starting point for your devised piece.; Try various starting points: Experiment with different stimuli such as photos, music, or a quote, this could help build your ideas.
Stimulus, methodologies, techniques, blocking, directing, historical context, analysing, evaluation, description, development, collaboration, ensemble. Students will be assessed practically in both their Mock and final examination and these will be filmed. 10%. The written NEA coursework is 30% and will be marked by the teacher and moderated ...
The student must explain: their initial response to the stimuli presented by the teacher and the stimulus they chose. the ideas, themes and settings they have considered for the devised piece in response to the stimulus they chose. rch findingstheir own dramatic aims and intentionsthe. Section 2 - Development and collaboration (AO1)
The aim of this scheme of work is to prepare students to create non-naturalistic devised work for the Component 2 unit of the AQA GCSE Drama course. It is a six-activity plan about how to start and create non-naturalistic performance work and how to link certain aspects of the devising log. These lessons are physical and active in their approach. The activities lead to a very symbolic, non ...
3.2 Devising drama. This subject content is assessed practically. puppet designer. Costume designers may choose to include make-up and/or hair and/or masks. Set designers may choose to include design of props. Each student must choose one specialism only for all the Devising drama content. See Component 2: Devising drama for details.
Resource type: Assessment and revision. File previews. pptx, 1.83 MB. docx, 17.05 KB. docx, 16.03 KB. docx, 16.33 KB. docx, 16.32 KB. Very useful scheme of work for Devising [Coursework]. Can be used for most exam boards but was created specifically for AQA.
Devising can be equally daunting to some students. The notion that you will be split into groups, given an object and asked to create a piece of drama in 15 minutes might overwhelm those who lack confidence in communicating or take a little longer than others to formulate their ideas. Devising is also a process of storytelling and for it to be
The starting point in a piece of devised drama is known as the stimulus close stimulus Something that provokes thought. . Describe the stimulus and consider the initial response to it, discussing ...
Creating a portfolio or devising log is a creative and developmental process. The end result documents the procedure of devising a piece of drama. Scripted drama. Features of a script - AQA.
3.2.1 Creating devised drama. Students must learn how to create and develop ideas to communicate meaning in a devised theatrical performance. Students must draw on and demonstrate a practical understanding of the subject content listed in Knowledge and understanding. analyse and evaluate their own process of creating devised drama.
Component 2: Devising drama. This is a practical component in which students are assessed on their ability to create and develop ideas to communicate meaning for theatrical performance (AO1), apply theatrical skills to realise artistic intentions in live performance (AO2) and analyse and evaluate their own work (AO4). ...
It is vital to employ a range of exploratory techniques to develop and work on initial ideas for a devised piece. Part of Drama Devising Save to My Bitesize Remove from My Bitesize