1 · From play text to production proposal
blocking · theatre-maker intention
U1-Q1 · 2 marks
What best justifies a staging choice?
Answer and reasoning
A link between textual evidence, theatre-maker intention and intended audience effect.
U1-Q2 · 4 marks
Explain the mechanism or reasoning in this original case: A character's pause can be staged as fear, calculation or resistance. The choice must fit the whole play and a coherent production vision.
Answer and reasoning
For an original scene about a missed appointment, compare a long pause with an immediate reply. Explore how spatial distance supports the intended tension. In assessment, transfer the method to a previously unstudied published play and explain the whole-play vision.
- Accurate relevant concept (1)
- Specific evidence from the case (1)
- Connected reasoning (2)
The production proposal is at most twelve pages and 4000 words, with sources. / An attractive set drawing alone does not show understanding of the play or the audience relationship.
2 · Research presentation and embodied convention
performance convention · embodied research
U2-Q1 · 2 marks
What best demonstrates practical learning?
Answer and reasoning
A credited convention shown through an explained and revised embodied exploration.
U2-Q2 · 4 marks
Explain the mechanism or reasoning in this original case: A movement convention cannot be understood only by reading its name. Academic research and embodied exploration should inform each other.
Answer and reasoning
Compare a first attempt with a revised attempt informed by a practitioner source. Explain what changed and why the convention matters in its tradition. Present research and practical evidence together rather than imitating a whole culture.
- Accurate relevant concept (1)
- Specific evidence from the case (1)
- Connected reasoning (2)
The current recorded research presentation is at most fifteen minutes. / Use a tradition not previously studied and verify restrictions or permissions; teacher checks appropriateness and credits.
3 · Devising, ensemble and evaluation
devising · ensemble
U3-Q1 · 2 marks
What belongs in personal evaluation?
Answer and reasoning
Evidence of your contribution, its effect and a limitation revealed in rehearsal or performance.
U3-Q2 · 4 marks
Explain the mechanism or reasoning in this original case: An ensemble starts from the sound of a ticking clock. A shared stimulus does not yet give the work a clear intention or structure.
Answer and reasoning
Try contrasting rhythms, stillness and spatial patterns, then select material that communicates pressure. Invite safe feedback from an audience and revise one transition, explaining your specific contribution.
- Accurate relevant concept (1)
- Specific evidence from the case (1)
- Connected reasoning (2)
The piece lasts seven to ten minutes; the report is capped at ten pages and 4000 words with sources. / The school supervises a fully realized performance and recording; a script-only mock is not equivalent.
4 · Solo theatre piece and theory in action
theatre theory · direct address
U4-Q1 · 2 marks
What shows theory applied rather than merely mentioned?
Answer and reasoning
A specific researched principle shaping a demonstrated and evaluated performance choice.
U4-Q2 · 4 marks
Explain the mechanism or reasoning in this original case: A theory of audience distance becomes meaningful when it changes an actual performance choice. Quoting a theorist is insufficient practical evidence.
Answer and reasoning
Try two versions of an original solo moment: one addresses the audience directly, one remains within the fictional scene. Evaluate which better demonstrates the researched aspect, using actual rehearsal and audience evidence.
- Accurate relevant concept (1)
- Specific evidence from the case (1)
- Connected reasoning (2)
The solo piece is four to seven minutes, with an unedited recording and a report of at most 2500 words. / Teacher verifies a previously unstudied theorist and source use; no invented theory attribution is allowed.