Approaches to Component 3: Interpreting Theatre Written exam

Exam Requirements Component 3: Interpreting Theatre (40% of qualification) Written exam – 60 marks Section A: Set Text 45 marks A series of questions on one set text from a choice of five. Candidates will be assessed on their ability to explore the set text as an actor, designer, director THEREFORE IT IS IMPERATIVE THAT THE TEXTS ARE TAUGHT PRACTICALLY.

Exam Requirements Component 3: Interpreting Theatre (40% of qualification) Written exam – 60 marks Section B: Live Theatre Review 15 marks One question from a choice of two requiring analysis and evaluation of a given aspect of a live theatre production seen during the course.

The Tempest by William Shakespeare The Caucasian Chalk Circle by Bertolt Brecht Hard to Swallow by Mark Wheeller War Horse by Michael Morpurgo, adapted by Nick Stafford DNA by Dennis Kelly Section A Set Texts

Focus of the Exam Paper 1 hour and 30 minutes for learners to demonstrate their knowledge and understanding of how drama and theatre is developed and performed and to analyse and evaluate a piece of live theatre. It is an open book exam Section A – Set Text. Centres must approach the study of the text practically Study text from viewpoint of director, actor and designer Use of appropriate theatrical terminology

Focus of the Exam Paper Section B – Exploration of live theatre. Centres must ensure that learners have viewed at least one piece of live theatre (this can include streaming of productions e.g. NT live) Learners will be required to consider the role of the actor, designer and director as a member of the audience.

Assessment of Set Text Section A (45 marks) targets AO3 demonstrate knowledge and understanding of how drama and theatre is developed and performed. Section A consists of structured questions on the set texts which will increase in tariff (15 marks being the highest).

Performance Skills/Directorial Skills Any of the questions in Section A could require candidates to draw upon their understanding and experiences as actors and directors. Sample question for ‘viewpoint of director’: Name two rehearsal techniques that a director can use to prepare an actor for the role of ***** in this scene.[2] Explain how these two techniques would help the actor prepare for this role in performance.[4]

Directorial Skills Practical approaches should focus on how the director would work with the actors in rehearsal in order to realise their roles in performance. This requires an exploration of the characters and techniques that directors/actors use in rehearsal in order to bring out those features identified. Performance skills can also be explored at the same time. Potential directorial techniques to explore could include: Thought-tracking, Hot-seating, Role-on-the-wall, Vocal and/or physical exercises, focused on particular aspects, Status games, Improvisation. (For more, see handout in packs)

Performance Skills Performance skills can be developed at the same time as the directorial techniques. The candidates would need to be encouraged to format their lesson notes so that they are clear which is which. Sample question for ‘viewpoint of actor’: Explain how an actor playing the role of Anna in this extract, could communicate her character to the audience. [15] In your answer refer to: character motivation voice movement interaction. See Component 3 practical resource handbook in packs

Design/Technical Skills Any of the questions could also ask the candidates to consider the technical aspects of the play. Sample questions for ‘viewpoint of designer’ Briefly describe the social class of the Dunbar family. [2] Explain how any one line in the extract illustrates their social class. [3] Suggest a suitable costume for Catherine and explain how it could be used to show her social class. [4] Explain how at least one key scene can be designed for a thrust stage. [15] In your answer refer to: structure and style set mood and atmosphere how the play as a whole was originally staged. See Component 3 practical resource handbook in packs

Original Staging Conditions Learners need to be aware of the original staging conditions of the play. Task one Watch You Tube clips or look at pictures from the original production. Encourage your students to comment on the staging used. Discuss this as a class.

Section B - Response to Live Theatre Sample question for ‘viewpoint of an audience member’: Analyse and evaluate the use of lighting and sound in two key scenes, to communicate meaning to the audience. [15] In your answer refer to: the style of the production how lighting and sound are used to create atmosphere and communicate meaning your response to the performance as an audience member. OR Analyse and evaluate how vocal skills in two key scenes communicate meaning to the audience. [15] In your answer refer to: the style of the production how vocal skills are used to create character and communicate meaning your response to the performance as an audience member.

Responding to Live Theatre Learners should be encouraged to watch live and/or streamed theatre productions throughout the course. They should develop the skills of analysis and evaluation in response to what they see. Some of the following approaches could be taken (see examples in pack):  Watching clips on You Tube, followed by group discussion  Using templates to help with note taking  Allocating small groups to concentrate on specific aspects of a production and then lead the post-’visit’ discussion on it in class  Questions given to learners to answer about the production  Checklist of what to cover in their observations

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