1. Approaches to A Level
Component 2: Text in Action

2. Requirements of Component 2
(40%) 120 marks
Externally assessed by a visiting examiner (January – May)
Learners study one minute extract (free choice)
Learners view at least one piece of live theatre
Devised piece based on theatre practitioner or company
Text piece in a different style chosen by the learner
Both pieces are based on a stimulus provided by WJEC
5-14 minutes for each piece depending on group sizes
Group sizes 2-4 actors with up to 2 additional designers, each offering a different design skill
Process and evaluation report completed by one week after the practical work and sent to visiting examiner
5 – 10 mins viva (design candidates only)

3. Selecting a Suitable Text
Stage 1: Researching
Selecting a Suitable Text
A reminder: learners must study 5 different performance texts across the qualification, across a range of social, historical and cultural contexts
The text chosen should meet these requirements, presenting a range of contexts when combined with texts chosen and studied for Components 1 and 3
Learners may choose a text from Appendix A in the specification, but are also permitted to choose a text they’re not studying for Component 3
Each group of learners can choose a different extract or text.
Different groups can choose the same text or extract.
Teachers should guide learners to choose texts/extracts that are suitable for the combination of learners, including designers, within each group

4. Research
As for Component 1, learners should choose and study a extract from their chosen text, within the context of the whole. They should consider:
Structure
Character construction
Style
Learners should interpret their text, applying a knowledge and understanding gained from researching their chosen practitioner or theatre company. This should be done in the same detail with which is required for Component 1

5. Choosing A Practitioner/Company and Style
The practitioner or theatre company selected must be different to that chosen for Component 1
The style chosen for the text piece must be different from that practiced by the practitioner or theatre company selected for the devised
However, style chosen for the text piece can be that which is practiced by the practitioner or theatre company chosen for Component 1
See flowchart in pack

6. Live theatre
Finally, learners should view a range of live theatre throughout the course
They should be able to draw influence from what they have seen to inform their own creative decision-making
They should make notes and discuss the following features of the performances at length:
Interpretation of text for performance
How design elements were used
Performing styles

7. Stimulus materials
Will be released to centres in the first week of June of the year before the exam is due to be taken
The stimuli will be changed each year
The stimuli could take various forms, including a photograph, a painting, a poem, prose, a song, a statement/question, or a concept
Each year, the learners should choose one stimulus from a choice of four
For example:
1. Whose fault?
2. ‘Shall I compare thee to a summer’s day?’, Shakespeare, Sonnet XVIII
3. Lacrimosa (War Requiem), Benjamin Britten
4. Boy Destroying Piano (1961), Philip Jones Griffiths.

8. Stage 2: Developing: Devised
Using the research into the practices and theories of the practitioner or theatre company AND the chosen stimulus, learners then develop their devised work
Also, they should draw influence from the live theatre they have seen
Encourage learners to set well-defined creative aims and objectives early on in the process
Keep notes of creative decisions
When/if learners hit ‘blocks’, encourage them to go back to these aims, as well as all of the research and influences they are drawing upon, for inspiration as to how to move forward
The piece must demonstrate clear evidence of the practitioner’s or company’s work

9. Development Process - Text
Using the research into various stylistic concepts AND the chosen stimulus, learners then develop ideas for interpreting their chosen text extracts
Also, they should draw influence from the live theatre they have seen
As with the devised piece, encourage learners to set well-defined creative aims and objectives early on in the process and to keep notes of creative decisions
The learners should be reminded that the text piece should be in a different style to that of the practitioner/theatre company chosen for the devised piece

10. Stage 3: Realising
Learners should realise their piece of theatre and the timings depend on the number of actors in the group:
2 actors: 5-10 minutes
3 actors: 7-12 minutes
4 actors: 9-14 minutes
Each actor must interact with other performers and/or the audience for a minimum of five minutes in order to show meaningful interaction.
Encourage learners to be mindful of this when refining their pieces as they will be penalised by having a mark deducted for every full minute under/exceeding these time limits
Both pieces are performed to the visiting examiner within a single visit, though this may cover more than one day dependent on the size of the centre

11. Designers The designs must be realised within the live performance
Design candidates are required to give a 5-10 minute presentation of their design to the visiting examiner
This is to ensure that the examiner is familiar with all the evidence
The examiner may ask questions
Candidates are therefore given an opportunity to explain and present their design
There is a list of minimum requirements for design candidates a copy is in your pack

12. Practical Exemplar Text/Devised Title Influence Text Antigone
Naturalism (Stanislavski)
The Crucible
Physical Theatre (Berkoff)
Monsters
Total Theatre (Berkoff)
Zoo Story
Devised
‘See Me’
Kneehigh
‘The Weeping Woman’
Artaud
Text & devised
Lighting design
Total Theatre & Artaud

13. Stage 4: Reflecting and Evaluating
The report has to be completed and sent to the examiner one week after the practical exam, along with the DVD of the performances and design presentations
It has 3 sections and should be between words:
Connections between theory and practice (10 marks)
Analysis and evaluation of process (15 marks)
Analysis and evaluation of the final performance or design to realise artistic intentions (15 marks)
A draft must be seen by the teacher in order to be authenticated (see form in pack), but detailed feedback or advice on how to improve the work cannot be offered to the learner.

14. The Process and Evaluation Report
Section 1
Should include:
Relevant research on the practitioner or theatre company and the style chosen and how it informed their practical work
How the stimulus was used to interpret the text and provide ideas for the devised work.
May contain a limited amount of additional evidence, such as photographs or diagrams, in order to illustrate these connections
Can be completed during the process – perhaps after the development stages

15. The Process and Evaluation Report
Section 2
Should include:
How dramatic conventions or design techniques were used to create meaning
How the piece was refined and amended for performance
How live theatre influenced their work.
Notes should be kept through the development and refinement stages of the process – perhaps in the form of a process log – ensuring that analysis and evaluation is prevalent, not description
Key moments should then be focused upon in the final write up of this section

16. The Process and Evaluation Report
Section 3
Should include analysis and evaluation of:
The effectiveness of their performing or design skills
The effectiveness of the practitioner or company and stylistic techniques in performance
Their own contribution to the success of the piece.
Learners should watch the DVD recordings of their exam pieces before starting this section
Learners should be encouraged to refer back to their own creative aims and objectives for each piece in order to assess effectiveness
Effectiveness of their performance or design and the piece as a whole for the audience should be at the forefront

17. Assessment of Component 2
Stages 1-2: Researching and developing (AO1.1a)
Assessed through the performance/design
20 marks in total (10 marks for each piece)
Stage 3: Realising (AO2)
60 marks in total (30 marks for each piece)
Stage 4: Reflecting and evaluating (AO1.1b and AO4)
Assessed through the report
40 marks in total (10 marks for process, 15 marks for an evaluation of process and 15 marks for the evaluation of performance/design)