1. Qualification Reform from 2016 GCSE Drama

2. Specification Highlights Two practical performances Opportunities to act and/or design as suited to learner interests and abilities Mixture of internal and external assessment of practical work Exciting and inspiring set texts Open book exam Retains many of the features that make the current specification popular Excellent preparation for A level

3. Specification Overview Component 2: Performing from a Text (20% of qualification) Externally assessed by a visiting examiner Learners will be assessed on either acting or design Learners study two extracts from the same performance text chosen by the centre Learners participate in one performance using sections of text from both extracts. Component 1: Devising Theatre (40% of qualification) Internally assessed, externally moderated Learners will be assessed on either acting or design Learners participate in the creation, development and performance of a piece of devised theatre using either the techniques of an influential theatre practitioner or a genre, in response to a stimulus set by WJEC. Learners must produce:  a realisation of their piece of devised theatre  supporting evidence  an evaluation of the final performance or design.

4. Specification Overview Component 3: Interpreting Theatre (40% of qualification) Written exam Section A: Set Text A series of questions on one set text from a choice of five: 1. The Tempest, William Shakespeare 2. The Caucasian Chalk Circle, Bertolt Brecht 3. Hard to Swallow, Mark Wheeller 4. War Horse, Michael Morpurgo, adapted by Nick Stafford 5. DNA, Dennis Kelly. Section B: Live Theatre Review One question requiring analysis and evaluation of a given aspect of a live theatre production seen during the course.

5. Legacy specificationReformed specification from 2016 Unit 1: Devised Practical Performance (60%) Non-exam assessment Internally assessed, externally moderated Devised performance (5-20 minutes) Devised performance report (1500 words/4-5 hours) Presentation for design candidates (5 mins) Component 1: Devising Theatre (40%) Non-exam assessment Internally assessed, externally moderated Devised performance (5-14 minutes) Supporting evidence (750-900 words) Evaluation (1 hour 30 minutes) Unit 2: Performing from a Text (20%) Non-exam assessment Externally assessed by a visiting examiner between February and May One extract from a text (5-20 minutes) Component 2: Performing from a Text (20%) Non-exam assessment Externally assessed by a visiting examiner between February and May Two extracts from the same text made into one performance (5-12 minutes) Component 3: Written Exam (20%) Written Exam 1 hour 30 minutes One set text Evaluation of performance from a text Component 3: Interpreting Theatre (40%) Written exam 1 hour 30 minutes One set text Live theatre review

6. Assessment Objectives AO1 (20%) Create and develop ideas to communicate meaning for theatrical performance AO2 (30%) Apply theatrical skills to realise artistic intentions in live performance AO3 (30%) Demonstrate knowledge and understanding of how drama and theatre is developed and performed AO4 (20%) Analyse and evaluate their own work and the work of others

7. Assessment Objectives AO1AO2AO3AO4Total Component 1: Devising Theatre 20%10% 40% Component 2: Performing from a Text 20% Component 3: Interpreting Theatre 30%10%40% Overall weighting20%30% 20%100%

8. Across all three components learners will study: one complete performance text two extracts from a second contrasting performance text placed within the context of the whole text either the techniques of an influential theatre practitioner or the characteristics of a genre of drama (this is additional to the DFE subject content) Learners will have the opportunity to work practically as designers and/or performers on: one devised performance using the techniques or characteristics of their chosen theatre practitioner or genre one performance based on the second contrasting performance text using sections of text from the two extracts. DFE Subject Content

9. Learners may choose to act or design for this component. There are three stages to this component: Component 1- Devising Theatre 40% 1a. Devising Choose a stimulus from a choice of four provided annually by WJEC Research and develop ideas using the techniques or characteristics of a theatre practitioner or genre Rehearse, amend and refine the work The following should be considered when devising:  structure  theme/plot  form and style  language/dialogue.

10. Component 1- Devising Theatre 40% Learners should consider how meaning is communicated through the following, as appropriate to the piece of theatre:  performance conventions  use of space and spatial relationships on stage  relationships between performers and audience  design elements including lighting, sound, set and costume  the physical and vocal interpretation of character. There is a full list of requirements for design candidates in the specification

11. Component 1- Devising Theatre Example stimuli set by WJEC: A quotation: ‘All men are created equal’ American Declaration of Independence Lyrics of a song: Handbags and Gladrags, Stereophonics A picture: Parsifal I, Anselm Kiefer A Concept: The closed door

12. Component 1- Devising Theatre 40% 1b. Supporting Evidence Learners keep a record of supporting evidence, compiled during the process. It should focus on three stages/moments where the practical work has changed or developed in any significant way and explain how: 1.ideas have been created and developed from the stimulus including how the techniques/characteristics of the practitioner/genre have been applied to the work 2.ideas are developed to communicate meaning 3.the piece is amended and refined for performance. The supporting evidence is not a diary of the rehearsal process.

13. Component 1- Devising Theatre 40% 1b. Supporting Evidence Examples of key moments: Introduction of a device e.g. flashback which changes the mood or atmosphere of the piece Decision to include a PowerPoint to show different locations which helps to develop the flow and structure of the piece A dress rehearsal where learners realise they need to practise with props/ develop costume to highlight character.

14. Supporting Evidence Name: Examination number: School: Centre Number: Chosen stimulus: Chosen Practitioner / Genre: Chosen Skill: Explain how your chosen 3 moments have contributed to the development of your piece. You could use : photos from rehearsals lyrics of songs copies of power points pieces of poetry information of practitioners visual images, articles form newspapers, mind maps diagrams / pictures of costumes make-up sheets sketches of set colour charts mood boards lighting cue sheets Significant moment 1: The list is endless … any information which supports the development process. The supporting evidence must be annotated in sufficient detail to highlight the progress of the piece of theatre. Each stage should be between 250-300 words, a maximum of 900 words in total. Presentation of Supporting Evidence

15. Component 1- Devising Theatre 40% 2. Realising Learners realise their piece of theatre and the timings depend on the number of actors in the group:  2 actors: 5-8 minutes  3 actors: 7-10 minutes  4 actors: 9-12 minutes  5 actors: 11-14 minutes Each actor must interact with other performers and/or the audience for a minimum of five minutes.

16. Each group may have up to four additional designers, each offering a different design skill. Component 1- Devising Theatre 40% The design skills available are: lighting design sound design set design (including props) costume design (including hair and make-up) There is a list of minimum requirements for design candidates in the specification. Designers are marked on the design, not on their ability to operate equipment.

17. Component 1: Devising Theatre (40%) 3. Evaluating Learners evaluate the final performance or design under supervised conditions. There will be four sections to the evaluation: 1. A paragraph outlining the artistic intentions for the piece. This should include brief details of the practitioner or genre and the chosen stimulus 2.Analysis and evaluation of their performance or design skills 3.Analysis and evaluation of the performance, including whether they successfully realised their artistic intentions using the techniques of the practitioner or characteristics of the genre in response to the stimulus 4.An analysis and evaluation of their individual contribution to the piece. Learners may have access to two sides of A4 in bullet point notes when writing the evaluation. The notes must be handed in with the evaluation. They have 1 hour and 30 minutes to complete the task under supervised conditions.

18. Assessment of Component 1 (60 marks) AO1 20%, 30 marks 1. Devising targets AO1 create and develop ideas to communicate meaning for performance. This is assessed through the supporting evidence. There are separate assessment grids for performing and design candidates, although the first column, creating and developing ideas is identical in both grids. Learners are assessed on:  ideas created in response to the stimulus  use of practitioner/genre techniques  their individual contribution to the process  development of character/mood and atmosphere  selection of performance/design conventions/techniques  use of space/design cues.

19. Assessment of Component 1 (60 marks) AO2 10%, 15 marks 2. Realising targets AO2 apply theatrical skills to realise artistic intentions in live performance This is assessed through the final performance/design There are separate assessment grids for performing and design candidates. Learners are assessed on how well they realise their artistic intentions through:  application of design/performance skills  interpretation of character/scene  individual contribution to the final performance

20. Assessment of Component 1 (60 marks) AO4 10%, 15 marks 3. Evaluating targets AO4 analyse and evaluate their own work (and the work of others) This is assessed through the evaluation. There are separate assessment grids for performing and design candidates. Learners analyse and evaluate the final performance/design. They do not analyse and evaluate the process of creating and developing the piece. Learners are assessed on their analysis and evaluation of:  their application of design/performance skills  their interpretation of character/scene  their individual contribution to the final performance.

21. Learners may choose to act or design for this component Timings are comparable with component 1 2-4 actors per group with up to two additional design candidates, each offering a different design skill Selecting a suitable text for performance Learners are required to study two 10 minute extracts, within the context of the whole text, from one performance text of their own choice. A list of suitable texts is provided in Appendix B. However, learners may choose a different text. The text must be one which has been professionally commissioned and/or professionally produced and must also contrast in either style, and/or context (social, historical or cultural) to the text chosen for Component 3. It is not necessary for all learners in the group to study extracts from the same performance text. Centres should guide learners to choose texts which suit their interests, abilities and the combinations of learners within each group. Component 2 - Performing From a Text 20%

22. Component 2 – Performing from a Text 1.Preparing for Performance Learners create a performance or design using sections of text from both of the 10 minute extracts The performance need not use the full 20 minutes studied but must contain an appropriate amount of text from each 10 minute extract to make a coherent interpretation in performance. The text may be edited to create one coherent interpretation, but must not contain any additional dialogue or characters The performance may contain monologues but cannot consist solely of monologues Learners may change the gender of a character, where this doesn't change the meaning of the text. Learners are not permitted to perform as two different characters in the two different extracts, unless multi-roling is a feature of the style of the piece in general

23. Component 2 – Performing from a Text 1.Preparing for Performance The performance or design must show consistency and/or development of character/theme, as appropriate to the role, between the two extracts Designs should complement the text and also show consistency and/or progression in the content. For example, a full costume change might not be necessary, but the addition of an item to show a change in circumstance/time might well be appropriate; a lighting designer might change the colour to reflect a different time of day; a sound designer might modify the settings to reflect a change of mood and a set designer might alter small details to indicate the passing of time.

24. Component 2 – Performing from a Text 1.Realising Learners perform their pieces live for a visiting examiner. Design candidates must also present their design to the examiner. This is to show any additional evidence of the design. All learners must submit a paragraph to the examiner stating their artistic intentions. The centre must record the performances and presentations and send the recordings to WJEC within two weeks of the exam.

25. Assessing Component 2 (20%) AO2 60 marks This component assesses AO2 only. There are separate assessment grids for performers and designers. Learners are assessed on:  application of performing/design skills  interpretation of character/scene  communication  their individual contribution to the performance.

26. Component 3 – Interpreting Theatre (Written Examination) 1hour and 30 minutes for learners to show 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 Section B – Exploration of live theatre. Centres must ensure that candidates 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.

27. Assessment of Component 3 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). Section B (15 marks) targets AO4 analyse and evaluate (their own work) and the work of others. Section B will be one structured question on live theatre.

28. Component 3 – Interpreting Theatre (Written Examination) Sample question for ‘viewpoint of director’: Name two rehearsal techniques that a director can use to prepare an actor for the role of Simon in this scene.[2] Explain how these two techniques would help the actor prepare for this role in performance.[4]

29. Component 3 – Interpreting Theatre (Written Examination) Sample question 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]

30. Component 3 – Interpreting Theatre (Written Examination) 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.

31. Component 3 – Interpreting Theatre (Written Examination) 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.

32. Component 3 – Interpreting Theatre Mark Scheme Indicative content is provided, although all valid alternatives will be considered. Longer responses will be assessed using bands of achievement. Marking grids are clearly linked to assessment objectives.

33. Resources for Teachers Supporting teaching and learning Resources planned for this specification include: teacher’s guide term plans online interactive design resource.

34. Resources for Teachers Supporting teaching and learning wjec.co.uk/qualifications/drama/ Free subject specific resources available for all to download from our website resources.eduqas.co.uk Free Eduqas digital resources to support the teaching and learning of a broad range of subjects. oer.wjec.co.uk Our free Online Exam Review allows teachers to analyse item level data, critically assess sample question papers and receive examiner feedback shop.wjec.co.uk A vast range of educational resources, specifications, past papers and mark schemes to support the teaching and learning of subjects offered by WJEC

35. Resources: Home page there is a blue box that says exam review OR you can scroll right down to the bottom and there is a menu which says ‘online exam review’. Here you will find many resources, test questions and marked pieces.

37. EXAMINING FOR WJEC-EDUQAS We value the contribution you as experienced teachers and lecturers make in assessing students’ work, ensuring that candidates are given a fair result which accurately reflects their ability We appoint examiners to mark externally assessed work and moderators to review the original marking of teachers for internally assessed components or units We provide face-to-face training for examiners and moderators (appointees) prior to assessment work commencing Our senior examiners and subject officers provide support and advice during the assessment period

38. APPLICATION PROCESS Complete an application using the on-line application system available on the Appointees page of the WJEC website Appointees Once you have completed the initial registration, please make sure that you validate your email account so that you can complete the application process When you have completed your application, remember to click ‘submit’ on the homepage, to complete the process Remember to inform your referee of your application, as sometimes delays occur due to referees not completing the reference section On rare occasions, applicants may not be accepted due to a lack of relevant teaching experience Applicants may re-apply once they have gained sufficient experience Some applicants will be approved, but may have to wait on the reserve list until a suitable vacancy arises

40. Any Questions? Contact our specialist Subject Officers and administrative team for your subject with any queries. catherine.webster@eduqas.co.ukcatherine.webster@eduqas.co.uk (Subject Officer) sara.evans@eduqas.co.uksara.evans@eduqas.co.uk (Subject Support Officer) catrin.budd@eduqas.co.ukcatrin.budd@eduqas.co.uk (Subject Support Officer) @eduqas eduqas.co.uk