specification drama and theatre - ocr · 1c. what are the key features of this specification? 3 1d....

AS LEVELSpecification

DRAMA AND THEATRE

ocr.org.uk/aleveldramaandtheatre

H059For first assessment in 2017

Version 1.2 (December 2018)

http://www.ocr.org.uk/aleveldramaandtheatre

Registered office: 1 Hills Road Cambridge CB1 2EU

OCR is an exempt charity.

Disclaimer Specifications are updated over time. Whilst every effort is made to check all documents, there may be contradictions between published resources and the specification, therefore please use the information on the latest specification at all times. Where changes are made to specifications these will be indicated within the document, there will be a new version number indicated, and a summary of the changes. If you do notice a discrepancy between the specification and a resource please contact us at: [email protected]

We will inform centres about changes to specifications. We will also publish changes on our website. The latest version of our specifications will always be those on our website (ocr.org.uk) and these may differ from printed versions.

© 2018 OCR. All rights reserved.

Copyright OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this specification booklet for their own internal use.

Oxford Cambridge and RSA is a Company Limited by Guarantee. Registered in England. Registered company number 3484466.

mailto:[email protected]

www.ocr.org.uk

i© OCR 2016 AS Level in Drama and Theatre

Contents

1 Why choose an OCR AS Level in Drama and Theatre? 11a. WhychooseanOCRqualification? 11b. WhychooseanOCRASLevelinDramaandTheatre? 21c. Whatarethekeyfeaturesofthisspecification? 31d. HowdoIfindoutmoreinformation? 3

2 The specification overview 42a. OCR’sASLevelinDramaandTheatre(H059) 42b. ContentofASLevelinDramaandTheatre(H059) 52c. Contentof:Processtoperformance–performing(01/02) 72c. Contentof:Processtoperformance–design(03/04) 92c. Contentof:Exploringperformance(05) 112d. Priorknowledge,learningandprogression 13

3 Assessment of AS Level in Drama and Theatre 143a. Formsofassessment 143b. Assessmentobjectives(AO) 143c. Assessmentavailability 153d. Retakingthequalification 153e. Assessmentofextendedresponse 153f. Non-examassessment:Guidance 163f. Non-examassessment:Processtoperformance(01/02and03/04) 183f. Markingcriteria 203f. Internalassessmentmarkinggrid–performerrole:textperformance 293g. Synopticassessment 333h. Calculatingqualificationresults 33

4 Admin: what you need to know 344a. Pre-assessment 344b. Specialconsideration 354c. Externalassessmentarrangements 354d. Adminofnon-examassessment 364e. Resultsandcertificates 404f. Post-resultsservices 404g. Malpractice 40

5 Appendices 415a. Overlapwithotherqualifications 415b. Accessibility 415c. Non-examassessment:digitalevidence 415d. Guidanceonaudiencerequirements 435e. Guidanceonlivetheatrerequirements 435f. Guidanceoncentre-chosenpractitioners 445g. Guidanceoncentre-chosenperformancetexts:Processtoperformance

(Components01/02or03/04) 445h. Textlist:Exploringperformance(Component05) 445i. Languageforlearning 47

Summaryofupdates 62

ii© OCR 2016

AS Level in Drama and Theatre

Support and GuidanceIntroducinganewspecificationbringschallengesforimplementationandteaching,butitalsoopensupnewopportunities.Ouraimistohelpyouateverystage.Weareworkinghardwithteachersandotherexpertstobringyouapackageofpracticalsupport,resourcesandtraining.

Subject Advisors

OCRSubjectAdvisorsprovideinformationandsupporttocentresincludingspecificationandnon-examassessmentadvice,updatesonresourcedevelopmentsandarangeoftrainingopportunities.

OurSubjectAdvisorsworkwithsubjectcommunitiesthrougharangeofnetworkstoensurethesharingofideasandexpertisesupportingteachersandstudentsalike.Theyworkwithdeveloperstohelpproduceourspecificationsandtheresourcesneededtosupportthesequalificationsduringtheirdevelopment.

YoucancontactourDramaSubjectAdvisorforspecialistadvice,guidanceandsupport:

[email protected]@OCR_PerformArts

Teaching and learning resources

Ourresourcesaredesignedtoprovideyouwitharangeofteachingactivitiesandsuggestionsthatenable

youtoselectthebestactivity,approachorcontexttosupportyourteachingstyleandyourparticularstudents.Theresourcesareabodyofknowledgethatwillgrowthroughoutthelifetimeofthespecification,theyinclude:

• DeliveryGuides• TransitionGuides• TopicExplorationPacks• LessonElements.

Professional development

OurimprovedProfessionalDevelopmentProgrammefulfilsarangeofneedsthroughcourseselection,preparationforteaching,deliveryandassessment.Whetheryouwanttolookatournewdigitaltrainingorsearchfortrainingmaterials,youcanfindwhatyou’relookingforallinoneplaceattheCPDHub: cpdhub.ocr.org.uk

An introduction to new specifications

Weruntrainingeventsthroughouttheacademicyearthataredesignedtohelpprepareyouforfirstteachingandsupporteverystageofyourdeliveryofthenewqualifications.

ToreceivethelatestinformationaboutthetrainingweofferonGCSEandALevel,pleaseregisterforemailupdatesat: ocr.org.uk/i-want-to/email-updates


https://twitter.com/@OCR_PerformArts

http://cpdhub.ocr.org.uk

mailto:ocr.org.uk/i-want-to/email-updates

iii© OCR 2016 AS Level in Drama and Theatre

Assessment Preparation and Analysis Service

Alongwithsubject-specificresourcesandtools,you’llalsohaveaccesstoaselectionofgenericresources

thatfocusonskillsdevelopment,professionalguidanceforteachersandresultsdataanalysis.

Subject Advisor Support

OurSubjectAdvisorsprovideyouwithaccesstospecifications,high-qualityteachingresourcesandassessmentmaterials.

Skills Guides

Theseguidescovertopicsthatcouldberelevanttoarangeofqualifications,forexamplecommunication,legislationandresearch.Downloadtheguidesatocr.org.uk/skillsguides

Active Results

Ourfreeonlineresultsanalysisservicehelpsyoureviewtheperformanceofindividualstudentsoryourwholecohort.Formoredetails,pleaserefertoocr.org.uk/activeresults

http://ocr.org.uk/skillsguides

http://ocr.org.uk/activeresults

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1© OCR 2016 AS Level in Drama and Theatre

ChooseOCRandyou’vegotthereassurancethatyou’reworkingwithoneoftheUK’sleadingexamboards.OurnewOCRASLevelinDramaandTheatrecoursehasbeendevelopedinconsultationwithteachers,employersandhighereducationtoprovideuswithaqualificationthat’srelevanttothemandmeetstheirneeds.

We’repartoftheCambridgeAssessmentGroup,Europe’slargestassessmentagencyandadepartmentoftheUniversityofCambridge.CambridgeAssessmentplaysaleadingroleindevelopinganddeliveringassessmentsthroughouttheworld,operatinginover150countries.

Weworkwitharangeofeducationproviders,includingschools,colleges,workplacesandotherinstitutionsinboththepublicandprivatesectors.Over13,000centreschooseourALevels,GCSEsandvocationalqualificationsincludingCambridgeNationalsandCambridgeTechnicals.

Our specifications

Webelieveindevelopingspecificationsthathelpyoubringthesubjecttolifeandinspireyourstudentstoachievemore.

We’vecreatedteacherfriendlyspecificationsbasedonextensiveresearchandengagementwiththeteachingcommunity.They’redesignedtobestraightforwardandaccessiblesothatyoucantailorthedeliveryofthecoursetosuityourneeds.Weaimtoencouragestudentstobecomeresponsiblefor

theirownlearning,confidentindiscussingideas,innovativeandengaged.

Weprovidearangeofsupportservicesdesignedtohelpyouateverystage,frompreparationthroughtothedeliveryofourspecifications.Thisincludes:

• Awiderangeofhighqualitycreativeresourcesincluding:• DeliveryGuides• TransitionGuides• TopicExplorationPacks• LessonElements• . . .andmuchmore

• AccesstoSubjectAdvisorstosupportyouthroughthetransitionandthroughoutthelifetimeofthespecification

• CPD/Trainingforteacherstointroducethequalificationsandprepareyouforfirstteaching

• ActiveResults–ourfreeresultsanalysisservicetohelpyoureviewtheperformanceofindividuallearnersorwholeschools.

AllASLevelqualificationsofferedbyOCRareaccreditedbyOfqual,theRegulatorforqualificationsofferedinEngland.TheaccreditationnumberforOCR’sASLevelinDramaandTheatreisQN601/8271/4.

1a. Why choose an OCR qualification?

1 Why choose an OCR AS Level in Drama and Theatre?

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OCR’sASLevelinDramaandTheatrehasbeendesignedtobeapractical,engagingandcreativespecificationforlearnerstostudy.Itprovidesopportunitiestointerrogatedramaandtheworkofothers,toexplorearangeofdramaasapracticalartform,andforlearnerstoworkindependentlytocreatetheirowndramaperformancesmakinginformedartisticchoices.

Themainpurposeofthisqualificationistoallowlearnerstheopportunitytostudydramaandtheatreinanacademicsetting.Learnerswillinterrogatethisartform,applyingtheirknowledgeandunderstandingtotheirpractice.Thisincludesboththeprocessofcreatinganddevelopingdramaandtheatreandintheirownperformancework.

TheASqualificationwillalsopreparelearnersforourALevelDramaandTheatrequalificationaswellasforfurtherstudyofDramaorPerformingArtscoursesinHigherEducation.Itwillalsodeveloptransferableskillsdesiredbyallsectorsoftheindustry.Thisspecificationwillhelpcreateindependentlearners,criticalthinkersandeffectivedecisionmakers–allpersonalattributesthatcanmakethem

standoutastheyprogressthroughtheireducationandintoemployment.

OCR’sASLevelinDramaandTheatreprovidesacurriculumtoigniteandengagelearners’creativity,passionandinterests.Havingseparateperformanceanddesigncomponentsforthenon-examassessmentallowslearnerstofollowtheirowninterests.Theycanstudyeitherperformanceordesignskillsindepth.Italsoprovidesfreedomforlearnerstoexperimentandtakeriskswiththeirworkwhileworkingondevelopingtheirownstyle.

Therearenosettextsinthenon-examcomponentsasourviewisthatteachersshouldhavethefreedomtochoosethetextswhicharebestsuitedtotheirlearners.Thisspecificationprovidesthatfreedom.

Thisspecificationhasbeendesignedinconjunctionwithawiderangeofteacherstoensureaninclusivespecificationhasbeencreatedtoallowalllearnerstoachievetheirpotential.BycreatingassessmentswhichstemfromteachingandlearningandthestudyofDramaandTheatre,thisspecificationensuresthatthelearnerisattheheartofthequalification.

1b. Why choose an OCR AS Level in Drama and Theatre?

Aims and learning outcomes

OCR’sASLevelinDramaandTheatrewillencouragelearnersto:

• developandapplyaninformed,analyticalframeworkformaking,performing,interpretingandunderstandingdramaandtheatre

• understandtheplaceofrelevanttheoreticalresearchininformingtheprocessesandpracticesinvolvedincreatingtheatreandtheplaceofpracticalexplorationininformingtheoreticalknowledgeofdramaandtheatre

• developanunderstandingandappreciationofhowthesocial,culturalandhistoricalcontextsofperformancetextshaveinfluencedthedevelopmentofdramaandtheatre

• understandthepracticesusedintwenty-firstcenturytheatremaking

• experiencearangeofopportunitiestocreatetheatre,bothpublishedtext-basedanddevisedwork

• participateasatheatremaker(definedasapersonundertakingoneormoreofthefollowingroles:designer;lighting,sound,set(whichcanincludeprops),costume(whichcanincludehair,make-upandmasks)andpuppets;performer;director)andasanaudiencememberinlivetheatre

• understandandexperiencethecollaborativerelationshipbetweenvariousroleswithintheatre

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• developanddemonstratearangeoftheatremakingskills

• developthecreativityandindependencetobecomeeffectivetheatremakers

• adoptsafeworkingpracticesasatheatremaker

• analyseandevaluatetheirownworkandtheworkofothers(mayincludetheirown,theirpeers,amateurand/orprofessionalworks).

1c. What are the key features of this specification?

ThekeyfeaturesofOCR’sASLevelinDramaandTheatreare:

• separateperformanceanddesigncomponentsfortheperformeranddesignerrolesofferingasubstantialandrigorousperformingandnon-performingoptionthroughtheASLevel

• centrechoiceoftextsforthenon-examcomponents

• highpercentageofpracticalassessmentinthenon-examassessment

• focusedcharacterstudyfortheexamallowinglearnerstoexploretextsthroughpracticalactivitiesinlessons

• alllearnersgainknowledgeandunderstandingofperforming,designanddirecting

• assessmentobjectivesdividedintoseparatemarkingcriteriatomakeassessmenttransparentforteachersandlearners

• co-teachablecontentwithOCR’sALevelDramaandTheatrespecificationandaco-teachabilityguidetosupportteachers’curriculumplanning

• thoroughpreparationforlearnersenteringhighereducation,developingcreativethinkingandindependentlearningskillsalongsidepracticalskillsinDramaandTheatre

• teachingandlearningresourcesforallcomponentssupportingteacherstoteachthespecificationfromdayoneincluding:• DeliveryGuidesofferingadviceand

guidanceforteachersincludinghowtodelivertheoryinapracticalsetting,approachestoassessmentandchoosingtextsincludingsuggestionsappropriateforthecomponent

• TeacherGuidesofferinginformationonkeyaspectsofthecoursetosupportcurriculumplanning

• QualificationFactSheetsandTransitionGuidesofferingsummarisedinformationonakeythemesuitableforteachers,learnersandparents.

1d. How do I find out more information?

WehaveadedicatedteamofSubjectAdvisorsworkingonourqualifications.OurDramaSubjectAdvisorispartofthecreativeteam:www.ocr.org.uk/drama

AskourSubjectAdvisor:

Email:[email protected]

Phone:01223553998

Twitter:@OCR_PerformArts

E-bulletins:www.ocr.org.uk/updates

Community:www.ocr.org.uk/community

CPD:www.cpdhub.ocr.org.uk

http://www.ocr.org.uk/drama


https://twitter.com@OCR_PerformArts

http://www.ocr.org.uk/updates

http://www.ocr.org.uk/community

http://www.cpdhub.ocr.org.uk

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LearnerstaketwocomponentstobeawardedOCR’sASLevelinDramaandTheatre:

• components:01/02or03/04• component:05.

Content Overview Assessment Overview

Thestudyofperformancebyrecording,observing,evaluating,analysingandparticipatinginthe

performanceprocess.

Component01/02Performinglivetheatre.

Component03/04Designingforlivetheatre.

Processtoperformance*(01/02)Performing(03/04)Designing

120marks

Non-examassessment**

60% oftotalASlevel

Learnerswillexplorepracticallytwoperformancetextsona

chosentheme.

Learnerswillanalyseandevaluatealivetheatreperformance.

Exploringperformance*(05)

80marks

2hours15minutes

Writtenpaper**

40% oftotalASlevel

* Indicatesinclusionofsynopticassessment.

**Thequalityofextendedresponseisassessedinthe‘Processtoperformance’componentwithintheresearchreportandinSectionBofthe‘Exploringperformance’.PleaseseeSection3eforfurtherdetails.

2a. OCR’s AS Level in Drama and Theatre (H059)

2 The specification overview

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OCR’sASlevelinDramaandTheatrewillrequirelearnerstoparticipateinoneperformancecomponentaseitherperformersordesigners.Thiswillbeaperformancefromatextinformedbytheworkofothers.

Non-exam assessment roles

ThisASlevelcourseisdesignedtoallowlearnerstogainapracticalunderstandingofDramaandTheatre,alongsideapplyingthisknowledgetotheirperformanceswhiledevelopingtheirpracticalskills.

Learnerscanchoosetobeaperformeroradesigneroflighting,sound,setorcostume.Learners must choose one role throughout the qualification.Therolewilldeterminewhichcomponentsthelearnerscomplete.

Performing Design

Processtoperformance(01/02)

Processtoperformance(03/04)

Exploringperformance(05)

Texts in AS level Drama and Theatre

Learnerswillstudythreedifferenttextsinthiscourse,oneinfullandtwoinpartusingextractsfromthetext.Thetextforthenon-examcomponentcanbechosenbythecentre.Theexamtextsmustbechosenfromthelistofsettextsgiveninthecomponent.

Learnersarerequiredtostudythreedifferenttexts,allofwhichmusthavebeenprofessionallycommissionedorprofessionallyproduced.Thesemustrepresentarangeofsocial,culturalandhistoricalcontexts.

Performancetextsmustalsobelongerthan60minutesinperformancetimewhenperformedinfull.

Textscannotbebythesameplaywrightandmustcontrastwithbothchosensettextsinatleastthreeofthefollowingways:

• castsize

• culture(textsfromdifferentcultures)

• datewritten(orperiodoforigin)

• genre

• performancelength

• performancestyle

• structure/form.

Useofthe‘DramaTextManagementService’beforelearnersbegintostudythecourseismandatoryinordertoensurethatthecriteriaaremet.Thisisaquickandeasywayofcheckingthatthechosentextsmeetthecriteria.

Thetablebelowshowswherethetextsarearrangedinthecourse.Atextcannotbestudiedformorethanonecomponent.

Processtoperformance(01/02)or(03/04)

Onefulltext

Exploringperformance(05)

Extractsfromtwodifferenttexts

Tostudyanextractalearner,asaminimum,must:

• readthewholetext

• explorepracticallytheopening10minutesofthetextandatleastthreeadditionalscenesfromacrossthetext(examinedcomponents).ForfurtherguidanceseeAppendix5h.

Tocheckthatthetextcombinationyouhavechosenmeetsthecriteria,youmust useOCR’s‘DramaTextManagementService’,availablefromwww.ocr.org.uk.Itisessentialthatyouperformthischeck.Thismustbecompletedannuallyandmustberesubmittediftheperformancetextsarechangedduringthecourse.

Centresareremindedthatifthecombinationoftextsselecteddoesnotmeetthecriteria,asexplainedinthissection,thenlearnerswillnotbeawardedagradeforthequalification.

ForfurtheradviceonvalidcombinationspleasecontactOCRusingdrama@ocr.org.uk.

2b. Content of AS Level in Drama and Theatre (H059)

http://www.ocr.org.uk.

http://[email protected]

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Practitioners in AS Level Drama and Theatre

Learnerswillstudyonepractitionerinthe‘Processtoperformance’component(01/02,03/04).Thecentre-chosenpractitionermustmeetthecriteriasetoutinAppendix5f.

Toensurethatthepractitioneryouhavechosenmeetsthecriteria,youmustuseOCR’s‘DramaTextManagementService’,availablefromwww.ocr.org.uk.Itisessentialthatyouperformthischeckforyourpractitionerwhenyousubmityourtextchoices.

Useofthe‘DramaTextManagementService’toolbeforelearnersbegintostudythecourseis

mandatoryinordertoensurethatthecriteriaaremet.Thisisaquickandeasywayofcheckingthatthechosentextsmeetthecriteria.

Thismustbecompletedannuallyandmustberesubmittedifthepractitionerischangedduringthecourse.

Centresareremindedthatifthechosenpractitionerdoesnotmeetthecriteria,asexplainedinAppendix5f,thenlearnerswillnotbeawardedagradeforthequalification.

Forfurtheradviceoncentre-chosenpractitionerspleasecontactOCRusingdrama@ocr.org.uk.

http://www.ocr.org.uk


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Theaimofthiscomponentistouseactingskillstocommunicatethemeaninginaperformancetexttoanaudience.Learnersarerequiredtostudyonecentre-chosenperformancetext.

Thecomponentisdesignedforlearnerstoresearchandevaluatetheworkofapractitionerthroughwrittenanalysisandpracticalperformance.Learnersdemonstratetheirknowledgeandunderstandingofhowmeaningiscommunicatedtoanaudienceinaperformance.

Learnerswillacquire,developandapplyskillsinusingmethodologiesfromonepractitioner.Theywillusetheatricalskillsinalivetheatrecontextasaperformer.

Learnerswillrealiseartisticintentionthroughinterpretingpublishedperformancetexts,applyingresearch,andcreatingcoherencewhilecommunicatingmeaningtoanaudience.

Learnerswilldemonstrateknowledgeandunderstandingoftheproductionprocessesandpracticesincollaborativetheatre;artisticintention;researchanddevelopmentofideas;interpretationoftexts;semiotics;rehearsingandrealisation.

Learnerswillpreparearesearchreportandproduceaportfolioastheycreateanddeveloptheirperformance.

2c. Content of: Process to performance – performing (01/02)

Process to performance – performing

Learners should: Learners should know and understand:

Learners should be able to:

• explorepracticallyonewholeperformancetext

• createaresearchreportandportfolioduringthepreparationforaperformance

• demonstratetheiractingskillstorealiseaperformance.

• howtocreateartisticintention

• howtoresearchanddevelopideas

• howtointerprettexts• effectivedirectionand

rehearsal• theuseofperformance

space• therelationshipbetween

performersandaudience(proxemics)

• interpretationofcharacterisationandperformers’realisation

• theuseofsemiotics• howcreativeandartistic

choicesinfluencethewaymeaningiscommunicated

• recordlearningprocessesaccurately,includingrehearsingandresearch

• explorepracticallytheirchosenpractitioner

• analysehowthetextconveysmeaningexploringartisticintentionandexplorethesocial,culturalandhistoricalcontextofthetext

• usetheatricaltechniquesandconventionsinaliveperformance

• analysetheprocessofexploringtheworkofothersincorporatingtheirresearchintotheirperformance

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• thesocial,historicalandculturalcontextoftheirchosentext

• howresearchandindependentthoughtinformdecisionmakingintheirownwork

• howtoapplyactingskillstorealiseartisticintentionandcommunicatemeaningtoanaudience

• howtocontributetoaperformanceasawhole.

• analyseandevaluatetheeffectivenessofalivetheatreperformanceandconsidertheperformanceprocess

• analysetheirproductionprocessincludinghowcollaborativetheatreismade,howmeaningisconveyed,howideasareresearchedanddeveloped,howtextsareinterpreted,howmaterialisrehearsedandrealised

• demonstrateconnectionsbetweentheoryandpracticeintheirownwork

• showhowthemes,dramatictechniquesandconventions,semiotics,characterisationandcontextcontributetothecreationofaperformance

• workcollaborativelyandsafely,sharingideastocreateanddevelopdramaandtheatre

• performarehearsedsectionfromtheirstudiedtextfrommemorydemonstratingcommandofperformanceskills

• useaccuratesubject-specificterminology

• contributetoafinalperformancerealisedbyagroupofperformers.

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Theaimofthiscomponentistousedesignskillstocommunicatethemeaninginaperformancetexttoanaudience.Learnersarerequiredtostudyonecentre-chosenperformancetext.

Thecomponentisdesignedforlearnerstoresearchandevaluatetheworkofapractitionerthroughwrittenanalysisandpracticalperformance.Learnersdemonstratetheirknowledgeandunderstandingofhowmeaningiscommunicatedtoanaudienceinaperformance.

Learnerswillacquire,developandapplyskillsinusingmethodologiesfromonepractitioner.Theywillusetheatricalskillsinalivetheatrecontextasadesigner.

Learnerswillrealiseartisticintentionthroughinterpretingpublishedperformancetexts,applyingresearch,andcreatingcoherencewhilecommunicatingmeaningtoanaudience.

Learnerswilldemonstrateknowledgeandunderstandingoftheproductionprocessesandpracticesincollaborativetheatre;artisticintention;researchanddevelopmentofideas;interpretationoftexts;semiotics;rehearsingandrealisation.

Learnerswillpreparearesearchreportandproduceaportfolioastheycreateanddeveloptheirdesignsforperformance.

2c. Content of: Process to performance – design (03/04)

Process to performance – design



• explorepracticallyonewholeperformancetext

• createaresearchreportandportfolioduringthepreparationforaperformance

• demonstratetheirdesignskillstorealisedesignsinaperformance.

• howtocreateartisticintention

• howtoresearchanddevelopideas

• howtointerprettexts• effectivedirectionand

rehearsal• theuseofperformance

space• therelationshipbetween

performersandaudience(proxemics)

• thedesignofset,lighting,makeup,soundandprops

• theuseofsemiotics• howcreativeandartistic

choicesinfluencethewaymeaningiscommunicated

• recordlearningprocessesaccurately,includingrehearsingandresearch

• explorepracticallytheirchosenpractitioner

• analysehowthetextconveysmeaningexploringartisticintentionandexplorethesocial,culturalandhistoricalcontextofthetext

• usetheatricaltechniquesandconventionsinaliveperformance

• analysetheprocessofexploringtheworkofothersincorporatingtheirresearchintotheirperformance

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• thesocial,historicalandculturalcontextoftheirchosentext

• howresearchandindependentthoughtinformdecisionmakingintheirownwork

• howtoapplydesignskillstorealiseartisticintentionandcommunicatemeaningtoanaudience

• howtocontributetoaperformanceasawhole.

• analyseandevaluatetheeffectivenessofalivetheatreperformanceandconsidertheperformanceprocess

• analysetheirproductionprocessincludinghowcollaborativetheatreismade,howmeaningisconveyed,howideasareresearchedanddeveloped,howtextsareinterpretedandhowdesignsarecreated,rehearsedandrealised

• demonstrateconnectionsbetweentheoryandpracticeintheirownwork

• showhowthemes,dramatictechniquesandconventions,semiotics,characterisationandcontextcontributetothecreationofaperformance

• workcollaborativelyandsafely,sharingideastocreateanddevelopdramaandtheatre

• designforaperformancedemonstratingcommandofdesignskills

• useaccuratesubject-specificterminology.

• contributetoafinalperformancerealisedbyagroupofperformers.

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Thiscomponentconsistsoftwosections.TheaimofSectionAistoenablelearnerstodemonstrateknowledgeandunderstandingofhowextractsfromthechosentextscanberehearsedandinterpretedinperformance,showinganawarenessofcharacterisation,performancestyle,genreandcontext.

TheaimofSectionBistoallowlearnerstoanalyseandevaluatelivetheatre.

Learnerswillexplorehowcharacterscanbeinterpretedanddevelopedreadyforaperformance.Thiscomponentisassessedthroughawrittenexambutpreparationmustincludepracticalstudy.

SectionAwillincludestudyoftwodifferentperformancetextswhichexploreoneofthefollowingthemes:

• conflict

• familydynamics

• heroesandvillains.

Centreschoosetwotextsfromonetheme.

Learnersmustexplorepracticallytheopening10minutesofeachtextandatleastthreeadditionalscenesfromacrossthetext.ForfurtherguidanceseeAppendix5h.

Learnersarenotpermittedtohaveaccesstothetextintheexamination.

Allofthesettextsinthiscomponentcannotbeperformedforassessmentin‘Processtoperformance’(Component01/02or03/04).

Thesettextswillbereviewedafterthreeyearsandmaybesubjecttochange.Ifatextistoberemovedfromthelistandreplacedwithanothertext,centreswillbenotifiedayearinadvance.

InSectionBlearnersarerequiredtohaveseenalivetheatreperformance.DetailsontheperformanceswhichcanbeanalysedandevaluatedforthiscomponentcanbefoundinAppendix5e.

ThelearnersmustwatchthisperformanceduringthecourseoftheirASLevelstudy.Atthestartoftheiranswertheymuststatethenameoftheperformance,thevenue,andthedate(monthandyear)theperformancewasseen.

2c. Content of: Exploring performance (05)

Choose TWO texts from ONE theme

Conflict Family dynamics Heroes and villains

Black Watch–GregoryBurke

Hamlet–WilliamShakespeare

Necessary Targets–EveEnsler

Oh What a Lovely War–JoanLittlewood

The Long and the Short and the Tall–WillisHall

A Day In The Death Of Joe Egg–PeterNichols

Caucasian Chalk Circle–BertoltBrecht

House of Bernarda Alba–FedericoGarcíaLorca

King Lear–WilliamShakespeare

Live Like Pigs–JohnArden

Amadeus–PeterShaffer

Caligula–AlbertCamus

Frankenstein–NickDear

Othello–WilliamShakespeare

The Love Of The Nightingale– TimberlakeWertenbaker

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Exploring performance



• inSectionA:analysetwodifferentperformancetexts,ononeofthefollowingthemes:• conflict• familydynamics• heroesandvillains.

• howanactor’sphysicalandvocalskillscouldbeusedtointerpretacharacter

• howconventions,formandtechniquesareusedtocreatemeaning

• waysinwhichsemioticsareusedtoconveymeaningintheperformancetextstheyhavestudied

• howtheuseofperformancespaceandrelationshipbetweencharactersonstagecanbeusedtocommunicatetoanaudience

• therelationshipbetweentheactorsandaudienceandhowcreativeandartisticchoicesinfluencethewaythatmeaningiscommunicatedtoanaudience

• thecollaborativeprocessesrequiredtocreateatheatreperformance

• howsetdesign,lighting,sound,props,costumeandmakeupcouldbeusedtosupportcharacterisation

• howtoarticulateapersonalresponse.

• articulateaninformed,creative,personalandpracticalvisionaboutdifferentwaysinwhichacharactercouldbecommunicatedtoanaudience,includingthephysical,vocalandspatialdecisionsmadebyanactor

• demonstratepracticalunderstandingofthesignificanceandinfluenceofthecontextsinwhichtheselectedperformancetextswerewritten

• demonstrateaclearpracticalunderstandingofhowdramatictechniquescansupportaninterpretationofcharacter

• justifyperformancedecisionsbydemonstratingclearevidenceofexploringanddevelopingcharacterthroughpracticalexplorationofperformancetexts.

• inSectionB:analyseandevaluatetheworkofothersthroughwatchinglivedramaandtheatre.

• themeaningofdramaandtheatreterminologyusedbytheatremakers

• howtoanalysealivetheatreperformance

• howtoevaluatetheworkofothersdrawingconsideredconclusions.

• selectanduseappropriatesubject-specificterminology

• discuss,analyseandevaluatelivetheatreusingtheirknowledgeandunderstandingofdrama

• analyseandevaluatetheacting,design,directionandthecharacteristicsoftheperformancetextseen.

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Nopriorknowledgeofthesubjectisrequired.

LearnerswhoarebeginninganASlevelcoursemayhavecompletedGCSEDramaoraLevel2PerformingArtscourse.

ItisrecommendedthatlearnerswhohavenotcompletedKeyStage4studyhaveexperiencedpracticaldrama,eitherthroughschoolperformancesorperformanceswithlocalyouthdramagroups.

OCR’sASlevelDramaandTheatrecourseisalsoanidealintroductiontotheALevelforlearnerswithlimitedexperienceofstudyingDramaandTheatre.

ThisqualificationprovidesastrongfoundationforlearnerstoprogresstoHigherEducationandequipslearnersforprogressionintotheworkplace.

Learnerschooseeitheraperformingordesignrolethroughthisqualification.LearnerscanchoosetocompleteadifferentrolethroughOCR’sALevelinDramaandTheatreforabroaderassessmentatLevel3inthissubject.

ThereareanumberofDramaspecificationsatOCR.Findoutmoreatwww.ocr.org.uk/drama.

2d. Prior knowledge, learning and progression

http://www.ocr.org.uk/drama

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OCR’sASLevelinDramaandTheatreconsistsofonecomponentthatisexternallyassessedandonecomponentthatisassessedbythecentreandexternallymoderatedbyOCR.

‘Processtoperformance’(Component01/02or03/04)isnon-examassessment.Thiscomponentisinternallyassessedandexternallymoderated.Itconsistsofaresearchreport,aportfolioandaperformancefromatext.

Learnerscantakeontheroleofperformer(01/02)ordesigner(03/04–lighting,sound,setorcostume)inthiscomponent.Itisworth60%ofthequalification.

Qualityofextendedresponsewillbeassessedinthiscomponent.

Components01/02and03/04areoutof120marks.40marksareforAO1,60areforAO2and20areforAO4.

‘Exploringperformance’(Component05)isanexaminedcomponentconsistingofextendedresponseessayquestions.Itisworth40%ofthequalification.

Qualityofextendedresponsewillbeassessedinthiscomponent.

Component05isoutof80marks.SectionA:40marksforAO3.SectionB:10marksforAO3and30marksforAO4.

Learners must not study the same text for more than one component.

3a. Forms of assessment

3 Assessment of AS Level in Drama and Theatre

3b. Assessment objectives (AO)

TherearefourAssessmentObjectivesinOCRASLevelinDramaandTheatre.Thesearedetailedinthetablebelow.

Learnersareexpectedtodemonstratetheirabilityto:

Assessment Objective

AO1 Createanddevelopideastocommunicatemeaningaspartofthetheatremakingprocess,makingconnectionsbetweendramatictheoryandpractice.

AO2 Applytheatricalskillstorealiseartisticintentionsinliveperformance.

AO3 Demonstrateknowledgeandunderstandingofhowdramaandtheatreisdevelopedandperformed.

AO4 Analyseandevaluatetheirownworkandtheworkofothers.

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TherelationshipbetweentheAssessmentObjectivesandthecomponentsintermsofmarksareshowninthefollowingtable:

Mark Distribution of AO weightings in OCR AS Level in Drama and Theatre

Component AO1 AO2 AO3 AO4

Processtoperformance(H059/01/02orH059/03/04) 40 60 20

Exploringperformance(H059/05) 50 30

Total 40 60 50 50

3c. Assessment availability

TherewillbeoneexaminationseriesavailableeachyearinMay/Junetoall learners.

ThisspecificationwillbecertificatedfromtheJune2017examinationseriesonwards.

Assessmentsbyexaminationmustallbetakeninasingleyearattheendofthecourse.

3d. Retaking the qualification

Learnerscanretakethequalificationasmanytimesastheywish.Learnersmustretakeallexaminedcomponentsbuttheycanchoosetoeitherretake

thenon-examassessment(NEA)componentsorcarryforward(re-use)theirmostrecentresult(seeSection4d).

3e. Assessment of extended response

Theassessmentmaterialsforthisqualificationprovidelearnerswiththeopportunitytodemonstratetheirabilitytoconstructanddevelopasustainedandcoherentlineofreasoningandmarksforextended

responsesareintegratedintothemarkingcriteria.Thisisassessedinthe‘Processtoperformance’componentwithintheresearchreportandinSectionBofthe‘Exploringperformance’component.

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Planning of the task

Itisexpectedthattheteacherwillprovidedetailedguidancetolearnersinrelationtothepurposeandrequirementofthetask.Theteachershouldensurethatlearnersareclearabouttheassessmentcriteriawhichtheyareexpectedtomeetandtheskillswhichtheyneedtodemonstrateinthetask.Anyexplanationorinterpretationgivenbyteachersmustbegeneralandnotspecifictolearners’work.

Drafting

What teachers can do:

Teachersmayreviewworkbeforeitishandedinforfinalassessment.Advicemustremaingeneral,enablinglearnerstotaketheinitiativeinmakingamendments.Onereviewshouldbesufficienttoenablelearnerstounderstandthedemandsoftheassessmentcriteria.

What teachers cannot do:

Teachersshouldnotgivedetailedadviceandsuggestionsastohowtheworkmaybeimprovedinordertomeettheassessmentcriteria.Thisincludesindicatingerrorsoromissionsandinterveningtoimprovethepresentationorcontentofthework.Thisincludescorrectionstospelling,punctuationandgrammar.

FurtherguidanceaboutthenatureofadvicethatteacherscangivetolearnerscanbefoundintheJCQInstructions for conducting non-examination assessment.

Feedback on rehearsals and performances

Inadditiontoadviceinthecomponentguidancesection,teachersmayoffergeneraladvicetolearnersduringrehearsalsonthefollowing:

• suitabilityoftheactingspace

• technicalfacilitiesavailable

• theneedforaprofessionalworkingrelationshipbetweenactors,designersanddirectors

• appropriatenessofrehearsalschedules

• healthandsafetyissuesthatmayarise.

Teachersmayalsooffergeneralfeedbackononerehearsedperformanceduringtherehearsalperiod.Advicemustremaingeneral,enablinglearnerstotaketheinitiativeinmakingamendments.Teachersmaynotgivedetailedadviceandsuggestionsastohowtheperformancemaybeimprovedinordertomeettheassessmentcriteria.

Authentication of learners’ work

Theassessedtasksforbothnon-examcomponentsmustbecompletedsothatteacherscanconfirmtheworksubmittedisthelearners’own,unaidedwork.

Marking

Markingshouldbepositive,rewardingachievementratherthanpenalisingfailureoromissions.Theawardingofmarksmustbedirectlyrelatedtothemarkingcriteriaintherelevanttables.Teachersshouldusetheirprofessionaljudgementinselectingbanddescriptorsthatbestdescribetheworkofthelearnertoplacethemintheappropriateband.Wherealearnercompletesmorethanoneperformanceaspartoftheirassessmentthebestfitapproachshouldbeused.Performancesshouldbemarkedasawholewithsectionsconsideredasabreakinperformanceasifinaninterval.

Toselectthemostappropriatemarkwithinthebanddescriptor,teachersshouldusethefollowingguidance:

• wherethelearner’sworkconvincinglymeetsthecriteria,thehighestmarkshouldbeawarded

• wherethelearner’sworkadequatelymeetsthecriteria,themostappropriatemarkinthemiddlerangeshouldbeawarded

• wherethelearner’sworkjustmeetsthecriteria,thelowestmarkshouldbeawarded.

Teachersshouldusethefullrangeofmarksavailabletothemandawardfullmarksinanybandforworkwhichfullymeetsthatdescriptor.

3f. Non-exam assessment: Guidance

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Forwidermarkbandsthemarksoneithersideofthemiddlemark(s)for‘adequatelymet‘shouldbeusedwherethestandardislowerorhigherthan‘adequate’butnotthehighestorlowestmarkintheband.

Teachersmustclearlyshowhowthemarkshavebeenawardedinrelationtothemarkingcriteria.Acombinationofthefollowingapproachesshouldbeadopted:

• summarycommentseitheronthework(usuallyattheend)oronacoversheet

• keypiecesofevidenceflaggedthroughouttheworkbyannotationinthemargin.

Indicationsastohowmarkshavebeenawardedshould:

• beclearandunambiguous

• beappropriatetothenatureandformofthework

• facilitatethestandardisationofmarkingwithinthecentretoenablethemoderatortochecktheapplicationoftheassessmentcriteriatothemarking.

Final submission

Centresmustcarryoutinternalstandardisationtoensurethatmarksawardedbydifferentteachersareaccurateandconsistentacrossalllearnersenteredfor‘Processtoperformance’(Component01/02or03/04).Inordertoensureteachersaremarkingtothecorrectstandard,centresshouldensuretheyusetheASlevelmarkingcriteriaandreferenceexemplarmaterial,or,whereavailable,workinthecentrefromthepreviousyear.OCRexemplarmaterialwillbeavailableontheOCRwebsite:www.ocr.org.uk.

Priortomarkingthewholecohort,teachersshouldmarkthesamesmallsampleofworktoallowforthecomparisonofmarkingstandards.

Whereworkfor‘Processtoperformance’(Component01/02or03/04)hasbeenmarkedbymorethanoneteacherinacentre,standardisationofmarkingshouldnormallybecarriedoutaccordingtooneofthefollowingprocedures:

• eitherasampleofworkwhichhasbeenmarkedbyeachteacherisremarkedbytheteacherwhoisinchargeofinternalstandardisation

• oralltheteachersresponsibleformarking‘Processtoperformance’exchangesomemarkedwork,(preferablyatameetingledbytheteacherinchargeofinternalstandardisation)andcomparetheirmarkingstandards

• or teacherscollaboratewhenmarkingtheworkandawardamarkagreedthroughdiscussionsduringmarking.

Wherestandardsarefoundtobeinconsistent,therelevantteacher(s)shouldmakeadjustmentstotheirmarksorreconsiderthemarksofalllearnersforwhomtheywereresponsible.

Ifcentresareworkingtogetherinaconsortium,theymustcarryoutinternalstandardisationofmarkingacrosstheconsortium.

Centresshouldretainevidencethatinternalstandardisationhasbeencarriedout.

Acleardistinctionmustbedrawnbetweenanyinterimreviewofnon-examassessmentandfinalassessmentfortheintendedexaminationseries.Onceworkissubmittedforfinalassessmentitmustnotberevised.Undernocircumstancesare‘faircopies’ofmarkedworkallowed.Addingorremovinganymaterialtoorfromnon-examassessmentafterithasbeenpresentedbyalearnerforfinalassessmentwillconstitutemalpractice.


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Therearethreepartstothenon-examassessmentfor‘Processtoperformance’:

Research into practitioners and the work of others – research report

Theresearchreportwillhavearecommendedmaximumof2000wordsandwillincludeadetailedbreakdownofthepracticalexercisescompletedandthestagesofexplorationusingtheperformancetext.

Quality of extended response is assessed in this task.

Creating and developing their performance – portfolio

Learnerswillproduceaportfoliooftheirprocessincludinghowtheydevelopedtheirperformanceandanalysisandevaluationoftheprocess.

Therecommendedmaximumlengthofaportfolioshouldbe:

• 24sidesA4whichmayinclude:• notes,sketches,diagrams,scripts,

storyboards,photographsandannotationsOR• 15minutesofrecordedpresentationwhich

mayinclude:• videodiary/videoblogs,recordingof

performanceactivitiescreatedthroughthetext-basedperformanceandslides/titleswithaudiocommentary

OR• 2400wordsofcontinuousprose.

Aportfoliocanalsocontainacombinationoftheabove.Thelengthofeachformatshouldbeinproportionoftheassessedworkitrepresents.Thefollowingcombinationsareshownasexamplesofcombinedportfolioformats:

• 12sidesA4with1200wordsprose

• 12sidesA4with8minutesrecordedpresentation

• 8minutesrecordedpresentationwith1200words





• 5minutesrecordedpresentationwith1600wordsprose

• 10minutesrecordedpresentationwith800wordsprose

• 8pagesA4with5minutesrecordedpresentationand800wordsprose.

Learnersshouldanalyseandevaluatetheirworkthroughouttheprocess.Appendicesarenotpermitted.

Text-based performance

Component 01/02 – performing

Learnersperformanextractorextractsfromonecentre-chosentext.Learnersperformforarecommendedtotalofbetween8and20minutes.Theminimumandmaximumrecommendedperformancetimecancontainperformancesofanyofthefollowing:

• monologue:2minutesto3minutes

• duologue:4minutesto6minutes

• groupofthree–five:6minutesto12minutes

• groupofsix–eight:12minutesto18minutes.

Themaximumgroupsizeforaperformanceiseightperformersplusonedesignerperrole.Thefinalassessedperformancemustbevideorecorded.

3f. Non-exam assessment: Process to performance (01/02 and 03/04)

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Learnerscannotperformmorethanonemonologue.Learnersmustcompleteanabsoluteminimumperformancetimeof5 minutesinthiscomponentasarequirementofthecourse.Learners who do not meet this requirement will be awarded 0 marks for AO2 in this component.

Learnersworkingwithdesignersareexpectedtoworkcollaborativelyinrehearsals.Learnersworkingwithoutdesignersareexpectedtorealiseaminimalamountoflighting,sound,setand/orcostumeasisnecessaryfortheperformance.Thisisnotassessedforperformancelearners.

Component 03/04 – design

Designersmustworkwithaperformancegroupwhoseperformancemeetstheminimumtimessetoutabove.

Learnerscanchoosefromthefollowingdesignroles:

• lighting

• sound

• lightingandsound(combined)*

• set(includingpropsandmultimediastaging)

• costume(includinghair,makeupandmasks).

*Lightingandsound(combined)cannotbechosenwherealightingand/orsounddesignerispartoftheperformancegroup.

Theminimumrequirementsfordesignersareasfollows:

• lighting–afulllightingdesignfortheperformancewithacuesheetdetailinglanternsusedandthedifferinglightingstates.Aminimumof10lightingchangesevidentintheperformance.Lightsupandlightsdownarenotincludedinthisnumber.Discusswith

appropriatestafftheselection,riggingandplottingofthelights.Duringtheperformancelearnersmustoperatethelightingdesk.

• sound–afullsoundsheetwithoriginalandcopiedcuesleadingtoafinalisedsoundCDforuseinthefinalperformance.Aminimumof10soundcuesevidentintheperformance.Duringtheperformancelearnersmustoperatethesounddesk.

• lightingandsound(combined)–acombinationoftherequirementsforsoundandlightingwhichareapproximatelyequalinweightingwhichtotal10cuesinperformance.

• set–ascalemodelandadetailedgroundplanofthesetwhichincludestwosetchangesduringtheperformance.Sourcingtheset(andprops)fortheperformanceandsupervisionoftheconstructionofthesetwhereappropriate.Learnersmustdressthesetreadyforperformanceandmustrealisethesetinthefinalperformanceincludingthetwochanges.

• costume–afinaldesignof:• eithertwofullcostumesincludinghair

andmakeupdetailwhicharesourcedandrealisedinperformance

• ortwofullcostumesincludingmask(s)whicharesourcedandrealisedinperformance

• orfourcostumesforcharacters(excludinghair,makeupormasks)whicharesourcedandrealisedinperformance

• thesecostumescanbefordifferentcharactersordifferentcostumesforoneormorecharacters.

For‘Processtoperformance’(Component01/02or03/04)teachersmustassesslearners’workusingthemarkinggridsonpages22–31.Learnerswillbeawardedfiveseparatemarkswhichareaddedtogethertogivethetotalmarkforthiscomponentoutof120.

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ThefollowingtableshowswhereAssessmentObjectivesaretargetedinthiscomponentandwhichevidenceitisrelatedto.

3f. Marking criteria

Assessment Objective Evidence submitted Marking grids

AO1–Createanddevelopideastocommunicatemeaningaspartofthetheatre-makingprocess,makingconnectionsbetweendramatictheoryandpractice

Researchreport Pages21–22

AO1–Createanddevelopideastocommunicatemeaningaspartofthetheatre-makingprocess,makingconnectionsbetweendramatictheoryandpractice

Portfolio Pages23–24

AO4–Analyseandevaluatetheirownworkandtheworkofothers

Researchreportandportfolio

Pages25–26

AO2–Applytheatricalskillstorealiseartisticintentionsinliveperformance

Performance Pages27–28

AO2–Applytheatricalskillstorealiseartisticintentionsinliveperformance

Performance Performers:pages29–30Designers:pages31–32

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Learnersareexpectedtodemonstratetheirabilitytoshow:

AO1

Research report

Band 5:

17–20 marks

Highlydevelopedresearchonthechosenpractitioners,demonstratingahighlydevelopedunderstandingofthesocial,culturalandhistoricalcontextofthetimetheywere/areworking.

Accomplishedpracticalexplorationoftheexercisesontheirchosenpractitioner.

Accomplishedpracticaluseoftheworkingmethodologiesofthechosenpractitionerincreating,developingandrehearsingaperformancetext.

Highlydevelopedresearchintothesocial,culturalandhistoricalcontextofthetext,performanceconditionsandtheplaywrighttoinformthetheatre-makingprocess.

There is a highly developed and sustained line of reasoning which is coherent and logically structured. The information presented is entirely relevant and substantiated.

AO1

Research report

Band 4:

13–16 marks

Well-developedresearchonthechosenpractitioners,demonstratingaconfidentunderstandingofthesocial,culturalandhistoricalcontextofthetimetheywere/areworking.

Confidentpracticalexplorationoftheexercisesontheirchosenpractitioner.

Well-developedpracticaluseoftheworkingmethodologiesofthechosenpractitionerincreating,developingandrehearsingaperformancetext.

Well-developedresearchintothesocial,culturalandhistoricalcontextofthetext,performanceconditionsandtheplaywrighttoinformthetheatre-makingprocess.

There is a well-developed line of reasoning which is clear and logically structured. The information presented is relevant and in the most part substantiated.

AO1

Research report

Band 3:

9–12 marks

Competentresearchonthechosenpractitioners,demonstratingaclearunderstandingofthesocial,culturalandhistoricalcontextofthetimetheywere/areworking.

Competentpracticalexplorationoftheexercisesontheirchosenpractitioner.

Clearpracticaluseoftheworkingmethodologiesofthechosenpractitionerincreating,developingandrehearsingaperformancetext.

Clearresearchintothesocial,culturalandhistoricalcontextofthetext,performanceconditionsandtheplaywrighttoinformthetheatre-makingprocess.

There is a clear line of reasoning presented with some structure. The information presented is in the most-part relevant and supported by some evidence.

Internal assessment marking grid – research report

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AO1

Research report

Band 2:

5–8 marks

Basicresearchonthechosenpractitioners,demonstratingabasicunderstandingofthesocial,culturalandhistoricalcontextofthetimetheywere/areworking.

Basicpracticalexplorationoftheexercisesontheirchosenpractitioner.

Basicpracticaluseoftheworkingmethodologiesofthechosenpractitionerincreating,developingandrehearsingaperformancetext.

Basicresearchintothesocial,culturalandhistoricalcontextofthetext,performanceconditionsandtheplaywrighttoinformthetheatre-makingprocess.

The information has some relevance and is presented with a basic structure. The information is supported by basic evidence.

AO1

Research report

Band 1:

1–4 marks

Limitedresearchonthechosenpractitioners,demonstratingalimitedunderstandingofthesocial,culturalandhistoricalcontextofthetimetheywere/areworking.

Limitedpracticalexplorationoftheexercisesontheirchosenpractitioner.

Limitedpracticaluseoftheworkingmethodologiesofthechosenpractitionerincreating,developingandrehearsingaperformancetext.

Limitedresearchintothesocial,culturalandhistoricalcontextofthetext,performanceconditionsandtheplaywrighttoinformthetheatre-makingprocess.

The information has some relevance, but is communicated in an unstructured way. The information is supported by limited evidence and the relationship to the evidence may not be clear.

AO1 0 marks Noresponseornoresponseworthyofcredit.

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AO1

Portfolio

Band 5:

17–20 marks

Highlydevelopedconnectionsbetweentheworkofothersandthedevelopmentoftheperformance.

Highlydevelopednarrativeofthelearner’sjourneythroughthecreatinganddevelopingforaperformancefromatexttoanaudience.

Accomplisheddevelopmentofanexperimentalandcollaborativeapproachtocreatinganddevelopingaperformance.

Highlydevelopedconnectionsbetweentheoryandpracticewhencreatinganddevelopingthetextperformance.

AO1

Portfolio

Band 4:

13–16 marks

Well-developedconnectionsbetweentheworkofothersandthedevelopmentoftheperformance.

Confidentnarrativeofthelearner’sjourneythroughthecreatinganddevelopingforaperformancefromatexttoanaudience.

Confidentdevelopmentofanexperimentalandcollaborativeapproachtocreatinganddevelopingaperformance.

Confidentconnectionsbetweentheoryandpracticewhencreatinganddevelopingthetextperformance.

AO1

Portfolio

Band 3:

9–12 marks

Clearconnectionsbetweentheworkofothersandthedevelopmentoftheperformance.

Competentnarrativeofthelearner’sjourneythroughthecreatinganddevelopingforaperformancefromatexttoanaudience.

Cleardevelopmentofanexperimentalandcollaborativeapproachtocreatinganddevelopingaperformance.

Clearconnectionsbetweentheoryandpracticewhencreatinganddevelopingthetextperformance.

AO1

Portfolio

Band 2:

5–8 marks

Basicconnectionsbetweentheworkofothersandthedevelopmentoftheperformance.

Basicnarrativeofthelearner’sjourneythroughthecreatinganddevelopingforaperformancefromatexttoanaudience.

Basicdevelopmentofanexperimentalandcollaborativeapproachtocreatinganddevelopingaperformance.

Basicconnectionsbetweentheoryandpracticewhencreatinganddevelopingthetextperformance.

Internal assessment marking grid – portfolio

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AO1

Portfolio

Band 1:

1–4 marks

Limitedconnectionsbetweentheworkofothersandthedevelopmentoftheperformance.

Limitednarrativeofthelearner’sjourneythroughthecreatinganddevelopingforaperformancefromatexttoanaudience.

Limiteddevelopmentofanexperimentalandcollaborativeapproachtocreatinganddevelopingaperformance.

Limitedconnectionsbetweentheoryandpracticewhencreatinganddevelopingthetextperformance.


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AO4

Analysis and evaluation

Band 5:

17–20 marks

Accomplishedanalyticalandevaluativerecordofexplorationofthepractitioners’workingmethodsandtextexploration.

Highlydevelopedevaluationofthelearner’sownwork.

Highlydevelopedreflectionontheprocessofcreatingandrehearsinglivetheatre.

Highlydevelopedanalysisofthetextandaccomplishedjustificationfordecisionsmadeduringthecreatinganddevelopingprocess.

Accomplishedperceptiveanalysisofhowcreativeandartisticchoicesconveymeaningtoanaudience.

AO4


Band 4:

13–16 marks

Confidentanalyticalandevaluativerecordofexplorationofthepractitioners’workingmethodsandtextexploration.

Well-developedevaluationofthelearner’sownwork.

Confidentreflectionontheprocessofcreatingandrehearsinglivetheatre.

Confidentanalysisofthetextandconfidentjustificationfordecisionsmadeduringthecreatinganddevelopingprocess.

Confidentanalysisofhowcreativeandartisticchoicesconveymeaningtoanaudience.

AO4


Band 3:

9–12 marks

Competentanalyticalandevaluativerecordofexplorationofthepractitioners’workingmethodsandtextexploration.

Clearevaluationofthelearner’sownwork.

Clearreflectionontheprocessofcreatingandrehearsinglivetheatre.

Clearanalysisofthetextandclearjustificationfordecisionsmadeduringthecreatinganddevelopingprocess.

Clearanalysisofhowcreativeandartisticchoicesconveymeaningtoanaudience.

AO4


Band 2:

5–8 marks

Basicanalyticalandevaluativerecordofexplorationofthepractitioners’workingmethodsandtextexploration.

Basicevaluationofthelearner’sownwork.

Basicreflectionontheprocessofcreatingandrehearsinglivetheatre.

Basicanalysisofthetextandbasicjustificationfordecisionsmadeduringthecreatinganddevelopingprocess.

Basicanalysisofhowcreativeandartisticchoicesconveymeaningtoanaudience.

Internal assessment marking grid – research report and portfolio: analysis and evaluation

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AO4


Band 1:

1–4 marks

Limitedanalyticalandevaluativerecordofexplorationofthepractitioners’workingmethodsandtextexploration.

Limitedevaluationofthelearner’sownwork.

Limitedreflectionontheprocessofcreatingandrehearsinglivetheatre.

Limitedanalysisofthetextandlimitedjustificationfordecisionsmadeduringthecreatinganddevelopingprocess.

Limitedanalysisofhowcreativeandartisticchoicesconveymeaningtoanaudience.


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AO2

Intention and communication

Band 5:

25–30 marks

Accomplishedrealisationofthepiece,demonstratingahighlydevelopedunderstandingofthedemandsofthetext.

Highlydevelopedabilitytocommunicatemeaningtoanaudiencewithcommitmentandpurpose.

Accomplishedandhighlydevelopedinterpretationshowinganappreciationoftheartisticintentionoftheplaywrightorpractitioner.

Highlydevelopedperformancewithanaccomplisheddemonstrationofthechosenpractitioners’style.

AO2


Band 4:

19–24 marks

Confidentrealisationofthepiece,demonstratingaconfidentunderstandingofthedemandsofthetext.

Confidentabilitytocommunicatemeaningtoanaudiencewithcommitmentandpurpose.

Aconfidentandwell-developedinterpretationshowinganappreciationoftheartisticintentionoftheplaywrightorpractitioner.

Well-developedperformancewithaconfidentdemonstrationofthechosenpractitioners’style.

AO2


Band 3:

13–18 marks

Acompetentrealisationofthepiece,demonstratingaclearunderstandingofthedemandsofthetext.

Competentabilitytocommunicatemeaningtoanaudiencewithcommitmentandpurpose.

Acompetentandclearinterpretationshowinganappreciationoftheartisticintentionoftheplaywrightorpractitioner.

Competentperformancewithacleardemonstrationofthechosenpractitioners’style.

AO2


Band 2:

7–12 marks

Abasicrealisationofthepiece,demonstratinganunder-developedunderstandingofthedemandsofthetext.

Under-developedabilitytocommunicatemeaningtoanaudiencewithcommitmentandpurpose.

Abasicandunder-developedinterpretationshowinganappreciationoftheartisticintentionoftheplaywrightorpractitioner.

Under-developedperformancewithabasicdemonstrationofthechosenpractitioners’style.

Internal assessment marking grid – all roles: text performance

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AO2


Band 1:

1–6 marks

Anineffectiverealisationofthepiece,demonstratingalimitedunderstandingofthedemandsofthetext.

Limitedabilitytocommunicatemeaningtoanaudiencewithcommitmentandpurpose.

Anineffectiveandlimitedinterpretationshowinglimitedappreciationoftheartisticintentionoftheplaywrightorpractitioner.

Ineffectiveperformancewithalimiteddemonstrationofthechosenpractitioners’style.


Theperformancetimeislessthan5minutes.

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AO2

Performance skills

Band 5:

25–30 marks

Highlydevelopedcharacterisations;rolesthatarehighlydeveloped,refined,rigorouslyrehearsedanddemonstrateoutstandingrapportwithothermembersofthecastsustainedduringtheperformance.

Accomplishedcontroloftheuseofvocalandphysicalaspectsofperformance;pitch,tone,inflectionandprojectionconsistentlyexcellentthroughouttheperformance.

Accomplishedabilitytocreatemoodandatmosphere,developingtensionandrelaxation,controllingpacingandstillnesswithsensitivity.

Highlydevelopedcontributiontotheperformanceasawhole,sustainedduringalltheextract(s)performed.

AO2

Performance skills

Band 4:

19–24 marks

Well-developedcharacterisations;rolesthataregenerallywellcrafted,havebeenrefined,wellrehearsedanddemonstrateconfidentrapportwithothermembersofthecast,mostlysustainedduringtheperformance.

Confidentcontrolintheuseofvocalandphysicalaspectsofperformance;useofpitch,tone,inflectionandprojectionassuredthroughoutmuchoftheperformance,butwithoccasionalweaknesses.

Well-developedabilitytocreatemoodandatmosphere,developingtensionandrelaxation,contributingtopacingandstillness.

Confidentcontributiontotheperformanceasawhole,sustainedduringmostoftheextract(s)performed.

AO2

Performance skills

Band 3:

13–18 marks

Clearcharacterisations;rolesthataregenerallybelievable,havesomeshape,areappropriatelyrehearsedanddemonstrateclearrapportwithothermembersofthecast,sustainedduringanumberofsectionsoftheperformance.

Competentandmainlyclearuseofvoice;variableuseofpitch,tone,inflectionandprojectionthroughoutmuchoftheperformance.

Competentabilitytohelpestablishtheatmosphereoftheperformance,sometimesdevelopingtensionandrelaxation,andrespondingtotheleadershipofothers.

Clearcontributiontotheperformanceasawhole,sustainedduringanumberofsectionsintheextract(s)performed.

AO2

Performance skills

Band 2:

7–12 marks

Basiccharacterisations;rolesthatareunder-developed,havelittlerefinement,maybeunder-rehearsedanddemonstratebasicrapportwithothermembersofthecast,evidentduringpartoftheperformance.

Under-developeduseofvoice,someclarityandthelimiteduseofpitch,tone,inflectionandprojectionevidencedbyobviousweaknesses.

Basicabilitytosupporttheatmosphereoftheperformance,butreliantontheleadershipofothers.

Basiccontributiontotheperformanceasawhole,evidentduringpartoftheextract(s)performed.

3f. Internal assessment marking grid – performer role: text performance

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AO2

Performance skills

Band 1:

1–6 marks

Limitedcharacterisations;rolesthatareineffective,haveminimalrefinement,areunder-rehearsedanddemonstrateanineffectiveperformingrelationshipwithothermembersofthecast.

Ineffectiveuseofvoiceandprojectioninperformance,littleclarityandflaweduseofpitch,tone,inflection.

Limitedabilitytoengagewiththeatmosphereoftheperformance;heavilyreliantontheleadershipofothers.

Limitedcontributiontotheperformanceasawhole,evidentduringlimitedpartsoftheextract(s)performed.



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AO2

Design skills

Band 5:

25–30 marks

Highlydevelopeddesignthathasbeenrigorouslyhonedandrefinedwithaccomplishedattentiontodetail.

Accomplishedtechnicalabilityinallaspectsofthedesign,demonstratingwell-developedtechnicalcontrolinperformance.

Highlydevelopeddesignsuitableforthemoodandatmosphereoftheperformancetextitsupportsandisinstrumentalinachievingtheintendedeffect.

Highlydevelopedcontributiontotheperformanceasawhole,sustainedduringtheextract(s)performed.

AO2

Design skills

Band 4:

19–24 marks

Well-developeddesignthathasbeeneffectivelyrefinedwithcloseattentiontodetail.

Confidenttechnicalabilityinmostaspectsofthedesign,demonstratingwell-developedtechnicalcontrolinperformance.

Well-developeddesignsuitableforthemoodandatmosphereoftheperformancetextitsupportsandiseffectiveinachievingtheintendedeffect.

Confidentcontributiontotheperformanceasawhole,mostlysustainedduringtheextract(s)performed.

AO2

Design skills

Band 3:

13–18 marks

Competentdesignthathasbeenpreparedwithclearattentiontodetail.

Competenttechnicalabilityinsomeaspectsofthedesign,demonstratingcleartechnicalcontrolinperformance.

Cleardesignbroadlysuitableforthemoodandatmosphereoftheperformancetextitsupportsandcontributestoachievingtheintendedeffect.

Clearcontributiontotheperformanceasawhole,sustainedduringanumberofsectionsoftheextract(s)performed.

AO2

Design skills

Band 2:

7–12 marks

Basicdesignthathasbeenunderdevelopedwithsomeattentiontodetail.

Basictechnicalabilityinthedesign,demonstratingbasictechnicalcontrolinperformance.

Under-developeddesignwithbasicsuitabilityforthemoodandatmosphereoftheperformancetext.

Basiccontributiontotheperformanceasawhole,evidentduringpartoftheextract(s)performed.

Internal assessment marking grid – designer role: text performance

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AO2

Design skills

Band 1:

1–6 marks

Limiteddesignthatisineffectivelydevelopedwithlimitedattentiontodetail.

Limitedtechnicalabilityinthedesign,demonstratingineffectivetechnicalcontrolinperformance.

Ineffectivedesignwithlimitedsuitabilityforthemoodandatmosphereoftheperformancetext.

Limitedcontributiontotheperformanceasawhole,evidentduringlimitedpartsoftheextract(s)performed.




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Synopticassessmentisthelearner’sunderstandingoftheconnectionsbetweendifferentelementsofthesubject.Itinvolvestheexplicitdrawingtogetherofknowledge,skillsandunderstandingwithindifferentpartsoftheASLevelcourse.

BothcomponentsofASLevelDramaandTheatrerequirelearnerstoapplytheirtheoreticalknowledgeandunderstandingtopracticalperformancework.Wherelearnersareassessedbyexaminationtheyarerequiredtodrawontheirpracticalexplorationthroughoutthecourse.

TheemphasisofsynopticassessmentistoencouragetheunderstandingofDramaandTheatreasadiscipline.

WorksubmittedfortheASlevelcomponentsshouldreflectthestandardexpectedforalearnerafteranASlevelcourseofstudy.

TheworkpresentedforassessmentinanAlevelqualificationshowsgreaterdepthofstudythanthatpresentedforanASqualification.

3g. Synoptic assessment

3h. Calculating qualification results

Alearner’soverallqualificationgradeforOCRASLevelinDramaandTheatrewillbecalculatedbyaddingtogethertheirmarksfromthetwocomponentstakentogivetheirtotalweightedmark.

Thismarkwillthenbecomparedtothequalificationlevelgradeboundariesfortheentryoptiontakenbythelearnerandfortherelevantexamseriestodeterminethelearner’soverallqualificationgrade.

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Theinformationinthissectionisdesignedtogiveanoverviewoftheprocessesinvolvedinadministeringthisqualificationsothatyoucanspeaktoyourexamsofficer.AllofthefollowingprocessesrequireyoutosubmitsomethingtoOCRbyaspecificdeadline.

MoreinformationabouttheprocessesanddeadlinesinvolvedateachstageoftheassessmentcyclecanbefoundintheAdministrationareaoftheOCRwebsite.

OCR’sAdmin overviewisavailableontheOCRwebsiteatwww.ocr.org.uk/administration.

4 Admin: what you need to know

4a. Pre-assessment

Estimated entries

Estimatedentriesareyourbestprojectionofthenumberoflearnerswhowillbeenteredforaqualificationinaparticularseries.Estimatedentries

shouldbesubmittedtoOCRbythespecifieddeadline.Theyarefreeanddonotcommityourcentreinanyway.

Final entries

FinalentriesprovideOCRwithdetaileddataforeachlearner,showingeachassessmenttobetaken.Itisessentialthatyouusethecorrectentrycode,consideringtherelevantentryrules.

FinalentriesmustbesubmittedtoOCRbythepublisheddeadlinesorlateentryfeeswillapply.

AlllearnerstakinganASLevelinDramaandTheatremustbeenteredforoneofthefollowingentryoptions:

Entry options Components

Entry Code Title Code Component title Assessment type

H059AA DramaandTheatreperformerrole(Repository)

01 Processtoperformance(Performing)(Repository)

Non-examassessment(Internalassessment,externalmoderation)(repository)

05 Exploringperformance Externalassessment

H059AB DramaandTheatreperformerrole(Postal)

02 Processtoperformance(Performing)(Postal)

Non-examassessment(Internalassessment,externalmoderation)(postal)


H059BA DramaandTheatredesignrole(Repository)

03 Processtoperformance(Design)(Repository)

Non-examassessment(Internalassessment,externalmoderation)(repository)


www.ocr.org.uk/administration

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Entry options Components

Entry Code Title Code Component title Assessment type

H059BB DramaandTheatredesignerrole(Postal)

04 Processtoperformance(Design)(Postal)

Non-examassessment(Internalassessment,externalmoderation)(postal)


H059CA DramaandTheatreperformerrole(Carriedforward)

80 Processtoperformance(Performing)(Carriedforward)

Non-examassessment(Carriedforward)


H059CB DramaandTheatredesignrole(Carriedforward)

81 Processtoperformance(Design)(Carriedforward)

Non-examassessment(Carriedforward)


Head of Centre Annual Declaration

TheHeadofCentreisrequiredtoprovideadeclarationtotheJCQaspartoftheannualNCNupdate,conductedintheautumnterm,toconfirmthatthecentreismeetingalltherequirementsdetailedinthespecification.

PleaseseetheJCQpublicationInstructionsforconductingnon-examinationassessmentsforfurtherinformation.AnyfailurebyacentretoprovidetheHeadofCentreAnnualDeclarationwillresultinyourcentrestatusbeingsuspendedandcouldleadtothewithdrawalofourapprovalforyoutooperateasacentre.

4b. Special consideration Specialconsiderationisapost-assessmentadjustmenttomarksorgradestoreflecttemporaryinjury,illnessorotherindispositionatthetimetheassessmentwastaken.

DetailedinformationabouteligibilityforspecialconsiderationcanbefoundintheJCQpublication A guide to the special consideration process.

4c. External assessment arrangements

RegulationsgoverningexaminationarrangementsarecontainedintheJCQpublicationInstructions for conducting examinations.

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RegulationsgoverningarrangementsforinternalassessmentsarecontainedintheJCQInstructions for conducting coursework.

Assessed performances for non-exam assessment

Allperformancessubmittedforassessmentmustbevideorecorded.For‘Processtoperformance’,centresmustsubmittherecordingoftheperformancewhichisassessed.

Atthestartoftheperformancelearnerswhoarebeingassessedinthatperformancemustintroducethemselvestothecameraasfollows:

Performers–candidatename,candidatenumber,role(s)performedinthescene.

Designers–candidatename,candidatenumber,designrole(s)realisedintheperformance.

Centresmustrecordtheperformancefromtheaudienceperspective.Centresmayalsorecordasecondviewifnecessaryduetothestagingorspacerequirements.Wheretwocamerasareusedbothrecordingsmustbesubmitted.All recordings of the performances must be unedited.

Performance times

Itisarequirementofthecoursethatlearnerscompleteaminimumperformancetimeof5 minutes.Learners who do not meet this requirement will be awarded 0 marks for AO2 in that component.

Themaximumtimesinthespecificationareguidanceforcentresonwhatisexpectedforassessment.Nopenaltieswillbeappliedforexceedingtheperformancetime.However,itisunlikelythatlearnerswilldemonstratefurtherskillsinthistimetomeritadditionalmarks.

4d. Admin of non-exam assessment

Private candidates

PrivatecandidatesmayenterforOCRassessments.

Aprivatecandidateissomeonewhopursuesacourseofstudyindependentlybuttakesanexaminationorassessmentatanapprovedexaminationcentre.Aprivatecandidatemaybeapart-timestudent,someonetakingadistancelearningcourse,orsomeonebeingtutoredprivately.TheymustbebasedintheUK.

OCR’sASLevelinDramaandTheatrerequireslearnerstocompletenon-examinedassessment.This

isanessentialpartofthecourseandwillallowlearnerstodevelopskillsforfurtherstudyoremployment.

PrivatecandidatesneedtocontactOCRapprovedcentrestoestablishwhethertheyarepreparedtohostthemasaprivatecandidate.ThecentremaychargeforthisfacilityandOCRrecommendsthatthearrangementismadeearlyinthecourse.

FurtherguidanceforprivatecandidatesmaybefoundontheOCRwebsite:http://www.ocr.org.uk

Drama and Theatre Live Theatre Statement

OCRrequiresallcentrestocompleteandsubmitaDramaandTheatreLiveTheatreStatementforeveryyearinwhichlearnersareenteredforanassessment.Theformrequirescentrestoconfirmthattheyhavetakenreasonablestepstoensurethatlearners

haveexperiencedalivetheatreperformancewheretheyareamemberoftheaudienceinthesameperformancespaceastheperformers.ThiscanbefoundontheOCRwebsitewww.ocr.org.uk.


www.ocr.org.uk

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Word counts

Intheresearchreportandtheportfoliothewordcountmaximumsareguidanceforcentresonthemaximumamountofevidencethatisexpectedforthemarksavailable.Therewillbenopenaltiesforexceedingthewordcount.However,excessivelylongworkisunlikelytodemonstratetheskillsrequiredtoreachtheupperbands.

Health and safety

Learnersbeingassessedasdesignersarerequiredtorealisetheirdesignworkinperformance.Thismeanstheywilloperatethelightingandsoundequipmentanddresssetsfortheperformances.

Learnersarenotrequiredtorigequipmentorconstructsets.However,theymustbeawareoftheprocessinvolved.Itisadvisedthatlearnersarepresentwhenthisisbeingcompletedandassistwhereitissafeandappropriatetodoso.

Inthisqualificationitisthedesignthatisassessedratherthanthelearner’soperationoftheequipmentorconstructionofsetorcostumes.

Submission of work

Where‘Processtoperformance’(Component01/02or03/04)workissubmittedviatherepository,centresmustuploadtheirperformancerecordingsandtheportfoliodocumentstotheOCRRepository.FordetailsonsubmittingelectroniccourseworkseeAppendix5c.

Where‘Processtoperformance’(Component01/02or03/04)workissubmittedforpostalmoderation,centresshouldprovideeitherachapteredDVDoraUSBmemorystickwiththeirlearners’performancesandanyvideocommentariesassessedfortheirportfolio.VideorecordingsubmittedonDVDmustbeinaformatthatcanbeeasilyviewedonaDVDplayer.VideorecordingssubmittedonUSBmemorystickmustcontaineachperformanceorcommentaryasaseparatefile.Ifyouhaveissueswiththerecordingsofyourlearners’performancespleasecontactOCR:[email protected]

Approval of tasks

Texts in AS Level Drama and Theatre

Learnerswillstudythreedifferenttextsinthiscourse,oneinfullandtwoinpartusingextractsfromthetext.Thetextforthenon-examcomponentcanbechosenbythecentre.Alltextsspecifiedintheexaminedcomponentsarenotallowedtobechosenasperformancetextsinthenon-examassessment.

Learnersarerequiredtostudythreedifferenttexts,allofwhichmusthavebeenprofessionallycommissionedorprofessionallyproduced.Thesemustrepresentarangeofsocial,culturalandhistoricalcontexts.

Performancetextsmustalsobelongerthan60minutesinperformancetimewhenperformedinfull.

Textscannotbebythesameplaywrightandmustcontrastwithboththechosensettextsfor‘Exploring

Performance’(Component05)inatleastthreeofthefollowingways:

• castsize

• culture(textsfromdifferentcultures)

• datewritten(orperiodoforigin)

• genre

• performancelength

• performancestyle

• structure/form.

Useofthe‘DramaTextManagementService’beforelearnersbegintostudythecourseismandatoryinordertoensurethattherulesofcombinationaremet.Thisisaquickandeasywayofcheckingthatthechosentextsmeetthecriteria.


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Centresmustdeclarethattheworksubmittedforassessmentisthelearner’sownbycompletingacentreauthenticationform(CCS160).ThisinformationmustberetainedatthecentreandbeavailableonrequesttoeitherOCRortheJCQcentreinspectionservice.

ItmustbekeptuntilthedeadlinehaspassedforcentrestosubmitanEnquiryAboutResults(EAR).OncethisdeadlinehaspassedandcentreshavenotrequestedanEAR,thisevidencecanbedestroyed.

Authentication of learner’s work

Internal standardisation

Centresmustcarryoutinternalstandardisationtoensurethatmarksawardedbydifferentteachersareaccurateandconsistentacrossalllearnersenteredforthecomponentfromthatcentre.

FormoredetailedguidanceseeSection3f:Non-examassessmentguidance.

Thecentreisresponsibleforensuringthatthechosentextsmeetthecriteriaabove.Itisessentialthatthischeckisperformed.

Centreswillreceiveconfirmationthatthetextstheyhaveselectedmeetthecriteria.Wherecentreschangetextsduringtheyeartheymustchecktheirnewchoicesusingthe‘DramaTextManagementService’.This check must be completed annually even if a centre chooses the same texts as a previous year.

Centresareremindedthatifthecombinationoftextsselecteddoesnotmeetcriteriathenlearnerswillnotbeawardedagradeforthequalification.ForfurtheradviceonvalidcombinationspleasecontactOCRusingdrama@ocr.org.uk.

Practitioners in AS Level Drama and Theatre

Learnerswillstudytwodifferentpractitionersinthe‘Practitionersinpractice’component(11/12,13/14).Thecentre-chosenpractitionersmustmeetthecriteriasetoutinAppendix5f.

Toensurethatthepractitionersyouhavechosenmeetthecriteria,youmustuseOCR’s‘DramaTextManagementService’,availablefromwww.ocr.org.uk.Itisessentialthatyouperformthischeck.Thismustbecompletedannuallyandmustberesubmittedifthepractitionersarechangedduringthecourse.

Centresareremindedthatifthechosenpractitionersdonotmeetthecriteria,asexplainedinAppendix5f,thenlearnerswillnotbeawardedagradeforthequalification.

Forfurtheradviceoncentre-chosenpractitionerspleasecontactOCRusingdrama@ocr.org.uk.




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Moderation

Thepurposeofmoderationistobringthemarkingofinternallyassessedcomponentsinallparticipatingcentrestoanagreedstandard.Thisisachievedbycheckingasampleofeachcentre’smarkingoflearners’work.

Followinginternalstandardisation,centressubmitmarkstoOCRandthemoderator.Iftherearefewerthan10learners,alltheworkshouldbesubmittedformoderationatthesametimeasmarksaresubmitted.

OncemarkshavebeensubmittedtoOCRandyourmoderator,centreswillreceiveamoderationsamplerequest.Sampleswillincludeworkfromacrosstherangeofattainmentofthelearners’work.

Therearetwowaystosubmitasample:

Moderation via the OCR Repository–WhereyouuploadelectroniccopiesoftheworkincludedinthesampletotheOCRRepositoryandyourmoderatoraccessestheworkfromthere.

Postal moderation–Whereyoupostthesampleofworktothemoderator.

Themethodthatwillbeusedtosubmitthemoderationsamplemustbespecifiedwhenmakingentries.TherelevantentrycodesaregiveninSection4a.

Alllearners’workmustbesubmittedusingthesameentryoption.Itisnotpossibleforcentrestoofferbothoptionswithinthesameseries.

Centreswillreceivetheoutcomeofmoderationwhentheprovisionalresultsareissued.Thiswillinclude:

Moderation Adjustments Report–Listinganyscalingthathasbeenappliedtointernallyassessedcomponents.

Moderator Report to Centres–Abriefreportbythemoderatorontheinternalassessmentoflearners’work.

Learnerswhoareretakingthequalificationcanchoosetoeitherretakethenon-examassessment(NEA)orcarryforwardtheirmostrecentresultforthatcomponent.

TocarryforwardtheNEAcomponentresult,youmustusethecorrectcarryforwardentryoption(seetableinSection4a).

LearnersmustdecideatthepointofentrywhethertheyaregoingtocarryforwardtheNEAresultornot.

TheresultfortheNEAcomponentmaybecarriedforwardforthelifetimeofthespecificationandthereisnorestrictiononthenumberoftimestheresultmaybecarriedforward.However,onlythemostrecentnon-absentresultmaybecarriedforward.

Whentheresultiscarriedforward,thegradeboundariesfromthepreviousyearofentrywillbeusedtocalculateanewweightedmarkforthecarriedforwardcomponent,sothevalueoftheoriginalmarkispreserved.

Carrying forward non-exam assessment (NEA)

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Anybreachoftheregulationsfortheconductofexaminationsandnon-examassessmentmayconstitutemalpractice(whichincludesmaladministration)andmustbereportedto

OCRassoonasitisdetected.DetailedinformationonmalpracticecanbefoundintheJCQpublicationSuspected Malpractice in Examinations and Assessments: Policies and Procedures.

Results

Resultsarereleasedtocentresandlearnersforinformationandtoallowanyqueriestoberesolvedbeforecertificatesareissued.

Centreswillhaveaccesstothefollowingresultsinformationforeachlearner:

• thegradeforthequalification

• therawmarkforeachcomponent

• thetotalweightedmarkforthequalification.

Thefollowingsupportinginformationwillbeavailable:

• rawmarkgradeboundariesforeachcomponent.

Untilcertificatesareissued,resultsaredeemedtobeprovisionalandmaybesubjecttoamendment.

Alearner’sfinalresultswillberecordedonanOCRcertificate.Thequalificationtitlewillbeshownonthecertificateas‘OCRLevel3AdvancedSubsidiaryGCEinDramaandTheatre’.

4g. Malpractice

4f. Post-results services

Anumberofpost-resultsservicesareavailable:

Enquiries about results–Ifyouarenothappywiththeoutcomeofalearner’sresults,centresmaysubmitanenquiryaboutresults

Missing and incomplete results–Thisserviceshouldbeusedifanindividualsubjectresultforalearnerismissing,orthelearnerhasbeenomittedentirelyfromtheresultssupplied

Access to scripts–Centrescanrequestaccesstomarkedscripts.

4e. Results and certificates

ASlevelqualificationsaregradedonthescale:A,B,C,D,E,whereAisthehighest.LearnerswhofailtoreachtheminimumstandardforEwillbe

Unclassified(U).OnlysubjectsinwhichgradesAtoEareattainedwillberecordedoncertificates.

Grade Scale

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5 Appendices

ThereispotentialforasmalldegreeofoverlapbetweenthecontentofthisspecificationandthoseforotherASandAlevelqualificationsinEnglishLiterature.

ItisadvisedthatcentresconsidercarefullytheirchoiceofperformancetexttominimisetheoverlapwiththosestudiedbytheirlearnersfortheirEnglishLiteraturequalifications.

5a. Overlap with other qualifications

5b. Accessibility

Reasonableadjustmentsandaccessarrangementsallowlearnerswithspecialeducationalneeds,disabilitiesortemporaryinjuriestoaccesstheassessmentandshowwhattheyknowandcando,withoutchangingthedemandsoftheassessment.Applicationsfortheseshouldbemadebeforetheexaminationseries.Detailedinformationabouteligibilityforaccessarrangementscanbefoundin

theJCQAccess Arrangements and Reasonable Adjustments.

TheASlevelqualificationandsubjectcriteriahavebeenreviewedinordertoidentifyanyfeaturewhichcoulddisadvantagelearnerswhoshareaprotectedcharacteristicasdefinedbytheEqualityAct2010.Allreasonablestepshavebeentakentominimiseanysuchdisadvantage.

5c. Non-exam assessment: digital evidence

Learners’workmaybesubmittedthroughtheOCRRepositoryinadigitalformat.Centresmustensurethattheyenterforthe‘Repository’entrycodeoption.PleaseseeSection4a.

Workfor‘ProcesstoPerformance’(Component01/02or03/04)shouldbesubmittedinanorganisedandstructuredway.Workmustcontainthefollowinginformation:

• centrenumber

• candidatenumber

• forenameandsurname.

Learners’workshouldbestoredinasecureareaonthecentre’snetworkbeforesubmission.

Evidencesubmittedislikelytobeintheformofwordprocesseddocuments,PowerPointpresentations,digitalphotosanddigitalvideo.Inordertominimisesoftwareandhardwarecompatibilityissues,itisnecessarytosavelearners’workusinganappropriatefileformat.

Learnersmustuseformatsappropriatetotheevidenceandthatareeasilyaccessibletoviewforassessmentandmoderation.Openfileformatsorproprietaryformatsforwhichadownloadablereaderorplayerisavailableareacceptable.Wherethisisnotavailable,thefileformatisnotacceptable.

Learnersdonotgainmarksforusingmoresophisticatedformatsorforusingarangeofformats.Alearnerwhochoosestouseonlyoneformatwillnotbedisadvantaged.

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5

Toensurecompatibility,allfilessubmittedmustbeintheformatslistedbelow.Wherenewformatsbecomeavailablethatmightbeacceptable,OCRwillprovidefurtherguidance.OCRadvisesagainstchangingthefileformatthatthedocumentwasoriginallycreated

in.Itisthecentre’sresponsibilitytoensurethattheelectronicportfoliossubmittedformoderationareaccessibletothemoderatorandcontainalltheevidencesubmittedforeachlearner.

Document file formats

Digital video evidence formats

MPEG(*.mpg) WindowsMediaFile(*.wmf)

QuickTimemovie(*.mov) MPEGVideoLayer4(*.mp4)

Audio or sound formats

MPEGAudioLayer3(*.mp3)

Graphics formats including photographic evidence

JPEG(*.jpg) MSbitmap(*.bmp)

Graphicsfile(*.pcx) GIFimages(*.gif)

Structured markup formats

XML(*.xml)

Text formats

CommaSeparatedValues(*.csv) Richtextformat(*.rtf)

PDF(*.pdf) Textdocument(*.txt)

Microsoft Office suite

PowerPoint(*.ppt) Visio(*.vsd)

Word(*.doc) Project(*.mpp)

Excel(*.xls)

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‘Processtoperformance’(Component01/02or03/04)requiresthelearnerstoperformtoanaudience.Centresareremindedthattheaudienceshouldbeinformedoftherequirementsfortheperformanceassessmentandmustaskthattheaudienceareappropriatelysupportiveofthelearners.Theaudiencemustnotdistracttheperformersorinterrupttheperformance.

Therearethreetypesofaudiencepermittedforperformances:

• audienceoftheassessorandmembersoftheclass

• audienceoftheassessorandmembersofthecentre(i.e.learnersand/orstaff)

• audienceoftheassessorandticketholders(norestrictions).

Centresareresponsibleforensuringthatanyperformancerightsaresought,andpaidwhereapplicable.

5d. Guidance on audience requirements

5e. Guidance on live theatre requirements

Centresmusttakereasonablestepstoensurethatallstudentsexperienceliveperformance,wheretheyareamemberoftheaudienceinthesameperformancespaceastheperformers.Thismustoccurduringthecourseoftheirstudy.ADramaandTheatreLiveStatementmustbesubmittedtoOCR.PleaserefertoSection4.

Theperformancetheywatchmustmeetthefollowingcriteria:

• islongerthan1hourinperformancetime(excludinganyintervalsorbreaks)and

• isaliveprofessionalperformanceatanyexternalvenueor

• isanamateurperformanceatanyexternalvenueor

• isaliveprofessionaloramateurcompanyvisitingthecentreandperformedinaperformancespaceor

• isperformedbyayouththeatrecompanywhichthelearnersortheircohortarenotanypartof.

Forthepurposesofassessmentin‘Exploringperformance’(Component05),theliveperformancestudentsrefertocanincluderecordingsorstreamsofliveperformance.Atthestartofthelearner’sanswertheymuststatethenameoftheperformance,thevenue,andthedate(monthandyear)theperformancewasseenin.

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5f. Guidance on centre-chosen practitioners

In‘Processtoperformance’(Component01/02)learnersmuststudyonepractitioner.Thismustbeanindividualorcompanywhichmeetsallthefollowingcriteria:

• workswithinarecognisableperformancestyle

• usestheatricalconventionsconsistentlyinacanonofwork

• usesanidentifiablesetofworkingmethodologiesconsistentlywhichare

documentedeitherbythemselvesorbyanother

• hashadaclearinfluenceontheworkofothers,eithertheircontemporaries,theindustryatthetimetheyareorwereworking,orafuturegenerationoftheatremakers

• hadorhasaninnovativenaturetotheirapproachatthetimetheywereorareworking.

Theperformancetextinthiscomponentischosenbythecentre.Thistextmusthavebeenprofessionallycommissionedorprofessionallyproduced,andmusthaveatotalperformancetimeexceeding60minutes.

ThefollowingguidancehasbeenprovidedtosupportcentresinchoosingtextssuitableforstudyatASLevel.Learnersarerequiredtoexplorepracticallythechosentext.Thefollowingguidancehasbeenprovidedtosupportcentreschoosingsectionsoftextswhicharesuitableforaperformancebyalearnerwhichisassessed.

Centre-chosenperformancetextsmay(butarenotrequiredto)contain:

• frequentand/oraggressiveuseofstrongorverystrong(e.g.‘C***’)swearing

• sexualisedlanguageorreferencestosexmightbecrudeorgraphic

• nudity

• sexualisedviolence,abuseorthethreatthereof

• frequentorstrongaggressionand/orviolence(includingtortureorsadisticviolence)orstrongthreatsthereof

• onstagedrugusewhichmaynotbechallengedbytheperformancetextasawhole

• onstageself-harm,suicide.

Learners’performancesmay notcontain:

• strongviolenceactedoutagainstanothercharacterwhichdwellsontheinflictionofpainorinjury

• sadisticviolence

• frequentuseofverystronglanguage

• detailedorextendedportrayalsofsexualactivity

• scenesofsexualviolence

• nudity

• scenesexplicitlydemonstratingdrugtaking.

5g. Guidance on centre-chosen performance texts: Process to performance (Components 01/02 or 03/04)

5h. Text list: Exploring performance (Component 05)

Thefollowingeditionsofthetextsareusedtosetquestionsinthe‘Exploringperformance’(Component05)examinationpaper.Itisnotrequiredthatcentresusetheseeditionsforteachingthiscomponent.

Learnersmustexplorepracticallytheopening10minutesofthetextandatleastthreeadditional

scenesfromacrossthetext.Thefollowingtableliststhescenesfromtheopening10minutesthatmustbeexploredpractically.

Centresareabletochooseadditionalscenestoexplorethroughpracticalworkbasedondiscussionswithlearnerswhenreadingtheperformancetextschosen.

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Conflict

Burke,Gregory(2010)Black Watch,London:FaberandFaber.

ISBN–10:0571274900

ISBN–13:978–0571274901

TATTOOuptotheendofCAMPINCOMING.

“Another explosion.Allah akhbar.”

Shakespeare,William(1994)Four tragedies,London:PenguinBooks.(Hamlet)

ISBN–10:0140434585

ISBN–13:978–0140434583

Act1Scene1uptotheKingsspeechinAct1Scene2.

“Farewell;andletyourhastecommendyourduty.”

Ensler,Eve(2001)Necessary Targets: a story of women and war: [a play],NewYork:Villard.

ISBN–10:0375756035

ISBN–13:978–0375756030

SCENE1uptotheendofSCENE2.

“Iwon’tevengothere.”

TheatreWorkshop;Littlewood,Joan(London,England)(2000)Oh What a Lovely War,London:Methuen.

EnglishISBN–10:0413302105

ISBN–13:978–0413302106

ActOneuptothesceneaftertheArchdukehasbeenshotbeforetheTwelfthStreetRag.

“SERBIAN.Thismeanswar.”

Hall,Willis(1982)The Long and the Short and the Tall (Acting Edition),SamuelFrenchLtd.

ISBN–10:0573040168

ISBN–13:978–0573040160

ACTONEuptoBamforth’ssong.

“WHITAKER(glances up from tuning set).Packitin,Bamforth.”

Family dynamics

Nichols,Peter(1967)A Day in the Death of Joe Egg.,London:FaberandFaber.

ISBN–10:0571083692

ISBN–13:978–0571083695

ACT ONE uptotheChristmasdecorationsstory.

“You’renotmuchgoodatteaching,areyou,mate?”

Brecht,Bertolt;Bentley,Eric(2007)The Caucasian Chalk Circle,Penguin.

ISBN–10:0141189169

ISBN–13:978–0141189161

Prologueuptotheintroductionofthegovernor’sbabyin1TheNobelChild.

“EventhemightyPrinceKazbekibowsbeforehimatthechurchdoor.”

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Lorca,FedericoGarcía(2001)The House of Bernarda Alba and Other Plays,London,England:PenguinBooks.

ISBN–10:0141185759

ISBN–13:978–0141185750

ACTONEuptowherethemournersleavethehouse.

“Whereyoualwaysdrinkthewaterfearingit’spoisoned!”

Shakespeare,William(1994)Four tragedies,London:PenguinBooks.(King Lear)

ISBN–10:0140434585

ISBN–13:978–0140434583

Act1Scene1uptoLEAR’sexit.

“FRANCEBidfarewelltoyoursisters.”

Arden,John(1994)Plays, One,London:MethuenDrama.(Live Like Pigs)

ISBN–10:0413688003

ISBN–13:978–0413688002

SceneOneuptoSceneTwobeforeMrsJacksonstartstospeak.

“RACHELlaughs with a bitter hiss and turns angrily awry.”

Heroes and villains

Shaffer,Peter(2007)Amadeus,London:PenguinBooks.

ISBN–10:0141188898

ISBN–13:978–0141188898

ACT1uptotheendofSalieri’smonologue.

“and the elegant decent clothes of a successful composer of the seventeen-eighties.”

Camus,Albert(2006)Caligula and Other Plays,London:PenguinBooks.

ISBN–10:0141188707

ISBN–13:978–0141188706

ACTONEuptotheendofCaligulaandHelicon’sconversation.

“I’mnotasharerofhissecrets.I’mhispublic.Amereonlooker.”

Dear,Nick(2011)Frankenstein: based on the novel by Mary Shelley,London:FaberandFaber.

ISBN–10:0571277217

ISBN–13:978–0571277216

SCENEONEuptotheendofSCENEEIGHT.

“Seeming to have made his point, he leaves.”

Shakespeare,William(1994)Four tragedies,London:PenguinBooks.(Othello)

ISBN–10:0140434585

ISBN–13:978–0140434583

Act1Scene1uptoAct1Scene2beforeCassioenters.

“IAGOByJanus.Ithinkno.”

Wertenbaker,Timberlake(1996)Timberlake Wertenbaker: Plays,London:FaberandFaber.(The Love of the Nightingale)

ISBN–10:0571177433

ISBN–13:978–0571177431

SCENEONEuptotheendofSCENEFOUR.

“Thissilence. . .thissilence. . .”

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Thisglossaryhasbeenprovidedasareferenceforteachersandlearnersofsomeofthetheatricalterminologycommonlyusedbytheatremakers.

Learnersshouldbefamiliarwiththesetermsanddefinitions.Learnerswillnotberequiredtorecalldefinitionsintheexaminedassessment.

5i. Language for learning

Acting

ADLIB Improvisationbyanactorwhen:1) anotheractorfailstoenteroncue2) thenormalprogressoftheplayisdisturbed3) linesareforgotten.

ASIDE Linesspokenbyanactortotheaudienceandnotsupposedtobeoverheardbyothercharactersonstage.

BLOCKING Theprocessofarrangingmovestobemadebytheactorsduringtheplay,recordedbystagemanagementinthepromptscript.

BREAKALEG Asuperstitiousandwidelyacceptedalternativeto‘GoodLuck’(whichisconsideredbadluck).

CHARACTERISATION Theartofcreatingacharacter.Withinthetext,charactersmaybepresentedbymeansofdescriptionwithinstagedirectionsorcharacterdescriptionswhichtheactormusttrytoconveyorthroughtheiractions,speech,orspokenthoughtswithinthetext.

CORPSING Anactorwhocollapsesintouncontrollablelaughterduringarehearsalorperformanceissaidtobe“corpsing”.

DICTION Thequalityorstyleofspeakingofacharacterwithintheplay,consistingofcomponentssuchasaccent,inflection,intonationandenunciation.

GESTURE Bodyorfacialmovementsofacharacterduringaplay.Gesturecanbedescribedbytheauthor,orsuggestedbythedirectororactor.

INFLECTION Pronouncingawordtostressitsmeaning.

MIME Communicatingemotion,meaningoranideawithoutwords,usingonlygesture,expressionandmovement.

ONTHEBOOK Anactorwhoneedstorefertothescriptduringasceneissaidtobe“onbook”.Theidealsituationisfortheactortobe“offbook”asquicklyaspossible!

PACE Thespeedthedialogueand/oractionisdeliveredtotheaudience.

PITCH Thehighnessorlownessofthetoneofvoice.Generallymalevoicesarelowerpitchedandfemalevoicesarehigherpitched.

PROJECTION Usingthevoiceloudlyandclearlytoensurethedialogueisheardbytheaudience.

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PROMPTBOOK Mastercopyofthescriptorscore,containingalltheactormovesandtechnicalcues,usedbystagemanagementtocontroltheperformance.Sometimesknownasthe‘book’,PromptCopyorPromptScript.

RAPPORT Thefeelingcreatedbyanensembleorcastworkingtogetherduringaperformance.

READTHROUGH Ameetingwithallcastand(sometimesall)creativeteammemberstoreadthroughthescript.Usuallyhappensatthestartoftherehearsalprocess,tohelpthecastgettoknoweachotherandthetext.

STILLNESS Usingaquietvoiceandasubtlebodylanguagetocreateacalmatmosphereonstage.

TONE Thewaythewordsarespokentodemonstratetheemotionbehindtheirmeaning.

Costume

BLACKS Blackclothingwornbystagemanagementduringproductions.

COSTUMES Clotheswornbytheactorsonstage.

DRESSINGROOMS Roomscontainingclothesrailsandmirrors(oftensurroundedwithlights)inwhichactorschangeintotheircostumesandapplymakeup.

GREASEPAINT Namereferstomakeupsuppliedinstickform,forapplicationtothefaceorbody.Needsspecialremovingcream.

MAKEUP Productsappliedtothefaceorbodyofanactortochangeorenhancetheirappearance.SeealsoGREASEPAINT.

MASK Formoftheatrewhereactors’facesarecoveredwithmasks.

QUICKCHANGE Achangeofcostumethatneedstohappenveryquicklyandtakesplaceclosetothesideofthestage.

WARDROBE Thegeneralnameforthecostumedepartment,itsstaffandtheaccommodationtheyoccupy.

Features of performance texts

ACT Subdivisionbetweensectionsofaplay.ActsaresubdividedfurtherintoScenes.

ANTAGONIST TheoppositeofthePROTAGONISTinadrama.SeealsoPROTAGONIST.

ANTI-CLIMAX Aclimaxiswhereeverythingcomestogetherasaconclusion.Ananti-climax,conversely,isincompletesocanbedisappointingorunsatisfying.

CHARACTER Anamedindividualwithintheplay(e.g.“Therearetencharactersinsceneone,allofwhomhavespeakingparts.”).

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CHORUS InGreektheatre,acharacter(orgroup)representinganelementinthedramawhichcommentsontheaction,andadvancestheplot.

CLIMAX Thesignificantmomentintheplotofaplay,whenthingschange,orreachacrisispoint.

COMICRELIEF Acomicscene(orline)includedinanotherwisestraight-facedplaytoprovidearelieffromtensionfortheaudience.

DIALOGUE Thespokentextofaplay–conversationsbetweencharacters–isdialogue.

DRAMATICIRONY Wheretheaudienceknowsmoreaboutasituationonstagethanoneofthecharactersinthedrama.

DRAMATICTENSION Momentsinadramawheretheaudiencefeelsaheightenedsenseofanticipationaboutwhatisgoingtohappennext.

DUOLOGUE Partofasceneinadramawhichisascriptedconversationbetweenonlytwocharacters.

EPILOGUE Sceneorspeechwhichfollowsthemainactionoftheplayandprovidessomeinsightorcommentontheaction.

EXPOSITION Thesectionofplotatthestartofaplaywhichprovidesessentialbackgroundinformationaboutthecharacters,theirsituation,andtheirrelationshipstoeachother.

FLASHBACK Amomentduringtheactionofaplaywhenthenaturalflowoftimeisinterruptedsothatamomentfromthepastcanbepresented.

GENRE Awayofcategorisingdifferenttypesofdrama.

INTERIORMONOLOGUE Theinterior(orinternal)monologueisthestreamofconsciousnessdiscussionacharacterhaswithher/himselfwhileworkingthroughproblemsorissuesconfrontingthem.Itcanbedeliveredasarecordedvoiceover,orpossiblyasanasidespokendirecttotheaudience.

LIBRETTO Textofanopera,orotherlongmusicalvocalcomposition.Thescriptofamusical.

MONOLOGUE Aspeechwithinaplaydeliveredbyasingleactoraloneonstage.

NARRATION Dialoguedesignedtotellthestoryorprovideaccompanyinginformation.Narrationcanaccompanyonstageactionorbepresentedinitsownright.

PLOT Thebasicstorythreadrunningthroughaperformance/playwhichgivesthereasonforthecharacters’actions.

PROLOGUE Shortsceneorspeechbeforethemainactionoftheplaytoputitintocontextorsetthescene.

PROTAGONIST Theleadingcharacteror‘hero’inaplaywhohastofightagainst/opposetheANTAGONIST.

RISINGACTION Theeventsthatbuildupthepaceandperhapstheexcitementinaplot/drama.

SCENE Asubdivisionofaplay.

SCRIPT Thetextofaplayormusical.Alsocontainsstagedirectionsandothernotes.

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SOLILOQUY Linesdeliveredbyanactoronstageasiftoher/himself.

STAGEDIRECTIONS Instructionsgivenbytheauthorabouthowaplayshouldbestaged,whenactorsshouldmaketheirentrancesandexitsandhowlinesshouldbedelivered.

STEREOTYPE Arolethathassetcharacteristics,easilyrecognisableandsometimesexaggerated,andthatfollowsconsistentlyagenerallyagreedform.

STOCKCHARACTER Arolewithsetcharacteristicsthatmaybeusedfrequentlyincertaintypesofdrama,e.g.melodrama.

STRUCTURE Thewayapieceofdramaisputtogether;theconnectionsbetweenepisodes,scenesoracts;theframework.

SUBPLOT Innarratives,thistermreferstoasecondaryplotorstoryline.

SUBTEXT Inactingandcharacteranalysis,itreferstotheideathatthereareothermeaningsbelowthesurfaceofwhatisactuallysaidanddone.

Lighting

BACKLIGHT Lightcomingfromupstage,behindsceneryoractors,tosculptandseparatethemfromthebackground.

BARNDOORS Anattachmentwhichisfixedtothefrontofalanterntocutoffthelightingbeaminaparticulardirection(s).

BLACKOUT Theactofturningoff(orfadingout)stagelighting.

BOARD Themaincontrolforthestagelighting.

BURNTOUT Acolouredgelthathaslostitscolourormeltedthroughduetoexcessiveheatinfrontofalantern.

CMY Cyan/Magenta/Yellow–thethreesecondary(additive)coloursoflightwhichareusedinmovinglightsforcolourmixing.

CROSSFADE Bringinganotherlightingstateuptocompletelyreplacethecurrentlightingstate.Alsoappliestosoundeffects/music.SometimesabbreviatedtoXfadeorXF.

DIMMERRACK Anumberofindividuallightingdimmercircuitsbuiltintoasinglecase.Consistsofasinglepowerinput,alightingcontrol(DMX512)inputandsocketstoconnectlanterns.Adimmerrackcanbesettorespondtoanycontrolchannelbysettingitsstartaddress(knownas“addressing”therack).

FADE Afadeisanincrease,diminishmentorchangeinlightingorsoundlevel.

FLOOD Alenslesslanternthatproducesabroadnon-variablespreadoflight.

FOLLOWSPOT Usually,apowerfulprofilelanternfittedwithitsowndimmer,iris,colourmagazineandshuttersmountedinorabovetheauditorium,usedwithanoperatorsothatthelightbeamcanbemovedaroundthestagetofollowanactor.

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GENERALCOVER Thoselanternsinarigwhicharesetasidepurelytolighttheactingareas.Thestageisnormallysplitintoanumberofareasforthispurpose,whichcanthenbeisolatedorblendedtogetherasrequiredbythedirector.

GOBO Athinmetalplateetchedtoproduceadesignwhichcanthenbeprojectedbyaprofilespotlight.Therearehundredsofgobodesignsavailable–commonexamplesarebreakup(foliage),windowsandscenic(neonsigns,cityscapesetc.).

LANTERN Generaltermforunitoflightingequipmentincludingspotlight,floodetc.

LIGHTINGPLOT Theprocessofrecordinginformationabouteachlightingstateeitherontopaperorintothememoryofacomputerisedlightingboardforsubsequentplayback.

LIGHTSUP 1) Announcementthatasectionoftheperformancehasbegun2) Anincreaseinlightlevel–usuallyanotebythelightingdesignerforher/his

ownreference.

LX Usedbysomeasashorthandforlighting.

Performance Style

COMEDY Aperformancewherethereisahappyending,withtheintentionofamusingandentertainingtheaudience.

EPICTHEATRE FeaturesofEpicTheatreincludeepisodicscenes,alackoftension,breakingthetheatricalillusionthroughdevicessuchasdirectaudienceaddress,useofsongs,projectionsandnarration.

EXPRESSIONISM Atermfortheatredesignandperformancestylewhichplacesgreatervalueonemotionthanrealism.ThetrademarkExpressionisteffectswereoftenachievedthroughdistortion.

FORUMTHEATRE Inthisprocesstheactorsoraudiencememberscouldstopaperformance,oftenashortsceneinwhichacharacterwasbeingoppressedinsomeway.Theaudiencewouldsuggestdifferentactionsfortheactorstocarryoutonstageinanattempttochangetheoutcomeofwhattheywereseeing.

IMMERSIVETHEATRE Theatreinwhichtheaudienceispartoftheaction.Theperformerswillinteractandguidetheaudiencearoundasiteorspaceortheaudiencemaybefreetowanderanddiscoverscenes.TheseplaysareoftenSITESPECIFIC.

MELODRAMA AMelodramaisadramaticworkthatexaggeratesplotand/orcharactersinordertoappealtotheemotions.

METATHEATRE Theatreabouttheatreitself,drawingtheaudienceawayfromthenotionofrealismintheatre.Canalsodescribeaplaywithinaplay.

NATURALISM/NATURALISTIC Aperformancethatattemptstoreplicatenatureandpresenteventsandcharactersonstageasinreallife.Naturalismattemptstoholdupamirrortonatureandgivetheillusionofcharactersasactualpeopleinreal-lifesituationsusingeverydaylanguage.

PHYSICALTHEATRE Performanceswhichincorporatedanceelementsintoadramatictheatreperformance.

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REALISM Realismintheatredescribesadecisionbythecreativeteamtopresenttheaudiencewithanaccuratedepictionoftherealworld,ratherthanastylisedinterpretation.

STYLE Stylereferstothewaytheactorsperform,thevisualcharacteristicsofthesettingandcostumes,andthechoiceofconventionsused.

STYLISED Stylisationistheconsciousprocessofemphasisingandoftenexaggeratingelementsofthedesignorcharacteristicsofarole.

SYMBOLISM/SYMBOLIC Usingsymbolstosuggestandcommunicatemeaningtotheaudience.

THEATREINEDUCATION OftenabbreviatedtoT.I.E.Theuseoftheatricaltechniquestoeducate,coveringsocialissuesortopicsontheschool’ssyllabus.

Performance Space

AISLE Apassagethroughseating.

AUDITORIUM Thepartofthetheatreaccommodatingtheaudienceduringtheperformance.Sometimesknownasthe“house”.

BACKSTAGE Thepartofthestageandtheatrewhichisoutofthesightoftheaudience.Theserviceareasofthetheatre,behind,besideorunderneaththestage.

CENTRELINE Imaginarylinerunningdownthestagethroughtheexactcentreoftheprosceniumopening.MarkedasCLonstageplans.

CENTRESTAGE Themiddleportionofthestage–hasgoodsightlinestoallseatsoftheauditorium.

CIRCLE Thebalconywithtieredseatingabovethestallsinatraditionalprosceniumarchtheatre.

DOWNSTAGE Thepartofthestagenearesttotheaudience(thelowestpartofarakedstage).

ELEVATORSTAGE Atypeofmechanisedstagewhichhassectionsthatcanberaisedorlowered.

HOUSE 1) Theaudience2) Theauditorium

HOUSELIGHTS Theauditoriumlightingwhichiscommonlyfadedoutwhentheperformancestarts.

OFFSTAGE Theareaoutofsightoftheaudience.

RAKEDAUDITORIUM Audienceseatingareawhichissloped,withitslowestpartnearestthestage.

RAKEDSTAGE Aslopingstagewhichisraisedattheback(upstage)end.Alltheatresusedtobebuiltwithrakedstages.Today,thestageisoftenleftflatandtheauditoriumisrakedtoimprovetheviewofthestagefromallseats.

ROSTRUM (pluralROSTRA)Aportableplatform,usuallyintheformofacollapsiblehingedframeworkwithaseparatetop.

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STAGE Thepartofthetheatreonwhichperformanceshappen.

STAGEDOOR Thebackstageentrancetothetheatre.Performersandtechniciansenterhere.Largetheatresnormallyhaveastagedoorkeeper,whotakesmessagesforperformersandactsasasecurityguardfortheentrance.

STAGELEFT/RIGHT Left/RightasseenfromtheActor’spointofviewonstage,(i.e.StageLeftistherightsideofthestagewhenlookingfromtheauditorium).

STALLS Thelowestaudienceseatingarea,usuallyjustbelowthelevelofthestage,inaprosceniumtheatre.

TRAP Anopeningthroughthestagefloor.

TRAPROOM Theareadirectlybelowthetrappedpartofthestage.Usedforaccessingthetraps.

TREADS Generalnameforanystagestaircaseorsetofsteps.

UPSTAGE Thepartofthestagefurthestfromtheaudience.

WINGS Theout-of-viewareastothesidesoftheactingarea.

Performance Venues

AMPHITHEATRE Circularorovalopen-airtheatrewithalargerakedseatingarea(oftensemi-circular)slopingdowntothestage.

APRON TheApronisasectionofthestagefloorwhichprojectstowardsorintotheauditorium.

BLACKBOX Aflexiblestudiotheatrewheretheaudienceandactorsareinthesameroom,surroundedbyblacktabs(curtains).

ENDON Traditionalaudienceseatinglayoutwheretheaudienceislookingatthestagefromthesamedirection.ThisseatinglayoutisthatofaProsceniumArchtheatre.

FOUNDSPACE Aperformancespacethatwasn’tdesignedtobeone(e.g.historicbuildings,factories,publicareas).

INTHEROUND TheatreintheRoundisaformofaudienceseatinglayoutwheretheactingareaissurroundedonallsidesbyseating.Thereareoftenanumberofentrancesthroughtheseating.Specialconsiderationneedstobegiventoonstagefurnitureandsceneryasaudiencesightlinescaneasilybeblocked.

PROMENADE Formofstagingwheretheaudiencemovesaroundtheperformancespaceandseestheplayatavarietyofdifferentlocations.

PROSCENIUMARCH Theopeninginthewallwhichstandsbetweenstageandauditoriuminsometheatres;thepictureframethroughwhichtheaudienceseestheplay.The“fourthwall”.

SITE-SPECIFICTHEATRE Apieceofperformancewhichhasbeendesignedtoworkonlyinaparticularnon-theatrespace.

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THRUST Formofstagewhichprojectsintotheauditoriumsothattheaudienceisseatedonatleasttwosidesoftheextendedpiece.

TRAVERSE Formofstagingwheretheaudienceisoneithersideoftheactingarea.

Practical Exploration

ARTEFACT Anobjectwhichmightbeusedasastartingpointinadramaactivity.Artefacts(whichonstagebecomeprops)cansignifycontext,actionsandmeaning.

BACKSTORY Providingahistorytoacharacterorplotbeforetheeventsintheplay,sceneordramabegin.

CROSS-CUTTING Thisinvolveschangingbackandforthbetweenscenesorepisodesofaction.Thefirstscenerunsuptoaselectedpointandtheactionfreezesorthelightsfadeoutonit.Asthishappens,thesecondscenestartsandrunsuptoanother‘cuttingpoint’.Theactionreverts(cuts)toasectionofthefirstscene.Theprocessofswitchingbetweenscenescontinues.

FREEZEFRAME Atechniqueforallowingacharacterto‘stepout’ofasceneandrevealsomethingtotheaudience,whiletherestoftheactionfreezes.

HOTSEATING Atechniqueusedtogainadeeperunderstandingofacharacterorrole.Anindividualsitsinachairdesignatedasthe‘hotseat’.Therestofthegroupasksthepersoninthehotseatrelevantquestionsabouttheirfeelings,thoughts,actionsorcircumstances.Thepersoninthehotseatanswersthequestionsinroleorastheythinkthecharactertheyareplayingwouldanswer.

IMPROVISATION Performingquicklyinresponsetosomethingoractingwithoutpreviousplanning.Spontaneousimprovisationreferstomakinguparoleasyougoalong.Prepared/plannedimprovisationreferstoworkingandreworkingwithinastructureofideasandrolesagreedinadvance.

ROLEPLAY Pretendingtobesomeone(orsomething)else.Roleplayisgenerallyconfinedtotakingonaclearlydefinedrolesuchasadoctor,abusdriverorteacherwithoutanyattemptatin-depthpsychologicalanalysisorunderstanding.Whatdistinguishesitfromactingisthatroleplayisnotintendedforperformancetoanaudience.

ROLEREVERSAL/ROLETRANSFER

When,duringanimprovisationorrehearsalforascene,theactorsswaptheroles/characterstheyareportrayingtogainadifferentvieworunderstandingoftheirownrole.

ROLE-ON-THE-WALL Alife-sizedoutlineofafigureisdrawnonthewalltorepresentacharacterorrolebeingdevelopedorexplored.Membersofthegrouptakeitinturnstowritefactsandinformationaboutthecharacter/rolewithintheoutline.Physicaldetailsmightallbewrittenintheheadarea,forexample,whereasthingsthecharacterlikesmightbewrittenintherightleg.Opinionsandviewsfromotherpeopleorcharacterscanbeaddedaroundtheoutsideofthefigure.

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STILLIMAGE Creatingapicturetorepresentafrozenmomentortosumupwhatishappeninginadrama.Itisausefultechniqueforexploringtheeffectsofpositioningcharactersinrelationtooneanotherintermsoflevelsandproximityandtodemonstratenon-verbalcommunication.Itisoftenusedwithsculptingandthoughtsinthehead.(SeealsoTABLEAU)

STIMULUS Anartefactusedasastartingpointfordevisingoriginaldramaandtheatreperformances.

STORYBOARDING Aseriesofimagesand/ortextshowingthesequenceoftheactionplannedforaplay.

TABLEAU(X) Adramaticgroupingofcharacters.Atableaumaynotnecessarilybeastillorfrozenimage.Itcanbeageneral‘stagepicture’duringasequenceinascenewheredialoguemaybespokenandgesturesused.Intableauvivant,theperformersarepositionedtorepresentapictureor‘fresco’,andpropsandcostumesareoftenusedasanintegralpartofthestagepicture.Tableaucanalsobeusedtodescribeapauseonstagewhereallperformersbrieflyfreezeinposition.ThiscantypicallybefoundattheendofscenesinVictorianmelodramas.(SeealsoStillImage)

TEACHER-IN-ROLE Whenaclassorgroupofparticipantsinadramaacceptsthattheteacher(orleader)isgoingtoplayaroletowhichtheyaregoingtoreactandrespond.Theparticipantsmayormaynotbeinrole.

TECHNIQUE Usedheretorefertodramaforms,exercises,strategiesandconventionsthatarewidelyusedtodevelopunderstandingandexploremeaningthroughthedramaprocess.Inabroadercontext,techniquesencompassthewholerangeofphysicalandpsychologicalprocessesandexercisesthatanactormightusetodeveloptheirskillsasaperformer.

THOUGHTTRACKING Anexercisethatallowstheinnerthoughtsofacharacterorroletobeheardoutloud.Itisoftenusedwithfreezeframeorstillimage,whereaparticipantisaskedtosaywhattheyarethinkingatthatpointintime.

WRITINGINROLE Anexercisewhere,forexample,aletter,adiaryorjournaliswrittenasifbythecharacterorrolebeingportrayed.Itisausefultechniqueforworkonbuildingcharacter.

Process

CALL Anotificationofaworkingsession(egaRehearsalCall,BandCall,PhotoCall).

CUE 1) Thecommandgiventotechnicaldepartmentstocarryoutaparticularoperation

2) Anysignal(spokenline,actionorcount)thatindicatesanotheractionshouldfollow.

CUETOCUE Cuttingoutactionanddialoguebetweencuesduringatechnicalrehearsal,tosavetime.

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CURTAINCALL Attheendofaperformance,theacknowledgementofapplausebyactors–thebows.

DE-RIG Theprocessofremovinglanternsandcablingfromflyingbarsorgrid–returningthevenuetoitsnormalstate,oraspreparationforthenextproduction.

DRESSREHEARSAL Afullrehearsal,withalltechnicalelementsbroughttogether.Theperformanceasitwillbe‘onthenight’.

DRYRUN Apracticerun,usuallyatechnicalrunwithoutactors.

ENCORE Anextensionoftheperformanceduetoaudiencedemand.

GET-IN Theprocessofmovingset,propsandotherhardwareintoatheatre.

GET-OUT Movinganentireproductionoutofthevenue.

INTERVAL Breakbetweensectionsofaperformance.

REHEARSAL Asessionwhenactorsarecalledtoworkthroughsomescenesfromtheplayinprivate.

TECH ShortforTechnicalRehearsal.

TECHNICALREHEARSAL Usuallythefirsttimetheshowisrehearsedinthevenue,withlighting,sceneryandsound.Costumesaresometimesusedwheretheymaycausetechnicalproblemse.g.Quickchanges.

WALKTHROUGH Sessiononstagejustafterthesethasbeenbuilt(orreassembled)whenactorsandcrewcangothroughmovestoensureallisasitshouldbe,andtoidentifyanyproblemsbeforetheperformance.

WARM-UP TheWarm-Uppreparestheactor’sbodyfortheperformancebyexercising(literallywarmingup)muscles,stretchinglimbs,andgettingthecasttofocusontheperformanceandtoforgetaboutanythingoutsidethewallsofthetheatre.

CHOREOGRAPHY Theartandcraftofdesigningthemoves,pace,flow,structureandexecutionofapieceofdance,oranyotherpieceofrehearsedmovement.Astagecombatsequenceisalsochoreographed.

Theatre Makers

ACTOR Person(maleorfemale)whoseroleistoplayacharacter.Althoughtheterm‘actress’isstillusedforafemaleactor,manywomenprefertohavethesametitleasthemen.

AMATEUR Memberofatheatrecompanywhichisnotprofessional.

ASM AssistantStageManager.

AUDIENCE Agroupofpeoplewhoparticipateinashoworencounteraworkofart,literature,theatre,music,videogames,oracademicsinanymedium.Sometypesofperformance(e.g.streettheatre)callforgreateraudienceinvolvement.

BITPART Asmallroleforanactor.

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CAST Themembersoftheactingcompany.

CHOREOGRAPHER Memberoftheproductionteamresponsibleforsettingdancesandmovementsequencesduringtheproduction.

COMPANY Thecast,crewandotherstaffassociatedwithashow.

COSTUMEDESIGNER Memberofthecreativeteamforashowresponsiblefortheclotheswornbytheactorsthroughouttheperformance.

DANCER Memberofthecompanywhoseroleischoreographed,andwhohasnospokenwords.

DIRECTOR Broadly,theroleinvolvesbeingresponsiblefortheoverallartisticvisionofaproduction.ARTISTICDIRECTOR–Normallyinchargeoftheprogrammingofavenue.Mayalsodirectshows.TECHNICALDIRECTOR–Inchargeofthetechnicalrequirementsofaproduction.

DRAMATIST Aplaywright,composerorlyricistwhotakesanexistingstoryandtransformsitintoaplayormusical.

ENSEMBLE Anactinggroup.Normallyusedtodescribeagroupofactorswhoworkwelltogether,withnooneoutshiningtheothers.

LYRICIST Authorofthetextofamusical/thewordsofasong.

PLAYWRIGHT Theauthorofaplay.AlsoknownasaDRAMATIST.

PROFESSIONAL Normallyusedforsomeonewho’sregularlypaidforaparticularjob(asopposedtoanamateur,whodoesitforfun).

SOUNDDESIGNER Memberoftheproductionteamwhohastheresponsibilityforplanningandexecutingthelayoutofallsoundplaybackandreinforcementequipmentfortheshow.Thisrolealsoincludesthesourcingofmusicandsoundeffectsfortheproduction.

STAGECREW MemberoftheStagestaffwhoisresponsibleformovingpropsand/orsceneryduringtheshow,andforensuringthatitemsunderher/hisresponsibilityareworkingcorrectlyandproperlymaintained.

STAGEMANAGER TheHeadoftheStageManagementteamcomprisingthedeputystagemanager(DSM)andassistantstagemanager(ASM).TheDSMisnormally“onthebook”callingthecuesfromthepromptcorner.TheASMsupervisesprops.

UNDERSTUDY Amemberofthecastofamusicalorplaywhounderstudiesone(sometimesmore)oftheprincipalrolesandisalsointhechorus.

USHERS MembersofFront-of-Housestaffwhoguideaudiencememberstotheirseats,andoftensitintheauditoriumduringtheshowincaseofemergency.

WALK-ON Asmallactingrolewithnolines.

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Set

ACTIONPROP Ahand-heldpracticalpropusedbyanactorforcombatorforaspecificpurpose.

BOXSET Naturalisticsettingofacompleteroombuiltfromflatswithonlythesidenearesttheaudience(thefourthwall)missing.

BRACE 1) Angledstrengtheningtimberwithinaflat.2) Supportforsceneryonstage.

BRACEWEIGHT SlottedcastironweightplacedonfootofextendibleorFrenchbracetopreventmovement.Oftenreferredtoasa‘StageWeight’.

CLOTH Apieceofsceniccanvas,paintedorplainthatisflownorfixedtohanginaverticalposition.ABackcloth(orBackdrop)hangsattherearofascene.AStarCloth(usuallyblack)hasalargenumberofsmalllow-voltagelampssewnorpinnedthroughitwhichgivesamagicalstarryskyeffect.

COMPOSITESETTING Astagesettingwhereseverallocationsarerepresentedinthesamespaceandisolatedorhighlightedbylightingeachareaseparately.

CYCLORAMA(CYC) TheCycloramaisacurvedplainclothorplasteredwallfillingtherearofthestage.

DOORFLAT Sceneryitemconsistingofawallcontainingaworkingdoor.

DRESSING(theset) Decorativeprops(somepractical)andfurnishingsaddedtoastagesettingareknownasSetDressing.

ENTRANCE 1) Apartofthesetthroughwhichactorscanwalkontothestage.2) Theactofanactorwalkingontothestage.

EXIT 1) Apartofthesetthroughwhichactorscanleavethestage.2) Theactofanactorwalkingoffthestage.

FLAT Alightweighttimberframecoveredwithsceniccanvas,orplywood.Flatsareusedtoprovidealightweightandeasy-to-move-and-re-configurebackdroptoastageset.Flatssometimeshavewindowsordoorsbuiltintothemtoprovideextraflexibility,foruseinrealisticsettings.Maskingflatsareusedtohideareasthedesignerdoesnotwanttheaudiencetosee,ortoprovideactorswithanexit,orsomewheretostoreprops.

FOURTHWALL Theimaginarywallofaboxsetthroughwhichtheaudienceseethestage.Thefourthwallconventionisanestablishedconventionofmodernrealistictheatre,wheretheactorscarryouttheiractionsunawareoftheaudience.

GAUZE Clothwitharelativelycoarseweave.Usedunpaintedtodiffuseasceneplayedbehindit.Whenpainted,gauzeisopaquewhenlitobliquelyfromthefrontandbecomestransparentwhenthescenebehinditislit.

GROUNDPLAN Ascaledplan(overhead)viewofthetheatrestageareaorofasetdesign,toenablealltechnicaldepartmentstoensurethateverythingwillfitcorrectlyintothespaceavailable.

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MARKINGOUT Stickingtapestotheflooroftherehearsalspacetoindicatethegroundplanofthescenery.Alsoformarkingpositionoffurnitureetc.withinaset.

MODELBOX Awoodenboxrepresentingthewallsofatheatrespaceinwhichcardboardscalemodelscanbeplacedbythesetdesigner.

PROPS (Properties)Furnishings,setdressings,andallitemslargeandsmallwhichcannotbeclassifiedasscenery,electricsorwardrobe.Propshandledbyactorsareknownashandprops,propswhicharekeptinanactor’scostumeareknownaspersonalprops.

SET 1) Topreparethestageforaction.2) Thecompletestagesettingforasceneoract.

Sound

ACAPELLA Asungperformancewhichisnotaccompaniedbymusicians.

ACOUSTICS Theacousticofaroomdependsonitssizeandshapeandtheamountandpositionofsound-absorbingandreflectingmaterial.

AMBIENTNOISE Thesoundheardinaroomwithnosoundsources.

CONTROLROOM Roomattherearoftheauditorium(inaprosceniumtheatre)wherelightingandsometimessoundareoperatedfrom.Thecontrolroomisusuallysoundproofedfromtheauditoriumsothatcommunicationsbetweenoperatorscannotbeheardbytheaudience.

MICROPHONE Deviceforconvertingsoundintoelectricalpulseswhichcanthenbeamplifiedorrecordedontotape.

MIXER Adeskcomprisinganumberofinputchannelswhereeachsoundsourceisprovidedwithitsowncontrolchannelthroughwhichsoundsignalsareroutedintotwoormoreoutputs.

RADIOMIC Deviceconsistingofamicrophonehead,transmitterpackwithbatteries,aerialandmainsreceiverunitwhichallowsactorsandsingerstobeamplifiedwithnovisiblemeansofconnection.

SOUNDCHECK Athoroughtestofthesoundsystembeforeaperformance.Thiswillincludecheckingeachspeakercabinetindividually,andeachplaybackdevice.Inthecaseofaliveconcert,thisisthesessionwheneachinstrumentisplayedinturnforthesoundengineertocheckandfine-tunethesound.

SOUNDSCAPE Usingsoundstocreateanauralenvironmentforascene.Adirectorordesignermightdevelopasoundscapetocreateanatmosphereappropriatetothedrama.Eachindividualmightcreateasoundappropriatetoaccompanyorintroducethescene.Forexample,onepersonmightmakeseasoundsvocallywhileanotherimitatesthecryofaseagulltosuggesttheseaside.Repeatedwordsandphrasesoverlappingeachothercanalsobeusedtosuggestalocationortoportraysoundsinacharacter’sheadfromanightmareorseriesofflashbacks.

SX Usedbysomeasashorthandforsound.

5

60© OCR 2016


Technology/effects

AV ShortforAudio-Visual,referringtoprojectedorscreenedvideoortextualmaterial.

DIGITALEFFECTS Reverb,Delay,Phasing,Flanging,Harmonising,Chorusing.

DRYICE Frozensolidcarbondioxide(CO2)atatemperatureof–78.5°centigradewhichproducescloudsofsteam-loadedCO2gasformingalow-lyingmistorfogwhendroppedintoboilingwater.

FX AbbreviationforEffect.

PYROTECHNICS (Pyro)Chemicalexplosiveorflammablefireworkeffectswithamanualdetonation.Usuallyelectricallyfiredwithspeciallydesignedfail-safeequipment.

RIGGING Generaltermforthesystemsandequipmentthatsuspendlightingandscenicequipmentabovethestageorperformancespace.

SMOKEMACHINE ASmokeMachineisanelectricallypoweredunitwhichproducescloudsofwhitenon-toxicfog(availableindifferentflavours/smells)bythevaporisationofmineraloil.Itisspeciallydesignedfortheatre&filmuse.

Other

ARTISTICINTENTION Thewaythedirector(orensemble)decidestorealisetheperformanceincludingdecisionsonthestaging,performancestyleanddesignrequirements.SeealsoVISION.

ATMOSPHERE Themoodofasceneasitisunderstoodbytheaudience.

AUDITION Processwherethedirectororcastingdirectorofaproductionasksactors/actresses/performerstoshowhim/herwhattheycando.

CONTEMPORARY Aperformancefora21stCenturyaudience.SeealsoPRESENT-DAY.

CONTEXT Thesituationorcircumstancesinwhichapieceofdramaissetordevised,includinghistorical,culturalorsocialinfluences.Contextmaybeexploredusingthe‘W’questions:What?Who?Why?Where?When?

CONVENTION Stageconventionsortheatricalconventionsarepracticesthathavebecomeacceptedovertimeorthatcanbeestablishedwithinaperformancepiece.Forexample,itisaconventioninpantomimethattheDameisplayedbyamaleperformerandthePrincipalBoybyafemaleperformer.‘Convention’mayalsobeusedtodescribedramaactivitiessuchasconsciencecorridor.

CULTURALCONTEXT Thevaluesandattitudesexploredthematicallyinthetext.

5


FORM Theshapeandstructureofadrama.Intheatre,formisdeterminedbythecontentofthedrama(e.g.thewaytheplaywrighthasconstructedthenarrativeelements)andbythewayitispresented(thechoicesmadebyactors,designersanddirectorsininterpretingthematerialforperformance).Formiscloselyassociatedwithgenreandthesetermsareoftenconfusedbuttheydonothavethesamemeaning.Forexample,aplayclassifiedasinanaturalisticgenrewillberecognisedbytheaudienceasnaturalisticbytheformittakesonstage.(SeealsoGENREandSTYLE)

HISTORICALCONTEXT Thetimethetextwaswrittenandtheplaywrightwasworkingandthecontextwithinthetextofwhenandwherethenarrativeisset.

PRESENT-DAY Aperformanceforanaudiencetoday.SeealsoCONTEMPORARY.

PROXEMICS Proxemicsmeansthedistancesbetweencharacters/actorsinaplay.Itshowstheirrelationshipsandfeelings.

REALISATION Theperformancethatisviewedbyanaudience.

REPERTOIRE Acollectionofregularlyperformedpiecesortechniques,usuallyattributedtoaparticularperformerorplaywright.

SEMIOTICS Howmeaningiscreatedandcommunicatedthroughsystemsofsignsandsymbolsofdrama.Alloftheelementsthatmakeupatheatricalperformancehavemeaningandanaudience‘reads’orinterpretsthemtounderstandtheeventsintheperformance.

SOCIALCONTEXT Therelationshipsandinteractionsbetweenthecharactersandtheeventsinthetext.

SUSPENSIONOFDISBELIEF

Theideathatanaudiencewatchingadramaiswillingtoacceptthatwhatishappeningonstage(oronfilm)isreal.

VISION Thedescriptionorrecordoftheartisticintentionfortheperformance.SeealsoARTISTICINTENTION.

Copyrightacknowledgements:

Glossary of Technical Theatre Terms,AccessedJune2015.Reproducedbykindpermissionby©JonPrimose/TheatreCrafts.www.theatrecrafts.com

AdaptedtextfromDCrossandCReynolds,OCR Drama for GCSE Paperback,p260–270.HodderEducation.26Jun2009.

http://www.theatrecrafts.com

62© OCR 2016


Summary of updates

Date Version Section Title of section ChangeApril2018 1.1 i)Multiple Amendstoadminsections

ii)4c Externalassessmentarrangements

AmendstoHeadofcentreannualdeclaration,PrivatecandidatesandLiveTheatrestatement

iii)4d Adminofnon-examassessment

AmendstoAuthenticationoflearner’swork

iv)5e Guidanceonlivetheatrerequirements

Amendstoliveperformancerequirements

December2018

1.2 3d4d

RetakingthequalificationAdminofnon-examassessment

Updatetothewordingforcarryforwardrules

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