1

This is worth 30% of your final GCSE grade.
It is in 3 parts: a practical assessment and two controlled assessments.
15% of your grade is from 6hrs of practical workshops
This will be split across your lessons in a number of small workshops
It will be under controlled conditions; led, supervised and assessed by
Mrs Levahn.
You will explore at least 2 stimuli using explorative strategies and drama elements and medium.
15% of your grade is from the controlled assessment
You will write a documentary response to this practical work of 1000 words.
You will also do a live performance evaluation of a complete play in a maximum of 2000 words.
It will be written under controlled conditions.
Your mark will be based on your ability to comment on a range of drama strategies and elements used in the performance and their effectiveness and how well you convey and express these ideas.
During the practical you will be awarded marks for the way you explore and respond to the chosen play.
You will need to use at least 4 explorative strategies, at least 2 skill areas of the drama medium and appropriate elements of drama.
You will be assessed on:
Your understanding of the text.
Your use of drama strategies, elements and medium.
How well you work with your group.
How well you communicate your understanding of plot, character, form and structure.
2

Band one: 25-30 marks:
Student’s practical exploration shows an outstanding understanding of the text.
There is a fluent use of strategies, elements and medium and a creative and collaborative involvement in all practical tasks which are committed and focused.
Communication of ideas shows an outstanding knowledge and understanding of plot, character, form and structure.
Band two: 19-24 marks:
Student’s practical exploration and understanding of text is excellent showing imaginative use of strategies, elements and medium and sustained, collaborative involvement in all practical tasks. Communication reveals an excellent knowledge and understanding of plot, character, form and structure effectively in all practical activities.
Band three: 13-18 marks:
Students demonstrate a good understanding of the text, which is explored with appropriate engagement and use of strategies, elements and medium in practical tasks. Communication reveals a good grasp of plot and character, and there is a confident use of form and structure.
Band four: 7-12 marks:
Student’s practical exploration of the text is adequate with some contribution of ideas and understanding of strategies, elements and medium to meet the tasks. There may be stronger involvement in some aspects of the practical exploration than others, and they may not always be able to demonstrate their understanding of text and form clearly.
Band five: 1-6 marks:
Student’s practical exploration of the text is limited. Their response to, and understanding of the text is basic or flawed, or they cannot communicate their ideas and intentions. Cooperation and interaction with others may be inconsistent.
Band six: 0 marks: Students’ practical exploration of the text is limited.
There is no evidence of a response to and understanding of the text and there is no communication of ideas and intentions. Cooperation and interaction with others is not evident.
3

Band one: 9-10 marks:
Students’ analysis and evaluation of their own work and that of others is outstanding. They show considerable understanding and appreciation of the way the medium and elements of drama are used to interpret a play.
Band two: 7-8 marks:
Students’ analysis and evaluation of their own work and that of others is excellent. They show clear understanding and appreciation of the way the medium and elements of drama are used to interpret a play.
Band three: 5-6 marks:
Students’ documentary evidence shows a good understanding of their own work and that of others and evaluates it with some justification.
Band four: 3-4 marks:
Students’ documentary evidence will be adequate, largely descriptive and evaluative comments will lack development and justification.
Band five: 1-2 marks:
Students’ documentary evidence will be limited in terms of content and understanding.
Band six: 0 marks:
Students’ documentary evidence will not demonstrate any evidence of content and understanding.
4

...shows you were engaged and committed to the work on the selected play
...considers the
presentation of the response (you can use images alongside your wirting for example)
....evaluates the
work rather than simply describing what you did during the explorations
...uses the language of drama
...discusses how they deepened your understanding of meaning
...justifies how and why you
chose the explorative strategies
...reflects on how the drama medium, the elements of drana abd the explorative strategies helped you to understand and interpret the play
5

These are ways of using drama to explore topics, themes, issues, play texts and performance.
The strategies you are most likely to use are:
 Still image/freeze frame –the action is frozen like a photograph
 Thought-tracking –when frozen you speak the thought in the character’s head
 Narrating –you describe what is happening/how someone is thinking or feeling but from the outside
 Hot-seating –you are in role and people ask you questions
 Cross-cutting – cutting from scene to scene
 Forum theatre – you watch a piece and then you step in and try to change it
 Marking the moment –showing which are the key moments in a piece of drama
 Flashback/forward – you show a scene of something which happened in the past/future
 Soundscape – the creation of atmosphere through sounds
 Role-play – taking on a role and acting like that person would
These are the different ways in which dramatic meaning (ideas) are communicated to an audience.
These include the use of:
 Costume – all the clothes and accessories an actor wears to demonstrate meaning and/or character
 Masks and make-up – masks are a form of covering the face. Make-up is the cosmetic paint, powder and colouring used on stage to make faces and expressions visible to the audience
 Sound and music –this includes everything the audience hears
 Lighting – the use of artificial light to create a range of effects and moods, or to direct the audience’s attention
 Space and levels – using heights and proxemics to demonstrate meaning and relationships to the audience
 Set and props – the set is the constructed or created setting in which a play takes place. The props are the items used during a performance
 Movement, mime and gesture – movement is the physical action that happens on stage. Mime is when actors remain silent and convey meaning through actions. Gesture is a single movement, made by part of the body, such as a fist clenching
 Voice –using vocal techniques such as pauses, pitch and tone
 Spoken language – the choice of words used 6

These are the different parts of a dramatic performance that relate to the story being told, the themes being developed and the ways the characters are presented.
The elements of drama include:
 Action, plot and content –the story, characters and/or themes of the drama
 Forms – the way the story is told, the characters portrayed, and/or themes depicted
 Climax and anti-climax – building and/or releasing tension, and/or sense of expectation
 Rhythm, pace and tempo –the rate at which the action moves along and the extent to which this changes
 Contrasts – e.g., stillness vs. activity, silence vs. noise
 Characterisation – the means used to portray a role using vocal and physical skills
 Conventions – the techniques typically used in drama
 Symbols – the representational use of props, gestures, expressions, costume, lighting, and/or setting. E.g. white costume to represent the innocence of a character
Drama arises from many sources and roots. Many different things stimulate the imagination of those who make drama.
These different stimuli include:
 Poetry
 Music
 Images –e.g. paintings, pictures, photos
 Play scripts
 Live theatre performances
 Television and film
 Newspaper and magazine articles
 Extracts from fiction and non-fiction texts
 Artefacts –e.g. objects, pictures, costumes, etc.
7

Unit 2:

Write in detail about the extracts studied and link them to the whole play.
 Reflect on how you used the drama strategies and mediums to explore the play’s meanings, themes and issues.
 Reflect on your initial response to the play and how this changed during the unit.
 Demonstrate your understanding of the main themes and ideas in the play.
 Use examples of work from across the whole 6 hours.

Evaluate your work and the work of others.
 You have 1000 words. No more and preferably no less.
Descriptive
We started by…
The first thing I did was…/ our first task was…
When we watched…
Then we…
Then we got into groups…
After we did…
Next we…
In our next session…
Mrs Richardson told us…/ miss said…
Reflective
Initially I thought…
Whilst working through the first task…
On observing…I felt/thought/saw/heard…
Developing on from…
Working in groups of four I felt…
On completion of…I felt…
At some point…
The scream task, to me, was by far the most challenging because…
To begin with, I thought that “madness” was…
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The strategy/element/medium of…was used to… demonstrate/ communicate/ symbolise/tell the story of…
I felt that…
I believe that…
I think that…
In hindsight…
This was effective because
…
We used this because…
We did this because…
By acting…I communicated the idea of…
When sharing work…
When viewing other groups work/pieces…
As a member of the audience…
This moment stood out for me because…
Their use of… was effective because…
…was used effectively by…/because we…
Key moments were…because…
I saw improvement/progress made by…because…
The feedback we received/that was given helped me/… improve by/because…
They demonstrated…
The audience’s reaction…
When they…it was effective because…
I like how they used…
I thought…could improve their (use of)…because/by…
…worked collaboratively within our/their group…
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Before you start:
Select three activities that stand out for you in helping you explore the play
Try to pick linked activities that show how you developed your understanding
Introduction:
Information about the play (style, genre etc)
You first impressions and how you felt about the play by the end of the practical exploration.
Paragraph 1:
Details and evaluation of first selected activity.
What did you do?
What explorative strategy did you use?
How did it help you to further understand the play (themes, characters, tone, style etc)
Paragraph 2:
Details and evaluation of second selected activity (different strategy / group size)
What did you do?
What explorative strategy did you use?
How did it help you to further understand the play (themes, characters, tone, style etc)
Did another group do something different to cast another light or emphasise the point you were trying to make?
Paragraph 4:
Details and evaluation of second selected activity (different strategy / group size) o Perhaps select the largest/most challenging piece or the piece you feel really helped you to understand the play better.
Paragraph 5:
Evaluation of another group’s work (same activity as paragraph 4)
Compare and contrast to yours
Conclusion:
In what area were you most educated about – was is a specific character, the style, the playwright’s intentions? 10

What explorative strategies did you use? How did you use them? What effect did this have on your piece?
I changed my body language to show how I felt during this scene. I started with confident body language; holding my body up as tall as I could and then, as the scene developed, I started to slouch more to show she was being bullied in a sense by the “in group” who had effectively invited themselves to the party.
During today’s session I found that using freeze frames to symbolise certain things was an effective way of portraying the significance of something. We used freeze frame to show the seven stages of life…
I thought that the non-verbal communication we used effectively showed that we were part of a different scene and clearly showed that it portrayed a journey.
What drama medium did you use?
The medium we chose to use was sound to express the sound of the crying baby and I thought this was better than physically having someone play a new-born because it would have been less effective
Who worked well during this task and why?
I felt that ------- and -------- worked well in this particular piece as they were committed and focused on what we were doing.
I felt that we all contributed loads of ideas to help develop this piece further despite the short time limit.
---- and ---- added a little bit of humour to the task but I felt that they could have calmed down a little more so that everyone was working as effectively as possible .
How well do you think you worked during this task and why?
I think that I was more on task this session because I wasn’t working with people I normally work with and because I had ---- as my partner so I was there helping her as she was helping me and we made sure we encouraged each other.
During the cross-cutting; it was really difficult to hold the first freeze frame and I felt my arms getting really tired out. I also found it difficult when others in the group were facing my direction as I had to try really hard to keep a straight face. This was, by far, the most challenging task we’ve done in Drama so far and it really taught me to keep the focus and how much concentration I may need in future performances.
I learnt that less is more so the less we showed in performance made it more clear to the audience what we were doing and ensured they could interpret it in their own way and it was good t hat we didn’t complicate things as a group.
11

Today I went into class and got into a circle and miss acted out the character of a gang leader and she could get rid of everyone she wanted so she got rid of all the boys in the class. This showed a sign of sexism. Then I went into a group with…
Or
During my drama lesson I listened to a song called “something inside so strong”. It’s about standing up for what you believe in and speaking out. At the start of the lesson
I went off into a group and my task was to act out something that people might not like about you, e.g. what country you’re from, what you do, what race you are, etc. In my group there was…
Or
In this lesson, it was all about our speaking. I found this a great way to improve our monologue. I feel I read the piece out well and also me and ---- was very supportive of --- who I felt really needed the confidence boost.
12

Session 1
LO: To understand how the strategies of still image and thought tracking can consolidate a grasp of the plot in section 1 and the state of mind of the two protagonists.
Starter:
Brainstorm words associated with alcohol
Read pages 12-13 and think about the thoughts and emotions of Jo and Judy in this section
Main:
Create 3-4 freeze frames playing the characters of Jo and Judy and respond as if Bob and
Nob are there – where appropriate.
Aim to add at least one thought track each into the freeze frames where we see the scene come to life and one character directs their thought track to the audience.
Plenary:
Watch and evaluate.
Session 2
LOs:

To understand how marking the moment can emphasise a key moment in a play.

To understand that a range of explorative strategies and drama techniques can be used to mark the moment.
Starter:
Read the chosen section of text from section 1 (pages 12-13)
Q - What genre of play is this? TIE
Q - What is the message being communicated here? (ignorance, stupidity, warning of what is to come)
Q - How is this message communicated? Pick out key words/lines/stage directions.
Q - If you were directing this scene what moment would you chose to mark?
Main:
Rehearse the section in groups of 4/5 (groups of 5 can have extra Bob/Nob character)
Select one moment in which to mark and decide how you will achieve this.
Rehearse the scene and the marking the moment.
Plenary:
Watch and evaluate.
13

Session 3
LOs:
To explore different ways of staging significant moments in the play with focus on the creation of a climatic moment.
To understand that a range of explorative strategies and drama techniques can be used to mark the moment.
Starter:
Reread Duncan’s monologue account on page 25 and read it again in different tones
(annoyed, anxious, laid back, without emotion)
Discussion on how props are used in this play – as symbols
Main:
Groups 4/5: devise your own way of staging the crash.
Use elements of physical theatre, sound-scaping and the symbolic use of props.
Aim to include key lines from Duncan’s monologue and can also use other key lines from throughout the play. (choral speaking, voice work, repetition)
Can also use other elements of the drama medium such as levels, music, mime etc.
Plenary:
Watch and evaluate.
Session 4
LO: To investigate the emotional journey of Judy as she learns the truth about the accident’s outcomes.
Starter:
Read the dialogue between PC Caten and Judy on page 38
- Ask students to come up with one thought they think Judy might have during this scene
- Trigger activity, repeated to add a gesture or movement.
Main:
Work in groups of 3/4 students and create freeze frames that represent the emotional journey that Judy travels through during the dialogue on page 38.
- After initial practice they may add in some of their thought tracks and movement that allows them to move from one still image to another.
Plenary:
Watch and evaluate.
14

Session 5
LO: To demonstrate your understanding of the characters’ emotions through hot seating and/or the questions asked during hot seating.
Starter:
Read Judy’s monologue in Section 6 (In Retrospect) on page 41.
Q – is this what you expected to happen? In what way is this ending unusual?
Q
– what words could you use to describe the scene?
Q
– what emotions is Judy feeling and why?
Main:
Hot seating activity.
In groups of 2-4 students take on the roles of Judy, Jo, Vi, PC Caten. Question Judy and
Jo in order to gain a greater understanding of the characters’ emotions and actions.
Turn your questioning into a short improvised scene.
Plenary:
Watch and evaluate.
Session 6
LO: To demonstrate your understanding of the playwright’s intentions.
Starter:
Read the epilogue of Too Much Punch for Judy in pairs.
Q
– why have the play end in this way?
Q
– what were the playwright’s intentions and how are them demonstrated here
Q
– at what other points during the play have the intentions of the play wright been explicit
/ what other dramatic techniques does the playwright use to convey his intentions.
Main:
Devise a short piece of Drama that you feel accurately portrays the essence of this play.
You may choose to include some of the activities we have done over the course of the scheme. You may select key lines, sections of dialogue.
You piece will in essence be a series of moments chosen to mark the playwright’s intentions.
You should take ideas/key lines etc from across the narrative and characters in order to show your understanding of the play
You should aim to use a range of explorative strategies in your piece of work as well as elements of the drama medium.
Plenary:
Watch and evaluate.
15

A
Accent Way of speaking used in a local area or country
Articulation Clear pronunciation of words
Aside A remark to the audience only
Audience People watching a drama
Auditorium The area for the audience, generally filled with seats
B
Backcloth Canvas cloth which covers the back of the stage: can be painted
Backstage Non-acting area behind the stage
Balance Keeping an even distribution of weight
Barn doors Adjustable metal flaps attached to the front of a fresnel spotlight for shaping the beam of light
Blackout The acting area is not lit
Slow fade to The lighting/sound is faded out slowly
Fast fade to The lighting/sound is faded out quickly
Snap to Blackout is achieved instantly
Blocking Deciding where and when actors will move on stage
Body Language Messages given by the position or movement of the body
C
Centre Stage (CS) The centre area of the stage
Centre Stage Left The left hand centre side of the acting area as the actor faces
(CSL) the audience
Centre Stage Right The right hand centre side of the acting area as the actor
(CSR) faces the audience
Character Specific person in a drama
Characterisation The process of fully developing a character
Clarity Clearness of the voice
Comedy A drama which is funny/comical
Costume Clothes worn by actors for their character
Creating The process of developing a drama’s content and roles through practical exploration, experimentation and problem solving
Cross fade To change from one lighting cue to another with no blackout in between, or to
16

change from one sound cue to another with no silence in between
Cue A signal for an actor to do or say something, or for a lighting or sound effect to begin or end
Cyclorama The back wall of the stage which can be painted or lit
D
Dialogue A conversation between two or more characters
Diction The use of clear speech
Docu-drama A documentary style drama, including reconstructions of events
Down Stage Centre The middle part of the stage nearest the audience
(DSC)
Down Stage Left The part of the stage nearest the audience on the left as the actor (DSL) faces the audience
Down Stage Right The part of the stage nearest the audience on the right as the actor
(DSR) faces the audience
Dramatic Irony Actions or remarks whose significance is not realised by all the characters
Dress rehearsal Final rehearsal (as if it were the opening night)
E
Emphasis The stress on a word or phrase
End on Audience seated at one end – acting area at the other
Enter To come on stage
Evaluate To judge the strengths and weaknesses of a drama
Exit To leave the acting area
F
Facial expression Look on face which shows emotion
Flashback Acting out an event in the past
Flashforward Acting out of a future or imagined event
Flats Wooden frames, joined together and covered with canvas, which can be painted
Flies Area above the stage from where scenery/actors are flown in on pulleys
Flood Lantern giving a wide spread of light
Fluency Natural, flowing speech
Focus Key moment, scene, character, relationship or event in a drama
Focussing Positioning the lanterns to get the desired lighting
Follow spot Powerful profile used to follow actors around the acting area
17

Form The overall style of a drama
Forum Theatre The audience suggest changes to a drama in order to affect outcomes
Freeze frame The action is frozen in time
Fresnel Spot Lantern giving a soft edged beam of light
Front of House (FOH) Any job in the theatre which involves dealing with the audience. E.g. box office, refreshments, usher
G
Gauze See-through material which cannot be seen through when lit from the front, but can be seen through when lit from behind
G-clamp Clamp used to secure lantern to lighting bar or stand
Gel Film placed in front of a lantern to change the colour of the beam
Gesture Movement of the hand or arm which communicates a meaning or emotion
Gobo Thin metal plate cut out in a pattern and placed in a lantern to project pattern or shape into the acting area
Ground plan Bird’s eye view of the set showing what is on the set, entrances/exits and the position of the audience
H
Hot-seating Questioning a character in role
I
Intonation Rising and falling of voice in speech
K
Key Explanation of symbols on a ground plan
M
Make-up Worn by actors for their character
Masking One actor unintentionally preventing another from being seen by the audience
Masks Covering for all, or part, of the face
Mime Creating a play without words, your body language and gestures should reveal what you are doing, how you are feeling.
Mixing desk Control desk for sound effect being used in a drama
Monologue A character speaks their thoughts aloud
18

Movement Use of the body as a means of communication
Musical Drama which includes song and/or music
N
Narration Part(s) of the drama are told as a story by a narrator
P
Pace/rhythm/tempo The rate at which the action moves along and the extent to which this changes, such as fast to slow or slow to fast. The drama will be more interesting to watch with changes of pace which can also build up the tension. Pace can refer to the speed changes in movement or with the delivery of lines spoken.
Pantomime Christmas theatrical entertainment usually based on a fairy tale
Pause A break in speaking; period of silence
Performance Presentation of a drama to an audience
Personal prop An item carried or worn by a character e.g. glasses, handbag, wallet
Pitch How high or low the voice is
Play Another word for a drama
Playwright Person who has written the play
Plot Storyline of the drama
Posture Position of the body – how it is held
Presenting The results of the Creating process, including performance and evaluation
Profile spot Lantern giving a hard-edged beam of light
Promenade Audience follows the action on foot, moving from one location to another
Prompt To supply forgotten lines to an actor
Prompt copy Master copy of the script with all moves and technical effects included
Prompt side Left hand side of the stage where prompter and stage manager sit during performance
Props Short for properties - objects used by an actor
Proscenium Arch Stage within an enclosing arch
Proxemics A character from the drama stands or sits in the centre of the room. Other students take up positions of distance or closeness to them. The distance represents the relationship between them and how they feel towards one another.
Pyrotechnics Stage fireworks
R
Rake Slope of stage (to allow actors to be seen)
Register Appropriate speech for the person being spoken to, or for the situation
Rehearsal Practice or preparation of a drama
19

Rehearsed Drama devised/created without a script which is rehearsed Improvisation before presentation
Revolving stage Stage which turns in a circle
Rhythm Movements which follow a pattern or beat
Role Part played by an actor / attitude adopted
Role-play A means of exploring attitudes and beliefs
Rostra Blocks or platforms used to create levels
S
Safety chain Used to attach a lantern to the lighting bar for safety
Scenario Outline of the plot of a drama, including changes in time or place
Scene Section of a drama, set in one place at one time
Scenery Resources used to create the setting where a drama takes place, e.g. backcloth, flats, rostra, furniture.
Script The written words of a drama
Set (1) Scenery used to show where a drama takes place
Set (2) To place a drama in a certain time or place
Set prop An item placed on the set, usually part of it e.g. a lamp, clock, picture
Sight lines What the audience sees of the stage from where they are sitting
Slow motion Movement performed at a slowed down speed
Soliloquy A single lengthy speech, made when no other characters are on stage
Sound collage A series of sounds that are layered together to create a dramatic effect.
They create an atmosphere and set the scene. Musical instruments can be used or peoples voices, hands and feet or any other props available.
Special effects Used to create a mood or atmosphere on stage e.g. strobe light, mirror ball, smoke machine
Spontaneous Drama created ‘on the spot’ without a script or plan Improvisation
Spotlight Beam of light created by a lantern for a person or place on the acting area
Stage directions Written or spoken advice on how to act a drama
Stage whisper A loud whisper intended to be heard by the audience
Staging The position of the acting area relative to the audience
Stance Attitude or position of the body
Status Importance relative to others
Stereotype An exaggerated portrayal of a type of person
Stimulus Anything which suggests ideas which can be developed into a drama
Strike To remove all the set from the acting area
20

Structure Way in which time, place and action are sequenced
T
Tableau A stage picture, held without movement
Tabs Curtains
Target Audience A specific group of people at whom a drama is aimed
Tension Build up of excitement
Theatre Arts The collective name for lighting, sound, costume, props, make-up and set
Theatre in the round Audience seated all around the acting area
Thought tracking An aid to characterisation: the character speaks their thoughts out loud
Thought tunnel Character(s) walk past other characters who comment on their situation
Thrust Audience seated on three sides of the acting area
Timing Speaking, moving or pausing at exactly the right moment
Tone Change of voice to express emotion
Tragedy A drama about unhappy events and with a sad ending
Trapdoor Door in a floor
Treads Stairs
Truck Piece of scenery on wheels for ease of movement
U
Up Stage Centre (USC) The middle part of the stage furthest away from the audience
Up Stage Left (USL) The left hand part of the stage furthest away from the audience as the actor faces the audience
Up Stage Right (USR) The right hand part of the stage furthest away from the audience as the actor faces the audience
Upstaging: when one actor moves backwards forcing another to turn their back on the audience in order to continue dialogue with them
V
Venue Place where a drama is presented
Voice-over Recorded speech played during a drama
Voices in the head Recall of words said by others about a character or situation
Volume Loudness or quietness of the voice
W
Wings Sides of a theatre stage
21

Rehearsal
Research
Role/character on the wall
Brainstorming
Off text improv
Hot seating
Magic if
Tableaux of key moments
Role swapping
Status exercises
Character motivation
Role reversal
Tempo/rhythm
Emotional memory
Setting and Staging
Performance Space
Relationship to audience
Period
Represented
Minimal
Colour
Symbolism
Atmosphere/mood
Textual demands
Genre
Thematic
Actor
Genre
Style of acting
Contexts
Role
Character
Relationship
Sub-text
Research
Voice
Choreography
Costume
Set demands
Motivation
Timing
Symbolism
Interpretation
Relationship to director
Direction
Design concept
Staging
Setting
Rehearsal
Costume
Choreography
Lighting
Impact
Sounds
Properties
Make-up/masks
Colour/texture
Target audience
Imagery
Research
Timing
Budget constraints
Action
Movement
Gesture
Stillness
Proxemics
Focus
Levels
Contrast
Use of space
Posture
Atmosphere
Eye contact
Sight lines
Blocking
Mime
Dance
Tableau
Stage combat
Performance space
22

How could you describe the character‘s personality?
Confident , poised, self-possessed, assertive
Friendly , gracious, affable, responsive, sociable
Extrovert , out-going, gregarious, convivial, expressive
Thoughtful , contemplative, pensive, introspective, wistful
Considerate , attentive, solicitous, selfless, caring
Warm , affectionate, demonstrative,
Cheerful , jovial, spirited, buoyant, optimistic, jaunty
Fun , exuberant, colourful, vibrant, effervescent, vivacious, energetic, animated
Kind , compassionate, benevolent
Arty , creative, imaginative, inspirational
Charming , charismatic, enigmatic, enchanting
Pleasant , amiable, congenial, genial, agreeable, goodhumoured
Helpful , obliging, accommodating, supportive, cooperative
Genuine , sincere, heartfelt, earnest, frank
Generous , munificent, charitable,
Ambitious , elaborate,
Passionate , fervent, ardent, zealous, impassioned
Enthusiastic , effusive, vociferous, fulsome, immoderate
Honest , candid, scrupulous, honourable
Open , approachable, amenable, acquiescent
Brave , valiant, heroic, courageous, intrepid, audacious
Spontaneous , impulsive, impetuous, reckless
Steady , balanced, collected, composed
Reliable , dependable, trustworthy, staunch, loyal, resolute
Trusting , credulous, gullible, innocent, naive
Restrained, taciturn, reticent, reserved,
Withdrawn, introvert, solitary, inhibited, retiring,
Shy , diffident, bashful, self-effacing, timid, unobtrusive
Sensitive, emotional, perceptive, insightful
Unfriendly , reserved, aloof, distant
Thoughtless , tactless, insensitive, foolish
Cunning , deceitful, shrewd, astute, devious
Unkind , callous, ruthless
Cold , mean, malicious, cruel, malevolent
Miserable , despondent, desolate, melancholy, austere
Unpleasant , obnoxious, objectionable
How could you describe their appearance?
Tall , giant, lofty, towering, colossal.
Large , brawny, hefty, broad-shouldered, burly, robust, beefy, hulking.
Short , small, little, petit, diminutive, squat, stunted, stubby, stocky, stumpy, stout.
Thin , skinny, slender, slim, slight, lanky, lean, trim, willowy, wiry, gangly, sinewy, shapely, svelte, sylphlike, gawky, lithe.
Fat , dumpy, pudgy, broad, thick, solid, chubby, portly, dumpy, hefty, chunky, sturdy, podgy, heavy, tubby, plump, rotund, bulky, corpulent, ungainly.
Old , elderly, mature, aged, wrinkled, wizen, furrowed, creased, craggy, shrivelled.
Young , youthful, juvenile, childish, childlike, pubescent, fresh-faced.
Masculine , manly, Feminine, womanly, lady-like.
Delicate, gaunt, withered, cadaverous, bony, emaciated, scrawny, scraggy, sunken, fragile, feeble, frail, weak, Pale, pallid, wan, ghost-like, corpse-like, ghastly, ghostly, ashen, wasted, colourless, pasty, sallow, sickly, waxen, listless, spectral, ethereal, waiflike, drained.
Ugly , hideous, revolting, repulsive, unattractive, unsightly, gruesome, abhorrent, unpleasant, untidy, shabby, unkempt, bedraggled, rumpled, tattered, scruffy.
Attractive , pretty, appealing, desirable, beautiful, gorgeous, striking, eye-catching, stunning, glamorous, smart, alluring, handsome, elegant, stylish, well-groomed, pristine, immaculate.
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How could you describe an actor’s movement & posture?
Slow , sluggish, lethargic, listless, slothfully, leisurely, lingering, indolent, limp, apathetic, languid, exhausted, enervated, relaxed, gentle, prolonged, flaccid, wilting, drooping, loose, slumped,
Graceful, flowing, flexible, agile, lithe, poised, balanced, controlled, smooth, fluid, stable, steady, effortless, unwavering, firm, supple, sinuous.
Wander , amble, saunter, meander, stroll, lope, traipse, run , scuttle, dart, scamper, sprint, scurry, bustle, stir, flurry.
Gradual , measured, deliberate, painstaking, precise, restrained, purposeful, methodical, meticulous.
Fast , frantic, lively, sprightly, swift, nimble, prompt, sudden, sharp, rapidly, immediate, frenzied, frenetic, energetic, dynamic, vigorous, animated, vital, brisk, forceful, hurried, abrupt, impulsive, spontaneous, spiky, urgent, brusque, snappy, severe, distinct, hyperactive, hysterical, harried, wild, uncontrolled, vibrant, enthusiastic, powerful, convincing, compelling, violent, outrageous, uninhibited, fervent, formidable.
Shaky , jerky, turbulent, restless, anxious, agitated, trembling, insecure, rickety, erratic, chaotic, riotous, fidgety, edgy, impatient, nervous, jumpy, wavering, vacillating, unbalanced, unpredictable, squirmy, uneasy, jittery, prickly.
Limping , hobbling, shuffle, lame, shamble, totter, stagger, trundle, shamble, waddle, sway, lurch, reel.
Clumsy , ungainly, awkward, lumbering, hulking.
How could you describe an actor’s voice & delivery of lines?
Harsh , coarse, scratchy, abrasive, discordant, jarring, disturbing, rasping, hoarse, grating, dissonant, guttural, gruff, gravelly, husky, throaty, croaky, thick, deep, enthusiastic, low , heavy, resonant, rich, sonorous, bass, powerful.
Muffled , slurred, stifled, garbled, lisping.
Loud , raucous, loutish, boorish, cacophonic, braying, thunderous, vociferous, clamorous, booming, roaring, rumbling, echoing, reverberating, resounding, strident.
High pitched , shrill, piercing, penetrating, acute, nasal, squeaky.
Fluctuating , inconsistent, whiny.
Soft , mild, genteel, harmonious, silky, melodious, syrupy, thin, haunting, evocative, muted, velvety, fluid, mellifluous, faint, mellow, subtle, placid, serene, calm, sweet, tuneful, musical, honeyed, sleek, delicate, weak , tinny, reedy, soprano, lingering, hushed, muffled, pure, dulcet, soothing, whispered.
Serious , solemn, grave, subdued, sombre, grim, staid, sober.
Sarcastic, mordant, caustic, scathing, sardonic, scornful, derisive, contemptuous, irreverent, cynical.
Bland , monotonous, tedious, repetitive, insipid, droning, rhythmic.
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