Characterisation – practical drama techniques you used to create characters, including rehearsal techniques.
Performance or Design Concepts – concepts you created to enhance your Drama.
This may be in relation to target audience, mood and atmosphere, setting, genre, theme etc. Appropriate terminology should be used for the production skill being discussed.
Style/Genre/Form – Scripted Presentation, naturalistic/non naturalistic/comedy, romance, horror, thriller, action
Setting – where and when your drama is set.
Staging/Venue – What staging, venue and set design you would use in order to make this setting clear.
Themes/issues and message – what are the themes/issues of your drama? You may also be asked to identify and justify dramatic message.
Mood and Atmosphere – you must be able to explain the mood and atmosphere of your drama.
Target Audience – you must be able to identify, justify and discuss the target audience’s reaction to your drama.

Please ensure you have revised all of the areas listed below.
Use this as a revision guide. If you understand all of these areas you are on track with revision.
1. Plot and setting a. What happens in the drama? b. Where and when is it set? c. You must be able to discuss what venue, staging and set design you would employ in order to make clear this setting.
2. Themes and message a. You must be able to identify, justify and explain 2 or more themes b. You may also be asked to identify and justify dramatic message.
3. Voice and movement terminology a. Terminology must be used when discussing performing a character or presenting a key moment between two or more characters. b. A question on directing would also require discussion of voice and movement techniques in terms of directing one or more actors on stage.
4. Mood and Atmosphere a. You must be able to state what the mood and atmosphere will be at vaying points in the drama. b. You may also be asked how you could use theatre production skills such as sound and lights to highlight this mood or atmosphere for the audience.
5. Character and Character Relationships a. Personality/Status /objective/motivation/purpose. b. You will be asked how you would use acting techniques to communicate this character to an audience. c. You may also be asked how you could use other theatre production skills such as costume, make-up, props, etc. to highlight this character.
6. Turning Point/Key Moments – identify and justify.
7. Target Audience – identify and justify.
8. Practical Activities that you did/could undertake in order to understand a character/relationships/explore setting/theme/ message/mood, etc. – what did you learn?

a. Must be able to explain more than one activity. b. Must be able to say how the activity helped you explore and understand areas such as setting/themes/mood and atmosphere/how you would play a certain character etc.
9.Language – what does the language of the extract add to the plot? What does it reveal about the characters? How does it add to the mood and atmosphere of the drama?

General Terms Movement Voice Conventions Form
Stimulus
Characterisation
Target Audience
Mood
Atmosphere
Directing
Design Concepts
Purpose
Focus
Time period
(historical)
Language
Special effects
Performance concepts
Rehearsal activities
Status
Tension
Dramatic Irony
Mime
Body language
Facial expression
Gesture
Naturalistic
Stylised
Eye contact
Posture
Balance
Speed
Timing
Use of levels
Use of space
Positioning
Mannerisms
Rhythm
Stance
Use of Direction
Accent
Pace
Volume
Clarity
Emphasis
Pitch
Pace
Pause
Articulation
Fluency
Intonation
Register
Genre Structure Style
Flashback
Flashforward
Freeze frame
Frozen picture
Mime
Monologue
Movement
Slow motion
Narration
Voice over
Aside
Soliloquy
Tableau
Split Stage
Characterisation
Techniques
A play, scripted or improvised
Dance drama
Mime
Monologue
Movement
Musical
Pantomime
Forum
Production
Areas
Comedy
Tragedy
Crime drama
Docudrama
Melodrama
Commedia dell
‘arte
Farce
Tragicomedy
Satire
Linear
Non-linear
Naturalistic
Non-naturalistic
Character cards
Improvisation
Role play
Hot seating
Voices in the head
Writing in role
Thought tracking
Thought tunnel
Set
Sound
Lighting
Costume
Makeup props

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
Avenue Audience seated on two sides of the acting area
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
Barndoors 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
Conventions Alternative ways of presenting parts of a drama
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
Crossfade To change from one lighting cue to another with no blackout in between, or to 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

Dance Drama A drama presented through dance moves
Dialogue A conversation between two or more characters
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 of a drama with all the theatre arts
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 door flat Frames into which a door is built window flat Frames into which a window is built
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
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
Frozen picture Foundation word for tableau
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 Stylised form of movement which creates an illusion of reality
Mixing desk Control desk for sound effect being used in a drama
Monologue A character speaks their thoughts aloud
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 Speed of speech or movement
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
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
Rehearsed Improvisation Drama devised/created without a script which is rehearsed 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
Special effects Used to create a mood or atmosphere on stage e.g. strobe light, mirror ball, smoke machine
Spontaneous Improvisation Drama created ‘on the spot’ without a script or plan
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
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
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
THE THEATRE STAGE

Proscenium Arch Stage within an enclosing arch
 Apron Part of the stage in front of the curtain

Auditorium The area for the audience, generally filled with seats
 Backcloth Canvas cloth which covers the back of the stage: can be painted
 Backstage Non-acting area behind the stage
 Balcony Areas of seating above the stalls
 Blacks Drapes which curtain off the sides, or back, of the stage

Cyclorama The back wall of the stage which can be painted or lit


(Dress) Circle Area of seating above the stalls and below the balcony
 Front of House (FOH) Any job in the theatre which involves dealing with the audience e.g. box office, refreshments, usher
 Flies Area above the stage from where scenery/actors are flown in on pulleys
 Gauze See-through material which cannot be seen through when lit from the front, but can be seen through when lit from behind
 Green room Area in which actors wait when not on stage during a performance
 Prompt side Left hand side of the stage where prompter and stage manager sit during performance
 Pyrotechnics Stage fireworks

Rake Slope of stage (to allow actors to be seen)

Revolving stage Stage which turns in a circle

Stalls Lowest area of seating, not above stage height

Trapdoor Door in a floor

Treads Stairs

Truck Piece of scenery on wheels for ease of movement

Wings Sides of a theatre stage
LIGHTING
 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
 Crossfade To change from one lighting cue to another with no blackout in between
 Fade up/down To brighten or dim the lighting

Flood Lantern giving a wide spread of light

Gel Film placed in front of a lantern to change the colour of the beam

Spotlight Beam of light created by a lantern for a person or place on the acting area

Focussing Positioning the lanterns to get the desired lighting

Follow spot Powerful profile used to follow actors around the acting area

Fresnel spot Lantern giving a soft edged beam of light

LFX The quick way to write ‘lighting effects’

Lighting Desk Control board for lighting
 Profile spot Lantern giving a hard edged beam of light

Wash The whole acting area is evenly lit
 Barndoors Adjustable metal flaps attached to the front of a fresnel spotlight for shaping the beam of light
 G-clamp Clamp used to secure lantern to lighting bar or stand
 Gobo Thin metal plate cut out in a pattern and placed in a lantern to project pattern or shape into the acting area

Pyrotechnics Stage fireworks
 Safety chain Used to attach a lantern to the lighting bar for safety

Special effects Used to create a mood or atmosphere on stage e.g. strobe light, mirror ball, smoke machine
SOUND


Cue A signal for an actor to do or say something, or for a lighting or sound effect to begin or end
 Fade in To bring the volume up
 Fade out To bring the volume down
 Crossfade To change from one sound cue to another, with no silence in between
 Live (SFX) An SFX is operated on cue during the performance e.g. a doorbell, a phone ring, a knock
 Pre-recorded (SFX) An SFX is recorded on tape and played on cue during the performance
 SFX The quick way to write ‘sound effects’

Mixing desk Control desk for sound
COSTUME

Costume Clothes worn by actors for their character

Hats Items worn on head in keeping with the character being played

Jewellery Items worn on ears, neck or wrists in keeping with costume worn

Wigs Artificial hair in a variety of colours and styles for any character part

Costume list A list of all costumes for each character in a drama
 Period costume Costume which reflects clothing from a time in history
PROPS (PROPERTIES)
 Personal prop An item carried or worn by a character e.g. glasses, handbag, wallet
 Props (short for properties) – items used or carried by an actor, or items on the set
 Set prop An item placed on the set, usually part of it e.g. a lamp, clock, picture
 Props table Table in the wings on which all props are placed for actors to collect as they enter, and replace as they exit
MAKE-UP
 Fake Blood Powder, liquid or capsules which create the effect of bleeding

Foundation The basic skin colour

Liners Sticks of make-up in different colours used to create lines, bruises, shading, highlighting etc.

Pencils Soft pencils in different colours which are easily smudged and blended

Scarring Scars created with make-up, putty or scarring material

Stipple sponge Used to create an unshaven look or the appearance of cracked veins

Tooth varnish Used to create the look of a missing tooth by blacking out an existing one

Crepe hair Plaits of artificial hair which can be cut and trimmed to form eyebrows, moustaches and beards
 Highlighting Using light colours to make face areas stand out

Shading Using colours to make facial areas look shrunken
 Spirit gum Glue used to attach hair to the face
 Latex Liquid rubber which can be used to make skull cap moulds and false noses
 Nose putty Type of clay used for altering the shape of the nose or chin and/or making warts and wounds

Skull cap Plastic head-shaped covering to give appearance of baldness

SET
 Acting area That part of the available space occupied by the set and/or used by actors when acting
 Centre Stage (CS) The centre area of the stage
 Centre Stage Left (CSL) The left hand centre side of the acting area as the actor faces the audience
 Centre Stage Right (CSR) The right hand centre side of the acting area as the actor faces the audience
 Down Stage Centre (DSC) The middle part of the stage nearest the audience

Down Stage Left (DSL) The part of the stage nearest the audience on the left as the actor faces the audience

Down Stage Right (DSR) The part of the stage nearest the audience on the right as the actor faces the audience

End on Audience seated at one end - acting area at the other

Ground plan Bird’s eye view of the set showing what is on the set, entrances/exits and the position of the audience

Key Explanation of symbols on a ground plan

Rostra Blocks or platforms used to create levels

Set (1) Scenery used to show where a drama takes 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
 Staging The position of the acting area relative to the audience
 Theatre in the round Audience seated all round the acting area
 Thrust Audience seated on three sides of the acting area
 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

Avenue Audience seated on two sides of the acting area

Dress the set Add soft furnishings such as tablecloth, cushions, pictures and pre- set props

Portable staging Lightweight frames and boards for creating levels

Proscenium Arch Stage within an enclosing arch

Promenade Audience follows the action on foot, moving from one location to another

In terms of acting, a
may include:
● social and cultural influences on ideas from the stimulus/text
● influence of form, structure, genre on acting style
● characterisation
● character relationships
● actor/audience relationship
● staging
● planned use of voice
● planned use of movement
In summary, it is the overall interpretation of the character/text/stimulus that you want to achieve in performance.
In terms of technical, a
may include:
● social and cultural influences on ideas from the stimulus/text
● influence of form, structure, genre on design elements
● staging
● design concepts
● theatrical effects
In summary, it the overall interpretation of the technical skill in relation to the characters/ text/stimulus/other technical areas to achieve a certain look or feel for the performance.

A Target Audience is the group of people for whom you intend to present your drama.
If you want to identify an age group be specific about their age! For instance, state older generation between 60 and 80 who may have immigrated to Great Britain around the time that the drama is set – not ‘old people’
DO NOT give a negative answer i.e. do not say who wouldn’t like a presentation of this drama.
You will also be expected to give reasons for your answer.
E.G The target audience for a performance of this drama would be High school pupils who are studying World War II in History. This would be the case as it would explore the situation in a German occupied country during the war. It also looks at issues such as the Holocaust which would be interesting and informative to this audience.
The characters are also mostly children so this would help a young audience relate to what they are seeing.
Venue refers to the type of theatre building that you would choose to present this drama. Venue does not mean type of staging e.g. theatre in the round, although the type of staging the theatre building has will be a consideration.
It is better to identify a specific theatre e.g. Eastwood Park Theatre.
Here are some reasons why Eastwood Park would be a good venue:
1.
Due to the small amount of characters a smaller, more intimate venue would probably be advisable for a presentation of this extract. Eastwood Park theatre has a capacity of only 300, a perfect size audience for an intimate piece of theatre.
2.
Eastwood Park Theatre has a proscenium arch stage which would allow the use of flats and backdrops that you may need to convey the setting.
3.
As a community venue, close to a school you would be able to publicise and market the presentation amongst the local community and would have a audience from schools close by in the surrounding area, like the pupils studying English or
Drama.

You need to be able to identify the mood and atmosphere of the drama. You should be able to state what the mood and atmosphere is like at the beginning of the drama, how it changes towards the middle and then what kind of mood and atmosphere we are left with at the end of the drama.
If a question asks you about LANGUAGE you need to do more than quote the dialogue. – you need to discuss the features of language used.



Features of language use includes:

Language used e.g. colloquial Scots or Standard English


Specific word choice
Punctuation
Structure of sentences i.e. short, snappy lines or large monologues
Formal or colloquial language
Use of metaphor or simile
If you are asked about mood and atmosphere it is highly likely that you will be asked about how actors and/ or any member of the design team could help highlight the mood and atmosphere to the audience.
If the question asks “As an actor how would you” then discuss one character. If it asks “As a director”, you should discuss more than one character.
In any case you must discuss all three of the following
1.
stage positioning (e.g. lying on floor DSL)
2.
vocal technique
3.
movement technique
If the question asks about technical aspects to enhance mood and atmosphere, you should discuss more than one or choose relevant areas from a list provided.


% brightness

Use of gels or no gels?

Wash (general coverage)

Fresnel/Flood/Profile Spotlight

What area of the stage is lit?

What volume?

What moment?

Snap on/off

Fade up/down

Colour

Condition

Fabric/materials

Fit

Positioning of furniture and props

Style of clothes/furniture etc

In your exam you may be asked to describe and explore any one or more of these:






Key moment
Turning point
Climax of the extract
Most important or significant moment
Opening of the drama
End of the drama
Some of these areas could be one and the same but they may not be i.e. the opening moment could be the most important. For your final exam it is a good idea to know the significance of the opening, closing and another important moment.
You Must:

Define the opening/ closing line of dialogue or moment.

Justify in terms of the questions
Audience response
This should/ could include:

How it may make them fee l

What they may learn from it

How they may have developed a feeling regarding a theme or message

How the mood created may make them think or feel about the characters

Its purpose - How it reflects the message or theme, introduces or develops character etc.

Be able to say how these moments or desired impact on audience could be shown by actors or any member of the technical team (lighting designer, set designer etc.)
Moment Information:
There has to be a build up of tension before the turning point/key moment/climax .
It is important to note that the climax may not be the same moment as the turning point however you need to be able to explain and justify any moment that they ask you to discuss.

The climax is likely to be towards the end of the drama and is where the conflict and tension rises to its highest point.
It is likely that if you are asked about a key moment/climax etc. that you will also have to consider how you could use the actor, director and/or members of the theatre production team to highlight this as a key moment to the audience.
NOTE: If asked about a MOMENT, you must discuss a MOMENT. This is a VERY
SHORT amount of time. 10- 30 seconds. This is NOT a section of dialogue!
Highlighting an important moment to the audience:

If the question is from the perspective of the Actor (discuss 1 character )

If the question is from the perspective Actor s (discuss all on stage at the moment mentioned )

If the question is from the perspective of Director (discuss all on stage at the moment mentioned) YOU MUST USE VOICE AND MOVEMENT TERMINOLOGY.
USE YOUR IMAGINATION – VISUALISE THE ACTORS ON STAGE!

Vocal techniques

Movement techniques

Stage notation (the areas of the stage (CS, USL etc.) You MUST say where the action happens, positioning of the characters is very important.
You may also be asked how to use the technical team to show key moments
OR
Ensure an appropriate or desired audience response

You must be able to say how the use of practical activities helped (or could help) the actors explore and understand the drama. This could be in terms of developing characters, exploring setting, understanding themes or atmosphere, etc.
You can write about ANY activities but you must ensure the ones you choose are the best examples to answer the question you are asked.



You can write about activities like:

Improvisation


Role play
Hot seating
Research
Status Exercises
Movement exercises: the walk of the character or turning the plot into tableaux



Character building tasks
Characters Cards
Role on the wall
Practical activity questions can be asked from a number of different angles. You may be asked what you would do as an actor or what you could do as a director if designing a workshop for the actors. You will also be asked to justify what you would learn about the drama or what you would want others to learn in terms of, one or more of the following -






Character
Character relationships
Themes
Message
Setting
Understanding of key moment/ turning point/moment of tension/ climactic moment

Mood and atmosphere
You have to take what you would do and fit it to the answer. A s long as you describe the activity accurately AND what you would learn about the drama then you will get the marks!
Remember that practical activities DO NOT include reading through or acting out the drama

1a. Who would be the ideal target audience for your drama? Explain your answer.
1b. What range of emotions did you want the audience to feel when they were watching the performance? Explain your answer.
2. Evaluate the effectiveness of your final performance. If you were an actor you should include comments on performance concepts and the mood/atmosphere created. If you were in a production role you should include comments on design concepts and the mood/atmosphere created.
3a. Describe the main problem you had when preparing your drama.
3b. Explain how you solved this problem.
4. Evaluate the effectiveness of your final performance. If you were an actor you should include comments on performance concepts and impact on the audience. If you were in a production role you should include comments on design concepts and impact on the audience.
5a. If you had been given the choice between the target audiences below, which would you have chosen? Justify your answer. 11-16 year olds OR 20-30 year olds.
5b. Describe two problems which you encountered when preparing for this performance. What solution did you find for each problem?
6. Consider your final performance. Describe two changes you would make in relation to your contribution. If you were an actor you should include comments on performance concepts. If you were in a production role you should include comments on design concepts.
7. Explain how your role improved the performance.
8. How successful was your role? Justify your answer.
9. Consider a moment in your final performance that created a strong impact on the audience. Describe that strong impact and, if you were an actor, how you achieved this. You should include in your answer a range of performance concepts. If you were in a production role, describe that impact and how you achieved it. You should include in your answer a range of design concepts.

First they came for the Socialists, and I did not speak out--
Because I was not a Socialist.
Then they came for the Trade Unionists, and I did not speak out--
Because I was not a Trade Unionist.
Then they came for the Jews, and I did not speak out--
Because I was not a Jew.
Then they came for me--and there was no one left to speak for me.
Prologue
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life;
Whole misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

With a ragged diamond of shattered plate-glass a young man and his girl are falling backwards into a shop-window.
The young man's face is bristling with fragments of glass and the girl's leg has caught on the broken window and spurts arterial blood over her wet-look white coat.
Their arms are starfished out braced for impact, their faces show surprise, shock, and the beginning of pain.
The two youths who have pushed them are about to complete the operation reaching into the window to loot what they can smartly.
Their faces show no expression.
It is a sharp clear night in Sauchiehall Street.
In the background two drivers keep their eyes on the road.

Ginger Store: two weeks later.
Lucia and Hughie fixing ginger boxes to play schools. Lucia in charge: Hughie reluctant.
HUGHIE: You got going the teacher last time.
LUCIA: Whose Uncle Massimo’s ginger boxes are they?
HUGHIE: ( resigned ) Yours.
Lucia picks up something to use as a pointer:
LUCIA: Right, sit up straight. Fold your arms.
Hughie obliges.
LUCIA: Two and two?
HUGHIE: Four.
LUCIA: Three and two?
HUGHIE: Five.
LUCIA: Six and three?
HUGHIE: Nine. I mean eight. No, nine I mean.
LUCIA: Seven and five?
HUGHIE: Eh… Eh… That’s a hard one.
LUCIA: It’s not hard for all the other wee boys and girls. Is it boys and girls? Seven and five?
Hughie starts counting on his fingers.
LUCIA: Come on, come on, seven and five?
HUGHIE: Seven and five?
LUCIA: You heard.
Pokes him with pointer.
HUGHIE: Seven ADD ON five you mean?
LUCIA: You heard.

Pokes him with pointer .
Hughie trying to count on fingers, mouthing figures, gets to ‘seven’ then to ‘ten’:
Lucia makes him lose count: jabs him with her ’pointer’.
LUCIA: Too long! I can’t spend all day with one child. I’ve got all these other little children to see to as well you know. Little SCOTTISH boys and girls. I think they deserve some of teacher’s time too. You should have done these sums last night, Franco. Why didn’t you?
HUGHIE: Eh, well, I forgot.
LUCIA: Oh you ‘forgot’ did you. Do you hear that, boys and girls, little Franco ‘forgot’. Sure you weren’t too busy serving the shop?
HUGHIE: No, miss.
LUCIA: Or maybe you don’t have pencils in your house. Or maybe you don’t have a house.
Have you got a house?
HUGHIE: Yes, miss.
LUCIA: No use telling fibs, now is it, Franco? We all know you live in a shop. Now don’t laugh boys and girls. It’s not Franco’s fault he lives in a shop.
HUGHIE: Twelve.
LUCIA: Oh, so there’s twelve of you living there. My oh my! Not all in the same bed I hope.
Now stop laughing, boys and girls, it’s not funny.
HUGHIE: Seven and five is twelve.
LUCIA: Oh, you’re too late now. I don’t know what you’re doing in this class in the first place.
A little ruffian like you. A sleekit little, greasy little, smelly little…
It’s gone too far.
Hughie jumps up, knocks away his ginger box.
HUGHIE: I don’t like this game.
LUCIA: Well, I don’t like it either.

1a. As an actor, consider a character in your drama who you think would be a challenge to portray and explain why.
1b. Describe the relationship this character has with one other character in your drama.
1c. Describe two rehearsal activities that could help establish and or/ develop the relationship you have just described, and explain why these would be helpful.
2a. Outline a character that you want your target audience to feel strongly about.
Justify why you have chosen this character.
2b. Explain why you think your target audience would react strongly to this character
Your explanations could refer to personality, purpose in the drama, relationships with other characters, status etc. You should justify your answer.
2c. Choose and describe an important moment in your drama where this character appears. Explain why you consider it to be an important moment for this character.
3a. Choose one other character from your drama who has a low status. Outline the main purpose of this character.
3b. As a director, explain how you would want an actor to use voice in order to portray this character’s low status.
3c. As a director, explain how you would want an actor to use movement in order to portray his character’s low status.
4a. Choose one character from your drama. Outline this character’s personality and overall purpose in the drama.
4b. If you were to act this character, how would you communicate this personality to an audience, making reference to a range of performance concepts.
5a. Think about the main character in your drama. Describe this character’s purpose in the drama.
5b. In what ways would you show an audience that this was the main character?
(You may wish to consider acting techniques, theatre arts, status etc.)

1a. Choose and describe a key moment in your drama. Explain why you consider it to be a key moment.
1b. Think again about that key moment. As a designer, how would you use two production areas to highlight/enhance this key moment? Give reasons for each production area you have chosen. Use a blank page for any drawings/diagrams.
2a. What mood and atmosphere would you want to create in your opening scene of your drama? Give reasons for your choice.
2b. Think about two production areas that could help establish this mood and atmosphere. Describe how each production area could help achieve the mood/atmosphere you wish to create.
3a. Describe in detail the set the audience would see as your drama starts.
3b. How might you use theatre arts to make the set clear and interesting for an audience? You should give a detailed explanation of how you could use at least two theatre arts from the following list: Lighting; Sound; Props; Set Dressings. Justify your answer.
4a. As a designer, explain and justify how you would use two production areas to highlight your overall genre to an audience. A blank page is provided for any drawings/diagrams.

1a. Describe a time period in which you would choose to set your drama and explain your choice.
1b. Think about the purpose or message of your drama. How will the plot and setting help to communicate this purpose or message?
1c. Name two conventions you would use in your drama, and, for each one, explain the advantage of using it.
2a. Who would you consider a suitable target audience for your drama? Give reasons for your answer.
2b. What emotional reaction(s) do you think this audience would have when watching your drama?
3. Give a brief outline of your drama indicating any changes to time and place.
4a. “Conflict and tension are the essence of drama.” Describe what the conflict and
/or tension would be in your drama.
4b. As a director, in what ways could you help your actors understand this conflict and/or tension in rehearsal?
5. What form would your drama take?
6a. The director decides to end your drama with a tableau. Describe how the end of your drama could be turned into a tableau.
6b. Do you think a tableau at the end of your drama would be successful? Justify your answer.