Qualification Reform from 2016
GCSE Drama
Specification Highlights
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Two practical performances
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Opportunities to act and/or design as suited to learner interests and
abilities
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Mixture of internal and external assessment of practical work
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Exciting and inspiring set texts
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Open book exam
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Retains many of the features that make the current specification
popular
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Excellent preparation for A level
Specification Overview
Component 1: Devising Theatre (40% of qualification)
• Internally assessed, externally moderated
• Learners will be assessed on either acting or design
• Learners participate in the creation, development and performance of a piece of devised
theatre using either the techniques of an influential theatre practitioner or a genre, in
response to a stimulus set by WJEC. Learners must produce:
 a realisation of their piece of devised theatre
 a portfolio of supporting evidence
 an evaluation of the final performance or design.
Component 2: Performing from a Text (20% of qualification)
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•
•
•
Externally assessed by a visiting examiner
Learners will be assessed on either acting or design
Learners study two extracts from the same performance text chosen by the centre
Learners participate in one performance using sections of text from both extracts.
Specification Overview
Component 3: Interpreting Theatre (40% of qualification)
Written exam
Section A: Set Text
A series of questions on one set text from a choice of five:
1. The Tempest, William Shakespeare
2. The Caucasian Chalk Circle, Bertolt Brecht
3. Hard to Swallow, Mark Wheeller
4. War Horse, Michael Morpurgo, adapted by Nick Stafford
5. DNA, Dennis Kelly.
Section B: Live Theatre Review
One question, from a choice of two, requiring analysis and evaluation of a given aspect of a
live theatre production seen during the course.
Legacy specification
Reformed specification from 2016
Unit 1: Devised Practical Performance (60%)
Non-exam assessment
Internally assessed, externally moderated
Devised performance (5-20 minutes)
Devised performance report (1500 words/4-5
hours)
Presentation for design candidates (5 mins)
Component 1: Devising Theatre (40%)
Non-exam assessment
Internally assessed, externally moderated
Devised performance (5-16 minutes)
Supporting evidence (750-900 words)
Evaluation (1 hour 30 minutes)
Unit 2: Performing from a Text (20%)
Non-exam assessment
Externally assessed by a visiting examiner
between February and May
One extract from a text (5-20 minutes)
Component 2: Performing from a Text (20%)
Non-exam assessment
Externally assessed by a visiting examiner
between February and May
Two extracts from the same text made into
one performance (5-14 minutes)
Component 3: Written Exam (20%)
Written Exam
1 hour 30 minutes
One set text
Evaluation of performance from a text
Component 3: Interpreting Theatre (40%)
Written exam
1 hour 30 minutes
One set text
Live theatre review
Assessment Objectives
AO1 (20%)
Create and develop ideas to communicate meaning for theatrical performance
AO2 (30%)
Apply theatrical skills to realise artistic intentions in live performance
AO3 (30%)
Demonstrate knowledge and understanding of how drama and theatre is developed
and performed
AO4 (20%)
Analyse and evaluate their own work and the work of others
Assessment Objectives
Component 1:
Devising Theatre
AO1
AO2
20%
10%
Component 2:
Performing from a
Text
AO4
Total
10%
40%
20%
Component 3:
Interpreting
Theatre
Overall weighting
AO3
20%
30%
20%
30%
10%
40%
30%
20%
100%
DFE Subject Content
Across all three components learners will study:
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one complete performance text
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two extracts from a second contrasting performance text placed within the context of the
whole text
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either the techniques of an influential theatre practitioner or the characteristics of a genre of
drama (this is additional to the DFE subject content)
Learners will have the opportunity to work practically as designers and/or performers on:
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one devised performance using the techniques or characteristics of their chosen theatre
practitioner or genre
•
one performance based on the second contrasting performance text using sections of text
from the two extracts.
Component 1- Devising Theatre 40%
Learners may choose to act or design for this component. There are three stages to
this component:
1a. Devising
• Choose a stimulus from a choice of four provided annually by WJEC
• Research and develop ideas using the techniques or characteristics of a
theatre practitioner or genre
• Rehearse, amend and refine the work
• The following should be considered when devising:
 structure
 theme/plot
 form and style
 language/dialogue.
Component 1- Devising Theatre 40%
• Learners should consider how meaning is communicated through the
following, as appropriate to the piece of theatre:





performance conventions
use of space and spatial relationships on stage
relationships between performers and audience
design elements including lighting, sound, set and costume
the physical and vocal interpretation of character.
• There is a full list of requirements for design candidates in the specification
Component 1- Devising Theatre
Example stimuli set by WJEC:
A quotation: ‘All men are created equal’ American Declaration of Independence
Lyrics of a song: Handbags and Gladrags, Stereophonics
A picture: Parsifal I, Anselm Kiefer
A Concept: The closed door
Component 1- Devising Theatre 40%
1b. Portfolio of Supporting Evidence
Learners keep a record of supporting evidence, compiled during the process. It
should focus on three stages/moments where the practical work has changed or
developed in any significant way and explain how:
1. ideas have been created and developed from the stimulus including how the
techniques/characteristics of the practitioner/genre have been applied to the
work
2. ideas are developed to communicate meaning
3. the piece is amended and refined for performance.
The supporting evidence is not a diary of the rehearsal process.
Component 1- Devising Theatre 40%
1b. Supporting Evidence
Examples of key moments:
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Introduction of a device e.g. flashback which changes the mood or
atmosphere of the piece
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Decision to include a PowerPoint to show different locations which helps to
develop the flow and structure of the piece
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A dress rehearsal where learners realise they need to practise with props/
develop costume to highlight character.
Presentation of Supporting Evidence
Supporting Evidence
Name:
Examination number:
School:
Centre Number:
Chosen stimulus:
Chosen Practitioner / Genre:
Chosen Skill:
Explain how your chosen 3
moments have contributed to the
development of your piece. You
could use :
• photos from rehearsals
• lyrics of songs
• copies of power points
• pieces of poetry
• information of practitioners
• visual images,
• articles form newspapers,
• mind maps
• diagrams / pictures of costumes
• make-up sheets
• sketches of set
• colour charts
• mood boards
• lighting cue sheets
Significant moment 1:
The list is endless … any information which supports the development process.
The supporting evidence must be annotated in sufficient detail to highlight the
progress of the piece of theatre. Each stage should be between 250-300
words, a maximum of 900 words in total. It may also be presented as a blog or
audio-visually.
Component 1- Devising Theatre 40%
2. Realising
• Learners realise their piece of theatre and the timings depend on the
number of actors in the group:




2 actors: 5-10minutes
3 actors: 7-12 minutes
4 actors: 9-14 minutes
5 actors: 11-16 minutes
• Each actor must interact with other performers and/or the audience for a
minimum of five minutes.
Component 1- Devising Theatre 40%
Each group may have up to four additional designers, each offering a different
design skill.
The design skills available are:
•
•
•
•
lighting design
sound design
set design (including props)
costume design (including hair and make-up)
There is a list of minimum requirements for design candidates in the
specification.
Designers are marked on the design, not on their ability to operate
equipment.
Component 1: Devising Theatre (40%)
3. Evaluating
Learners evaluate the final performance or design under supervised conditions. There will be
four sections to the evaluation:
1.
A paragraph outlining the artistic intentions for the piece. This should include brief details
of the practitioner or genre and the chosen stimulus
2. Analysis and evaluation of their performance or design skills
3. Analysis and evaluation of the performance, including whether they successfully realised
their artistic intentions using the techniques of the practitioner or characteristics of the
genre in response to the stimulus
4. An analysis and evaluation of their individual contribution to the piece.
Learners may have access to two sides of A4 in bullet point notes when writing the evaluation.
The notes must be handed in with the evaluation. They have 1 hour and 30 minutes to
complete the task under supervised conditions.
Assessment of Component 1 (60 marks)
AO1 20%, 30 marks
1. Devising targets AO1 create and develop ideas to communicate
meaning for performance.
This is assessed through the portfolio of supporting evidence.
There are separate assessment grids for performing and design
candidates, although the first column, creating and developing ideas is
identical in both grids. Learners are assessed on:






ideas created in response to the stimulus
use of practitioner/genre techniques
their individual contribution to the process
development of character/mood and atmosphere
selection of performance/design conventions/techniques
use of space/design cues.
Assessment of Component 1 (60 marks)
AO2 10%, 15 marks
2. Realising targets AO2 apply theatrical skills to realise artistic
intentions in live performance
This is assessed through the final performance/design
There are separate assessment grids for performing and design
candidates. Learners are assessed on how well they realise their artistic
intentions through:



application of design/performance skills
interpretation of character/scene
individual contribution to the final performance
Assessment of Component 1 (60 marks)
AO4 10%, 15 marks
3. Evaluating targets AO4 analyse and evaluate their own work (and
the work of others)
This is assessed through the evaluation.
There are separate assessment grids for performing and design
candidates.
Learners analyse and evaluate the final performance/design. They do not
analyse and evaluate the process of creating and developing the piece.
Learners are assessed on their analysis and evaluation of:



their application of design/performance skills
their interpretation of character/scene
their individual contribution to the final performance.
Component 2 - Performing From a Text 20%
• Learners may choose to act or design for this component
• Timings are comparable with Component 1
• 2-4 actors per group with up to two additional design candidates, each offering
a different design skill
Selecting a suitable text for performance
• Learners are required to study two 10 minute extracts, within the context of the
whole text, from one performance text of their own choice.
• A list of suitable texts is provided in Appendix B. However, learners may choose
a different text.
• The text must be one which has been professionally commissioned and/or
professionally produced and must also contrast in either style, and/or context
(social, historical or cultural) to the text chosen for Component 3.
• It is not necessary for all learners in the group to study extracts from the same
performance text. Centres should guide learners to choose texts which suit their
interests, abilities and the combinations of learners within each group.
Component 2 – Performing from a Text
1. Preparing for Performance
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Learners create a performance or design using sections of text from both of the 10
minute extracts
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The performance need not use the full 20 minutes studied but must contain an
appropriate amount of text from each 10 minute extract to make a coherent
interpretation in performance.
•
The text may be edited to create one coherent interpretation, but must not contain any
additional dialogue or characters
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The performance may contain monologues but cannot consist solely of monologues
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Learners may change the gender of a character, where this doesn't change the meaning
of the text.
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Learners are not permitted to perform as two different characters in the two different
extracts, unless multi-roling is a feature of the style of the piece in general
Component 2 – Performing from a Text
1. Preparing for Performance
• The performance or design must show consistency and/or development of
character/theme, as appropriate to the role, between the two extracts
• Designs should complement the text and also show consistency and/or
progression in the content. For example, a full costume change might not be
necessary, but the addition of an item to show a change in circumstance/time
might well be appropriate; a lighting designer might change the colour to
reflect a different time of day; a sound designer might modify the settings to
reflect a change of mood and a set designer might alter small details to
indicate the passing of time.
Component 2 – Performing from a Text
1. Realising
• Learners perform their pieces live for a visiting examiner.
• Design candidates must also present their design to the examiner.
• This is to show any additional evidence of the design.
• All learners must submit a paragraph to the examiner stating their artistic
intentions.
• The centre must record the performances and presentations and send the
recordings to WJEC within two weeks of the exam.
Assessing Component 2 (20%)
AO2 60 marks
• This component assesses AO2 only.
• There are separate assessment grids for performers and designers.
• Learners are assessed on:




application of performing/design skills
interpretation of character/scene
communication
their individual contribution to the performance.
Component 3 – Interpreting Theatre
(Written Examination)
1hour and 30 minutes for learners to show their knowledge and understanding of how drama
and theatre is developed and performed and to analyse and evaluate a piece of live theatre.
It is an open book exam
Section A – Set Text.
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Centres must approach the study of the text practically
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Study text from viewpoint of director, actor and designer
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Use of appropriate theatrical terminology
Section B – Exploration of live theatre.
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Centres must ensure that candidates have viewed at least one piece of live theatre (this
can include streaming of productions e.g. NT live)
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Learners will be required to consider the role of the actor, designer and director as a
member of the audience.
Assessment of Component 3
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Section A (45 marks) targets AO3 demonstrate knowledge and
understanding of how drama and theatre is developed and performed.
•
Section A consists of structured questions on the set texts which will
increase in tariff (15 marks being the highest).
•
Section B (15 marks) targets AO4 analyse and evaluate (their own
work) and the work of others.
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Section B will be one structured question from a choice of two on live
theatre.
Component 3 – Interpreting Theatre
(Written Examination)
Sample question for ‘viewpoint of director’:
Name two rehearsal techniques that a director can use to prepare an
actor for the role of Simon in this scene.
[2]
Explain how these two techniques would help the actor prepare for this
role in performance.
[4]
Component 3 – Interpreting Theatre
(Written Examination)
Sample question for ‘viewpoint of designer’
Briefly describe the social class of the Dunbar family. [2]
Explain how any one line in the extract illustrates their social class. [3]
Suggest a suitable costume for Catherine and explain how it could be
used to show her social class. [4]
Component 3 – Interpreting Theatre
(Written Examination)
Sample question for ‘viewpoint of actor’:
Explain how an actor playing the role of Anna in this extract, could communicate
her character to the audience.
In your answer refer to:
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character motivation
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voice
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movement
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interaction.
[15]
Component 3 – Interpreting Theatre
(Written Examination)
Sample question for ‘viewpoint of an audience member’:
Analyse and evaluate the use of lighting and sound in two key scenes, to
communicate meaning to the audience.
[15]
In your answer refer to:
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the style of the production
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how lighting and sound are used to create atmosphere and communicate
meaning
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your response to the performance as an audience member.
Component 3 – Interpreting Theatre
Mark Scheme
• Indicative content is provided, although all valid alternatives will be
considered.
• Longer responses will be assessed using bands of achievement.
• Marking grids are clearly linked to assessment objectives.
Resources for Teachers
Supporting teaching and learning
Resources planned for this specification include:
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teacher’s guide
term plans
set text notes
online interactive design resource.
Resources for Teachers
Supporting teaching and learning
www.eduqas.co.uk/qualifications/drama-and-theatre/gcse/
Free subject specific resources available for all to download from our website
resources.eduqas.co.uk
Free Eduqas digital resources to support the teaching and learning of a broad range of
subjects.
oer.wjec.co.uk
Our free Online Exam Review allows teachers to analyse item level data, critically
assess sample question papers and receive examiner feedback
EXAMINING FOR WJEC EDUQAS
• We value the contribution you as experienced teachers and lecturers make in
assessing students’ work, ensuring that candidates are given a fair result
which accurately reflects their ability
• We appoint examiners to mark externally assessed work and moderators to
review the original marking of teachers for internally assessed components or
units
• We provide face-to-face training for examiners and moderators (appointees)
prior to assessment work commencing
• Our senior examiners and subject officers provide support and advice during
the assessment period
www.eduqas.co.uk/examiners
APPLICATION PROCESS
• Complete an application using the on-line application system available on the
Appointees page of the WJEC website
• Once you have completed the initial registration, please make sure that you
validate your email account so that you can complete the application process
• When you have completed your application, remember to click ‘submit’ on
the homepage, to complete the process
• Remember to inform your referee of your application, as sometimes delays
occur due to referees not completing the reference section
• On rare occasions, applicants may not be accepted due to a lack of relevant
teaching experience
• Applicants may re-apply once they have gained sufficient experience
• Some applicants will be approved, but may have to wait on the reserve list
until a suitable vacancy arises
Any Questions?
Contact our specialist Subject Officers and administrative team for your
subject with any queries.
catherine.webster@eduqas.co.uk (Subject Officer)
sara.evans@eduqas.co.uk (Subject Support Officer)
catrin.budd@eduqas.co.uk (Subject Support Officer)
@eduqas
eduqas.co.uk