AS Unit 1

Live Theatre and Set Play

• Unit 1 assesses Assessment Objectives 2, 3 and 4.

AO2• “demonstrate knowledge and understanding of practical

and theoretical aspects of drama and theatre using appropriate terminology”.

AO3• “interpret plays from different periods & genres”. AO4 • “make critical and evaluative judgements of live theatre”.

Section A (Live Theatre Production Seen) assesses AO2 and AO4 with weightings of 10% and 20% respectively.

Section B (Prescribed Play) assesses AO2 and AO3 with weightings of 10% and 20% respectively.

Each question is out of 50.

Quality of written communication (QWC) will form an integral part of the quality of your answer and the Band you will be awarded.

Band 1 AO2 • The candidate demonstrates clear knowledge and understanding of the style and form of the chosen production • There is evidence of a sound theoretical understanding of the production aims of the production team • There are many purposeful references to specific aspects • Information is well-organised, making the candidate’s meaning very clear. Expression is very clear, including a confident and accurate use of terminology; there are few, errors in spelling, grammar & punctuation

Band 1 AO3•The candidate’s interpretation is clear and coherent and entirely compatible with the action of the nominated section • Purposeful reference made to period/genre• Focused attention given to creating specific effects for the audience

Band 1 AO4• The candidate displays a good degree of discrimination in selecting a production which is entirely appropriate to the question set • There is sound critical appreciation of production elements • Purposeful evaluation of the success of the production

The questions will be similar to the ones here, although the wording, and possibly the focus of attention, will differ.

Questions 1 and 2 are on design;

3 and 4 are on the actors.

Question 1 Outline the set design(s) in one live production that you have seen where the designer adopted a non-naturalistic approach, and evaluate the success of the designs in creating a suitable setting for the action, at particular moments from the play.

The question wants you to:• Clearly explain and outline the nonnaturalistic set design • focus upon the set design’s creation of a suitable setting for the action of the

production at particular moments• an evaluation of the success of the design, related to particular moments from

the productionYou will be expected to comment upon how well the set:• - created a specific location or period• - suggested an interior or exterior setting• - suggested a time of year, or of day - to suggest a specific social atmosphere• - support the themes/issues of the production• - created an abstract/stylised or symbolic setting for the pieceYou will be expected to illustrate this by commenting upon • - choice of staging form• - the use of colour, texture, shape, levels• - the use of flats, furnishings, set dressing, doors, windows, drapes, floor

cloths - the use of steps, revolves, flown scenery, trapdoors, 3D structures• - the use of gauze, cyclorama, screens, projections, placards• - particular moments from the production where the design created a suitable

setting for the action

• AO2• Candidates demonstrate knowledge and understanding of practical

and theoretical aspects of drama and theatre using appropriate terminology (out of 17)

• - informed reference to the non-naturalistic style and form of the production• - examples where the set design created a suitable setting for the action• - theoretical understanding of the production aims (reflecting style and

genre) - accurate use theatre Terminology• AO4• Candidates make critical evaluative judgements of live theatre AO4

(out of 33) • - experience of an appropriate production, where set design made a

significant contribution to the production• - a critical appreciation of design fundamentals as deployed in the non-

naturalistic set design• - personal evaluation of the success of the set design

• Question 2 Outline the use of period styling, colour, condition and accessories within the costume design of one live production that you have seen and assess its success in communicating character to the audience. You should consider the costumes worn by at least two characters at particular moments in the play.

The question wants you to consider:• costumes worn by at least two characters• the success of the costumes in communicating character to the audience• reference to particular moments within the production

You will be expected to comment upon • the types of character, i.e. historical context, gender, age, social status, profession,

nationality, conformity.costume design fundamentals, for example:• - the period and style of the costumes• - the use of colour, fabric and texture• - the fit and condition of the costumes• - hemlines, necklines, waistlines, lapel width, trouser shapes, jacket shapes• - accessories, for example, wigs, masks, make-up, hairstyles, shoes, accessories,

ornamentation and specific terminology, ‘boat neck’, ‘raglan sleeve’, Eton collar

You will be expected to illustrate this by commenting upon • - identifying characters as members of the same ‘group’ • - the effect of the costumes upon movement to create character • - costumes and accessories used to communicate characteristics, i.e.

melodramatically sweeping capes, nervousness involving cuffs and ties

AO2• evidence of knowledge and understanding of the aims of the costume

designer for the chosen production, based upon:• informed reference to the style and form of the Production –• examples from the production where the costume design was intended

to communicate character • theoretical understanding of the production aims of the production team • accurate use of appropriate theatre terminology

AO4• critical and evaluative judgements of the costume design used in a live

production seen, based upon:• - experience of an appropriate production, where costume design

made a significant contribution to the production• - a critical appreciation of design fundamentals, period styling, colour,

condition and accessories, as deployed in the costume design• - personal evaluation of the success of the costume design in

communicating character

Question 3 Explain how one or more performers used vocal, physical and facial expression to engage the audience at particular moments within one live production that you have seen, and assess the effectiveness of their performances.

The question wants you to consider: • an explanation of how one or more performers used vocal, physical and facial expression

to engage the audience• reference to particular moments within the production• an assessment of the effectiveness of the performances

You will be expected to comment upon:• the characters being performed and how they engaged with the audience • the physical appearance of the performers, age, height, build, facial features• costume and/or make-up to enhance physical and facial expression• expression of emotion, tension• the use of vocal expression by the performer(s), pitch, pace, pause, projection, accent • singing, chanting and vocal ensemble work• non-verbal vocal work such as shrieks, cries, howls and laughter

• You will be expected to illustrate this by commenting upon physical expression,• movement, gesture, posture, gait, idiosyncrasy• interaction with other characters• use of dance, physical theatre, mime • demonstration of physical qualities such as poise, balance, strength, timing• use of facial expression and eye contact• relationship with the audience (direct address, asides, inner monolgues)• audience response

AO2, “demonstrate knowledge and understanding of practical and theoretical aspects of drama and theatre using appropriate terminology”

• informed reference to the style and form of the production• examples from the production where the performers used vocal,

physical and facial expression to engage the audience• theoretical understanding of the production aims of the production

team• accurate use of appropriate theatre terminology

AO4, “make critical and evaluative judgements of live theatre”• experience of an appropriate production, where one or more

performers used vocal, physical and facial expression to engage the audience

• a critical appreciation of the vocal, physical and facial expression employed by one or more performers

• personal evaluation of the effectiveness of the Performances

Question 4 Explain how the performers used both their props and the setting within one live production that you have seen and assess their contribution to the creation of a sense of realism at particular moments within the production.

• The question wants you to consider:• explanation of the use of props and the setting by performers• reference to particular moments within the production where the performers used

props and the setting• an assessment of how the use of props and the setting contributed to a sense of

realism within the production

• You will be expected to comment upon how the props were used realistically:• working with hand props such as spectacles, bags, papers, letters, books, wallets,

eating and drinking; use of crockery and cutlery, cups and glasses• adjustment of costume pieces such as shawls, hats, gloves, coats• the performers’ realistic use of setting,• sitting in chairs, sofas, on stools• using doors, windows, curtains, lamps• using items of set dressing, typewriters, fires, stoves, kitchen equipment• use of mirrors• use of bedding, blankets, beds• reacting to sources of light; using radio/television• use of space within the setting in a realistic way

AO2 Candidates demonstrate knowledge and understanding of practical and theoretical aspects of drama and theatre using appropriate terminology

• evidence of knowledge and understanding of the aims of the performers in their use of props and the setting within the production, based upon:

• informed reference to the realistic style and form of the production• examples from the production where the use of props and the

setting contributed to a sense of realism• some theoretical understanding of the production aims of the

production team• accurate use of appropriate theatre terminology

AO4, “make critical and evaluative judgements of live theatre”• experience of an appropriate production, where the use of props

and the setting contributed to a sense of realism within the production

• a critical appreciation of the performers’ use of props and the setting• personal evaluation of the contribution made to the creation of a

sense of realism

Take a break

Unit 1 Section B

(Antigone)

1(a) Explain how you would perform the role of the Sentry, in each of his two appearances, in order to reveal his change of attitude from his initial fear for his own life to his relief as he brings a guilty Antigone before Creon. [In some editions, the Sentry appears as the Soldier or Guard.]

• The question wants you to consider:• focus on each of the Sentry’s appearances,• concentrating upon the Sentry’s change of attitude from fear to relief• from a performer’s perspective• Include performance ideas which reveal the Sentry’s change in attitude

• You will be expected to comment upon:• the context of the Sentry’s appearances• the Sentry’s role and function within the play• his initial fear of Creon; his relief when handing over the real ‘guilty party’• the Sentry’s physical appearance, age, height, build, facial features • vocal qualities, pitch, pace, tone, accent; possible change in quality in the second appearance• interaction with others, eye contact, spatial relationships, physical• contact; use of space movement, gesture, gait, posture,• energy, demeanour and facial expressions• choice of costume/make-up/mask• use of props, if appropriate• specific performance ideas, clearly intended to reveal his change in attitude• thematic/theoretical aspects, genre and style; original cultural context

AO2, “demonstrate knowledge and understanding of practical and theoretical aspects of drama and theatre using appropriate terminology”- dramatic invention within practical performance suggestions- theoretical understanding of the play informing practical decisions- knowledge and understanding of the play’s potential in performancesupported by apt textual illustration - accurate use of appropriate theatre Terminology

AO3, “interpret plays from different periods and genres” appropriate interpretation of the character- the Sentry’s role and function- the play’s period, genre and style (or justified transposed period)- the revelation of the Sentry’s change in attitude

1 (b) What effects would you wish to create for your audience at the end of the play? Explain how you would direct the section from the entrance of Eurydice to the end of the play in order to achieve your aims.

The question wants you to consider:Specific effects to be achieved for the audience at the end of the play. A director’s perspective and strategies to achieve the intended effect

You will be expected to comment upon the:preferred effects which might include creating, a sense of anticipation/tension, a sense of Catharsis, a pity and fear, a sense of waste; sympathy or Eurydice, for Creon, for Haemon and Antigone;shock at the final outcome directorial suggestions which might include ideas for the actors’ performances as well as ideas for use of the setting, for costume/mask, for technical elements to support the interpretation of the sectionchoice of staging form; set design, furnishings, if appropriatethe physical appearances of the characters in terms oft age, height, build, colouring, facial features, perhaps with reference to the solemnity of the Messenger, the dignity of Eurydice, the altered state of Creon, the unified look of the Chorus

AO2, “demonstrate knowledge and understanding of practical and theoretical aspects of drama and theatre using appropriate terminology”appropriate selection and application of directorial methods, demonstrating:- dramatic invention within practical directorial suggestions- theoretical understanding of the play, informing practical decisions- knowledge and understanding of the play’s potential in performance supported by apttextual illustration-accurate use of appropriate theatre Terminology

AO3, “interpret plays from different periods and genres” appropriate directorial interpretation for the final section of the play, compatible with:- the characters and their situation at the tragic close of the play- the play’s period, genre and style (or justified transposed period)- the candidate’s preferred effects for the audience

Tips on writing an essay

Before you start, make a plan….

Bullet-point these 3 questions in your plan…..

1. ANSWER THE QUESTION! Write down the key points the question wants you to address.

2. Then write down the Style and Genre AND your Dramatic Intentions. Keep referring to your Dramatic Intentions (as director, designer, etc.)What is your ultimate aim? To create sympathy for a character, to use the body as a tool for physical expression, convince the audience to ‘suspend their disbelief’, create debate, etc.

3. Then think….what specific moments in the play illustrate your dramatic intentions AND reflect the genre and style? These are your Key Moments (choose at least 3)

Now you know what to write about…how do you go about it?One way is to use the PEEL formula

P point (Dramatic Intention)E evidence (SCRAP THOSE)E explanation (Refer to DI, what is the result?)L link (with the next paragraph)

Use SCRAP THOSE, to help illustrate your POINT/Dramatic Intentions• S- Style and Genre, including the period• C-Communication-how characters communicate themes, use voice, physical skills• R-Relationship –relationship with each other, with the set, with themes• A-Audience & Atmosphere,-the desired effect upon them and the mood created • P-Progression, how the scenes, themes, relationships, costumes progress• Dramatic Intention

• T-Tension in the body, voice and in the scene, the creation of mood• H-Height, how the characters and actors hold themselves, their posture• O-Openness- how open is their body language/open to new ideas• S-Space, do they dominate their space or try to take up as little as possible• E-Eye contact, how, or do they, maintain it with each other.

When you write….

• Do not make your essay narrative, don’t just tell the examiner You must explain HOW in facial, vocal and physical terms. 

• and WHY (effect upon the audience, reflection of Genre and Style)

• Choose at least 3 Key Moments. (From 3 seconds-3 mins long)

• Use quotations- they make the essay livelier.• Keep a good structure: introduction, middle and end.• Make each paragraph thematically about something

new.• Try to lead one paragraph fluently into the next.• Keep a sense of balance- you need to talk about many

different factors (e.g. costumes, direction, lighting etc) so don’t spend the whole essay talking about one thing.

• There is a difference between the actor and character.