GCSE Drama Preparing to Teach

GCSE Drama Preparing to Teach Amanda Fitzsimons Summer 2016 Follow us on Twitter @AQACPD. What will we cover today? Specification at a glance Component 2 Devising approaches Watch and mark performers and designers Understand the requirements of the Devising Log Component 1 Tackling the written paper Multiple choice, set texts Component 1 (continued) Live production seen Component 3 Understanding the practical exam Watch and mark performers and designers Structuring the course Slide 2 1

Specification at a glance Component 1 Understanding Drama What s Assessed Knowledge and understanding of drama and theatre. Study of one set play from a choice of six. Analysis and evaluation of the work of live theatre makers. How It s Assessed Written exam: 1 hour and 45 minutes Open book 80 marks 40% of GCSE Slide 3 Specification at a glance Component 2 Devising Drama (practical) What s Assessed Process of creating devised drama. Performance of devised drama (students may contribute as performer or designer). Analysis and evaluation of own work. How It s Assessed (Moderation) Devising log (60 marks) Devised performance (20 marks) 80 marks in total 40% of GCSE Slide 4 2

Specification at a glance Component 3 Texts In Practice (practical) What s Assessed Performance of two extracts from one play (students may contribute as performer or designer). Free choice of play but it must contrast with the set play chosen for Component 1. How It s Assessed (Examiner) Performance of Extract 1 (20 marks) and Extract 2 (20 marks) 40 marks in total 20% of GCSE Slide 5 Assessment Objectives (AOs) Assessment objectives (AOs) are set by Ofqual and are the same across all GCSE Drama specifications and all exam boards. The exams and non-exam assessment will measure how students have achieved the following assessment objectives: AO1: Create and develop ideas to communicate meaning for theatrical performance. AO2: Apply theatrical skills to realise artistic intentions in live performance. AO3: Demonstrate knowledge and understanding of how drama and theatre is developed and performed. AO4: Analyse and evaluate their own work and the work of others. Slide 6 3

What s changed, what s new Visiting Moderators are going.to be replaced by Visiting Examiners. The written paper still requires practical study in advance And we have six set texts to choose from. Devising work becomes much more prominent now And you have free choice of stimulus. Slide Slide 2 7 Component 2 Devised Drama (40%) Slide 8 4

What s required Students must learn how to create and develop ideas to communicate meaning in a devised theatrical performance. Students must draw on and demonstrate a practical understanding of the subject content listed in the specification. Students must develop their ability to: carry out research develop their own ideas collaborate with others rehearse, refine and amend their work in progress analyse and evaluate their own process of creating devised drama. For assessment, students must contribute to a Devised performance and produce an individual Devising Log documenting their devising process. Slide 9 Two assessed tasks Task 1 Performing Devised Drama Students must learn how to contribute to devised drama in a live theatre context for an audience. They must contribute as either a performer or designer. They must develop their ability to: create and communicate meaning realise artistic intentions in devised drama. For assessment, students must perform or create realised designs for a devised duologue or group piece. Slide 10 5

Two assessed tasks Task 2 The Devising Log Each student is required to complete a Devising Log documenting the creation and development of their ideas to communicate meaning through a devised piece and analysing and evaluating their individual contribution to the devising process and the final devised piece. The Devising Log must comprise three sections, each marked out of 20 marks: Section 1: Response to a stimulus Section 2: Development and collaboration Section 3: Analysis and evaluation. Slide 11 Group sizes Each student is required to contribute to a devised duologue or devised group piece. The assessed performance for this component cannot be a monologue. Duologue (two performers) Must be between three and ten minutes. Group performance (three or more performers) Must be between four and twenty minutes. Groups can be made of between two and six students who are performers. In addition, there can be a maximum of one of each of the following design students attached to ach group: lighting, sound, set, costume, puppet. Slide 12 6

Programme notes Teachers must provide programme notes for the moderator. These must include photographs of each student so that each student is clearly identifiable to the moderator. The programme notes must also state each student s chosen specialism. In addition each student must offer a statement of their individual dramatic intentions to justify their theatrical choices. The statement of dramatic intentions must be completed by the student on the template AQA provides. This statement is not assessed directly but should be used to support assessment. Assessment must not take place without reference to the student s Statement of dramatic intentions. Assessed performances must be recorded with a single camera from an audience perspective from start to finish and be unedited. For designers, assessors must assess the design and not its execution. Slide 13 Devised Performance Mark Scheme (Component 2) Slide 14 7

Marking activity devised performance You will mark all your students, using the published mark scheme Watch this example piece of work Write down notes on the candidates as you watch After the performance, discuss the correct mark bands The stimuli were the photograph of American dentist Walter Palmer and Cecil The Lion, the Disney film The Lion King and leaflet material produced by WWF. The group has chosen to work in the style of Brecht/ epic Consider the statement of artistic intentions of the candidates Slide 15 Applying the mark scheme Performer Level of theatrical skill 3 marks Range of theatrical skills demonstrated 4 marks Contribution to the effectiveness of the piece 4 marks Inventiveness of individual s work 4 marks Success in realising individual artistic intention 4 marks Set Designer Level of theatrical skill 4 marks Range of theatrical skills demonstrated 4 marks Contribution to the effectiveness of the piece 4 marks Inventiveness of individual s work 4 marks Success in realising individual artistic intention 4 marks Slide 16 8

The Devising Log Written, written accompanied by visuals, written accompanied by recordings or video you choose Section 1: Response To A Stimulus Section 2: Development And Collaboration Section 3: Analysis And Evaluation Examples of acting and set design written Devising Logs Slide 17 Section 1 Response to a stimulus In this section students are expected to explain their initial ideas, research and intentions for the devised piece. The student must explain: their initial response to the stimuli presented by the teacher and the stimulus they chose the ideas, themes and settings they have considered for the devised piece in response to the stimulus they chose their research findings their own dramatic aims and intentions the dramatic aims and intentions of the piece as a whole. Slide 18 9

Section 2 Development and collaboration In this section students are expected to explain the process they undertook to refine their initial ideas and intentions into a final devised piece. The student must explain: how they developed and refined their own ideas and those of the pair/group how they developed and refined the piece in rehearsal how they developed and refined their own theatrical skills during the devising process how they responded to feedback how they as individuals used their refined theatrical skills and ideas in the final piece. Slide 19 Section 3 Analysis and evaluation This section offers students the opportunity to demonstrate their analytical and evaluative skills with respect to their own devised work. Students are expected to analyse and evaluate the ways in which they individually contributed to the devising process as a whole and to the final devised piece, exploring their strengths and the learning opportunities taken from the experience. Students should analyse and evaluate: how far they developed their theatrical skills the benefits they brought to the pair/group and the way in which they positively shaped the outcome the overall impact they had as individuals. Slide 20 10

Component 2 Mark Scheme Section 1 20 marks Section 2 20 marks Section 3 20 marks Band 4: The student s response is excellent Band 3: The student s response is good Band 2: The student s response is reasonable Band 1: The student s response is limited Band 0: Nothing worthy of credit Slide 21 Devising a timeline: an example Week One Exploring The Stimuli Weeks Two/Three Deciding On A Topic/Exploring Initial Ideas Weeks Four/Six Creating A Rough Outline/Guidance Weeks Seven/Nine Fleshing The Piece Out/Guidance Week Ten Rehearsal Performance/Guidance Week Eleven Refining The Piece Week Twelve The Performance/Evaluating The Performance Slide 22 11

Component 1 Understanding Drama Slide 23 Component 1 Understanding Drama The Written Paper: 80 marks = 40% of GCSE What s assessed Section A: multiple choice questions (4 marks) Knowledge and understanding of theatre Section B: 4 questions on a given section from the set play chosen (44 marks) Study of 1 set play from a choice of 6 Section C: 1 question (from a choice) on the work of theatre makers in a single live theatre production (32 marks) Analysis and evaluation of the work of live theatre makers Slide 24 12

Section A - Multiple choice This section of the paper will test students knowledge, understanding and appropriate use of the theatre terminology relating to: Stage positioning Staging configuration Theatre roles and responsibilities Each question is worth 1 mark Slide 25 Stage positioning Students must develop knowledge and understanding of: stage positioning: upstage (left, right, centre) downstage (left, right, centre) centre stage. Slide 26 13

Staging configuration Students must develop knowledge and understanding of: staging configuration: theatre in the round proscenium arch thrust stage traverse end on staging promenade Students should have a general understanding of the implications of the above stage configurations on the use of the performance space. Slide 27 Theatre roles The roles and responsibilities of theatre makers in contemporary professional practice Roles: playwright performer understudy lighting designer sound designer set designer costume designer puppet designer technician director stage manager theatre manager Slide 28 14

Responsibilities Knowledge and understanding should cover: the activities each may undertake on a day-to-day basis the aspect(s) of the rehearsal/performance process each is accountable for (their contribution to the whole production being a success). Slide 29 Teaching strategies Encourage students to use positioning shorthand in all tasks Experiment with stage configuration in all practical work Ensure that theatre roles and responsibilities become familiar Use study time to set research tasks into specific roles and responsibilities Use critical reviews and programme notes to identify who does what and what they do in a production Make this information fun in quizzes or games Slide 30 15

Section B Questions on the chosen set text Students will be presented with an unseen extract from the play. In Section B students answer short and extended questions on one set play. All students must be prepared to answer questions from the perspective of a performer There will be one compulsory short answer question for all students with a design focus One question in Section B will offer students the choice of answering as either a performer or designer. Students must not answer Section B and Section C of the exam on the same play. Slide 31 The set texts Arthur Miller, The Crucible (Methuen Student Editions ISBN: 978-1408108390) Willy Russell, Blood Brothers (Methuen Modern Classics ISBN: 978-0413767707) John Buchan/Patrick Barlow, The 39 Steps (Samuel French ISBN: 978-0573114403) Carl Grose (Kneehigh Theatre), Hansel and Gretel (Oberon Books ISBN: 978-1849430579) Malorie Blackman/Dominic Cooke, Noughts and Crosses (Nick Hearn Modern Plays ISBN: 978-1854599391) William Shakespeare, A Midsummer Night's Dream (Penguin Shakespeare Edition ISBN: 978-0141012605) Slide 32 16

Section B Mark Scheme AO3 We have new mark schemes that are presented as four bands, where the top band is Band 4 The headline descriptors for the Bands are as follows: Band 4: The student s response is excellent Band 3: The student s response is good Band 2: The student s response is reasonable Band 1: The student s response is limited A mark of 0 (zero) will be awarded where there is nothing worthy of credit or nothing written Slide 33 Question focus Students will be examined on their knowledge and understanding of the chosen set text in respect of: Characteristics of performance text(s) and dramatic work(s) Social, cultural and historical contexts How meaning is interpreted and communicated Slide 34 17

The extract One extract from each set play is printed in the question paper. Students are permitted to refer to a clean copy of their chosen play during the exam. Students answer questions relating to the extract from their chosen text, but may refer to the whole play as appropriate to the demands of the question. Where relevant they may support their answers with sketches or diagrams. Avoid smiley faces, stick figures and tiny sketches. Encourage clear labelling and/or annotations Slide 35 Question.1 You are designing a costume for Elizabeth to wear in a performance of this extract. The costume must reflect the context of The Crucible, set in a Puritan community in the 17th century. Describe your design ideas for the costume. (4 marks) You are designing props or items of furniture for a performance of this extract. The props or items of furniture must reflect the 1930s period setting of The 39 Steps. Describe your design ideas for the props or items of furniture. (4 marks) Slide 36 18

Question.2 You are performing the role of Annabella. (The 39 Steps) Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create. (8 marks) The police! They would not believe me any more than you did! With their boots and their whistles! You are performing the role of Lola. (Noughts And Crosses) Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create. (8 marks) We want to have a word with you. Slide 37 Question.3 A short part of the printed extract will be shaded. You are performing the role of Elizabeth. (The Crucible) Focus on the shaded part of the extract. Explain how you and the actor playing John might use the performance space and interact with each other to create tension for your audience. (12 marks) You are performing the role of Diane. (Hansel And Gretel) Focus on the shaded part of the extract. Explain how you and the actor playing Maureen might use the performance space and interact with each other to show a joyful response to the corn feeder for your audience. (12 marks) Slide 38 19

Question.4/.5 Students will have a choice. They answer.4 or.5..4 Question You are performing the role of Mickey. Describe how you would use your acting skills to interpret Mickey s character in this extract and explain why your ideas are appropriate both for this extract and the play as a whole. (20 marks).5 Question You are a designer working on one aspect of design for this extract. Describe how you would use your design skills to create effects which support the action of this extract and explain why your ideas are appropriate both for this extract and the play as a whole. (20 marks) Slide 39 The set texts Practical exploration of the chosen text in a performance context is vital so Have fun and encourage experimentation with performance and design elements. You need to consider the social and historical background to the play, the period it was written in and the period it is set in, theatrical conventions and how this impacts on the realisation of the play as a whole. All students should have an understanding of the potential for design. Students must demonstrate their understanding of the context of the play, as written. They are also free to come up with creative interpretations of the text. Slide 40 20

Practical Exploration - Performing Your students don t need to have a practical experience of playing every character in the play, but they do need to have an understanding of the practical demands of the text performers' vocal interpretation of character such as accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines performers' physical interpretation of character such as build, age, height, facial features, movement, posture, gesture, facial expression the social, cultural and historical context in which the performance texts studied are set interpretation of stage directions Slide 41 Practical Exploration - Design Your students do not have to actually realise the design for the chosen text and so you are free to let them consider what might enhance a performance of the play in terms of the design of sets such as revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying, actor and audience configuration design fundamentals such as scale, shape, colour, texture puppets, types such as rod, string, human-arm, shadow costume including hair and make-up lighting such as direction, colour, intensity, special effects sound such as direction, amplification, music, sound effects both live and recorded Slide 42 21

Suggestions for getting started with a text Divide the class into groups and ask each group to research one aspect of the play, and deliver a presentation to the class in the style of the play. Summarise the plot in 12 freeze frames; then 6; then 3. Give each one a caption. What is the essence of each play? Take one character from the play and explore the role in three different styles; naturalism, epic theatre, physical theatre. Form a theatre company with the class so that everyone has a role; research that role. Recreate an extract of the play using only gestures and sounds, and movement around the space. Slide 43 Teaching strategies for each of the set texts Slide 44 22

Section C Questions on a single live performance In Section C students answer one question on the work of theatre makers in a single live theatre production, from a choice of questions. The title of the live theatre production seen must be identified at the start of their response. Students need to be taught how to analyse and evaluate either the acting or design elements to how successfully these communicated meaning to the audience. Students are not allowed to take notes into the examination. There is no requirement to read or study the text prior to the live performance. Slide 45 Section C Mark Scheme AO3/AO4 There are 32 marks available for the Section C questions. A maximum of 12 marks are awarded for students demonstrating knowledge and understanding of how drama and theatre is developed and performed. (AO3) A maximum of 20 marks are awarded for students evaluating the work of others. (AO4) Students should be able to discuss a variety of aspects of one production giving a personal analysis and evaluation of the theatrical elements and how successfully meaning was communicated to the audience. Students must not answer Section B and Section C of the exam on the same play, ie the live production seen cannot be their set play. Slide 46 23

Section C Questions Describe how one or more actors in a particular scene or section used their vocal and physical acting skills to create convincing characters. Analyse and evaluate how successful they were in communicating their character to the audience. You should make reference to: the use of voice physical skills the actors use of space. (32 marks) Slide 47 Section C Questions Describe how sound was used to support the action in the production. Analyse and evaluate how successful the sound was in helping to communicate the action of the production to the audience. You should make reference to: types of sound use of sound effects volume, amplification and direction. (32 marks) Slide 48 24

Section C Questions Describe how costumes were used to help create the style of the production. Analyse and evaluate how successful the costumes were in helping to communicate the style of the production to the audience. You should make reference to: shape and fit fabrics and accessories colour and texture. (32 marks) Slide 49 Clarification on digital or streamed productions For the purposes of this specification live theatre can include digital recordings or streamed productions. The original production must have been performed live by the company no earlier than five years before the commencement of the student s course. Teachers must ensure that students see at least one performance which will enable them to access the exam questions and mark scheme in full. AQA recommend that this performance is a minimum of 50 minutes in duration (excluding any intervals or breaks) and that it includes at least two actors, dialogue and a range of production values (lighting, sound, set and costume). Slide 50 25

Research To aid their analysis students should carry out background research into the production. They should develop an understanding of: the plot and characters specific features or hallmarks of the style/genre of the production the context of the play/production. Productions may be professional or amateur (not peer). Slide 51 What to do before and after the live performance Before: Share expectations of the performance Talk about how to read performance Ensure students know they have to take in the whole experience Watch any online resources Carry out initial background research During: Arrive early enough to take in pre show mood and atmosphere/ set Actively watch the performance After: Analyse the production Evaluate the production Share tasks so that paired or groups of students have a specific focus for the production of an initial set of notes Create a set of comprehensive notes which include relevant sketches Slide 52 26

Component 3 Texts In Practice Slide 53 Component 3 Texts In Practice This component is a purely practical component in which students are assessed on their ability to apply theatrical skills to realise artistic intentions in live performance (AO2). It is marked by AQA examiners who will visit the centre. For this component students must complete two assessment tasks: study and present a key extract (monologue, duologue or group performance) study and present a second key extract (monologue, duologue or group performance) from the same play. Each student's contribution to each key extract performance is marked out of 20. Slide 54 27

Key Extracts Choosing the play Extract 1 and Extract 2 must be taken from the same play and understood in the context of the whole play. The play chosen must: have been professionally commissioned or professionally produced as a whole be a minimum of 35 minutes in duration if performed in full offer interpretive opportunities for performers and designers be rich and of substance in terms of content, context, theme and/or characterisation offer an appropriate level of theatrical challenge to students at GCSE. Slide 55 Key extracts The key extracts chosen for study must be significant to the play as a whole ie pivotal to plot, character(s) or theme(s). The key extracts chosen must be continuous and individually last at least 10 minutes in duration if the full extract were to be performed. The play chosen must be deemed age-appropriate by the Head of Centre who must submit a declaration to AQA confirming that he/she has approved the plays chosen for practical study not be the set play the student has studied for Component 1 not contravene the prohibited play combinations Slide 56 28

Prohibited play combinations (play for practical can t match on more than one) The Crucible Playwright: Arthur Miller Description: Historical drama Performance style: Naturalistic Time period: 1945 1965 Blood Brothers Playwright: Willy Russell Description: Musical/musical adaptation Performance style: Musical theatre Time period: 1965 1985 The 39 Steps Playwright: Patrick Barlow Description: Melodrama Performance style: Multi-role Time period: 1990 2010 Hansel and Gretel Playwright: Carl Grose & Kneehigh Theatre Description: Play based on fairy or folk tale Performance style: Physical comedy Time period: 1995 2015 Noughts and Crosses Playwright: Dominic Cooke Description: Teen drama Performance style: Epic Time period: 1995 2015 A Midsummer Night's Dream Playwright: William Shakespeare Description: Comedy Performance style: Verse drama Time period: Elizabethan Slide 57 Play approval All centres will be appointed an NEA Adviser. If your school/college is new to teaching this specification, please contact AQA to be allocated an AQA NEA adviser. Schools/colleges must seek AQA approval of their play choices by submitting a Play Approval Form directly to their allocated AQA GCSE Drama NEA (non-exam assessment) adviser. Teachers must seek approval by 31 January in the year of assessment but are urged to seek approval as early as possible. Slide 58 29

Group sizes For each performance, there may be between one and six performer students, with a maximum of one of each of the following design students: lighting design, sound design, set design, costume design, puppet design. Extract 1 may be a monologue, duologue or a group piece. Extract 2 may be a monologue, duologue or a group piece. Monologue (one performer), must be between two and five minutes. Duologue (two performers), must be between three and ten minutes. Group performance (three or more performers), must be between four and twenty minutes. Cross-sex casting is permitted. Slide 59 Specialism requirements Performer - Must perform one character/interpret one role per extract. The performer may perform the same character in both extracts or perform different characters in each extract. Lighting designer - Must create one lighting design per extract. The lighting design must be different for each extract ie the student must design two different lighting plots, one for each extract. Each design must show a range of lighting effects/states and cues/transitions designed to meet the demands of the extract being performed. Set designer - Must create one set design per extract. The set design must be different for each extract ie the student must either design two different settings, one for each extract, or adapt a single set for each extract. Each design must show dressings and props designed to meet the demands of the extract being performed. SIMILAR REQUIREMENTS FOR SOUND, COSTUME AND PUPPETS Slide 60 30

Programme notes/artistic intentions Teachers must provide programme notes for the examiner at the start of the performance. The programme notes must include photographs of each student so that each student is clearly identifiable to the examiner. The programme notes must also state each student s chosen specialism, chosen play and if they are performing, the character(s) they are playing. In addition each student must offer a statement of their individual dramatic intentions to justify their theatrical choices and provide the examiner with a context for the productions he/she is assessing. This statement is not assessed directly but is used to support assessment. Slide 61 Recording performances Assessed performances must be recorded with a single camera from an audience perspective from start to finish and be unedited. Each student being assessed must identify themselves by name and candidate number at the start of the recording. Students must also state the chosen specialism and chosen play and if they are performing, the character(s) they are playing. Close-ups of set, costume and puppet design students work must be included at the beginning of the recording. Slide 62 31

Component 3 Understanding the mark scheme Monologue performance (An Inspector Calls) Band 3 good contribution Group performance (Everyman) Performing candidate Band 3 good contribution Lighting design candidate Band 4 excellent contribution Group performance (Grimm s Tales) Band 4 excellent contribution Slide 63 Suggested 2 year course plan - Year 10 Term 1: Component 2 - Introduction to devising (skills development) Term 2: Component 1 - Set Text/Written Paper Live or recorded performance Term 3: Component 3 - Scripted pieces, and Mock/trial exam Start Component 2 the devising project Slide 64 32

Suggested 2 year course plan - Year 11 Term 1 Preparation and performance of Component 2: Devised Pieces and Devising Log Term 2 Preparation and performance of Component 3: Scripted Pieces Term 3 Revision Preparation Component 1 - Written examination Plus: Mock exam as dictated by centre Slide 65 Support available drama@aqa.org.uk or 01483 556 301 NEA Advisers Social media CPD courses and bespoke in-school support Standardisation Reports on the exam Enhanced Results Analysis (ERA) Resources on AQA website Slide 66 33

Thank you We are an independent education charity and the largest provider of academic qualifications for all abilities taught in schools and colleges. Our aim is to enable students to realise their potential and provide teachers with the support and resources they need so that they can focus on inspiring learning. http://www.aqa.org.uk/ 34