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17/12/17

Retweetd From Strengthening Minds

A brilliant end to the Positive Behaviour Programme Some outstanding feedback from parents about the positive impacts that they have seen. A huge thank you to Mr Tem for all of his hard work. I look forward to supporting you in taking the programme forward. https://t.co/pPJTxmmpcF

17/12/17

performing at Harris On Stage a 30minute version of https://t.co/gMc8QkuGvQ

15/12/17

Retweetd From Mahfuza Patel

what a great performance...Thankyou all for all the hard work and efforts during the past few months...it was AMAZING XX

14/12/17

Retweetd From Lee Murrell

Thank you — What a triumph for all involved !!! Well done Miss Perry, what a great end to Term !! https://t.co/fhNb0c4eMP

13/12/17

Retweetd From HAGR Performing Arts

performing Othello for tonight's https://t.co/iZAmf2D3Rd

13/12/17

Retweetd From HAGR Performing Arts

well underway! Good luck all! https://t.co/uiQwBuzpyx

13/12/17

Retweetd From HAGR Performing Arts

performing their technical run for very Brechtian in style- looks great! https://t.co/aUY5sycs6P

12/12/17

Retweetd From HAGR Performing Arts

See you tomorrow https://t.co/rUZzYTaSf2

11/12/17

Retweetd From Harris Careers

Are you looking for a role working with children? Check out the Midday Meals Supervisor role https://t.co/EbROTvt3vN https://t.co/ohrCLx0yKK

11/12/17

Retweetd From Harris Careers

We're looking for a primary - fantastic opportunity if you're looking for classroom experience before ! Apply now: https://t.co/0i7zqBHa2p https://t.co/VJmtOhZAMa

11/12/17

Retweetd From Mercurial Sports

Brilliant day with teachers from delivering with in the freezing cold. Attitude of everyone was Big thank you to

11/12/17

Retweetd From Strengthening Minds

The first & most important part of making positive changes is showing that you want to change. These amazing young people did not have to attend school today. However, they did not want to miss the session and got themselves in. Very proud. https://t.co/lCwhsgNoSU

11/12/17

Retweetd From Schools Week

Office Manager: Primary required at https://t.co/6uNqP0Mk8X

11/12/17

Retweetd From Harris Careers

We're looking for a primary - fantastic opportunity if you're looking for classroom experience before ! Apply now: https://t.co/vejIFM65lH https://t.co/z1OHdHACVr

11/12/17

Retweetd From Education Week Jobs

Cover Supervisor required at https://t.co/7ITYtfDfSw

11/12/17

Retweetd From Education Week Jobs

Office Manager: Primary required at https://t.co/cLWeMQuKFz

11/12/17

Retweetd From Get Living London

Just moments until our big Christmas lights switch on! In the meantime enjoy the harmonious tones of the choir! https://t.co/NVMK8Hxth2

08/12/17

We took 30 students to see Annie last night at the Piccadilly Theatre and as we were stood outside, we bumped into the old Miss Hannigan! https://t.co/uCn7GMZCyA

06/12/17

Retweetd From Centre of the Cell

., We hope you're all ready to be wowed by our incredible Pod this morning! It should be a really exciting session for you! https://t.co/rGPDGvETNF

06/12/17

Retweetd From Harris Careers

Are you looking for a role working with children? Check out the Midday Meals Supervisor role https://t.co/TweZVLnXAX https://t.co/kZCq7RlHIH

Harris Academies
All Academies in our Federation aim to transform the lives of the students they serve by bringing about rapid improvement in examination results, personal development and aspiration.

A-level Drama

A Level Drama (Edexcel)

Aims

To enable students to:

  • develop and apply an informed, analytical framework for making, preforming, interpreting and understanding drama and theatre
  • understand the place of relevant theoretical research in informing the processes and practices involved in creating theatre and the place of practical exploration in informing theoretical knowledge of drama and theatre
  • develop an understanding and appreciation of how the social, cultural and historical contexts of performance texts have influenced the development of drama and theatre
  • understand the practices used in 21st-century theatre making
  • experience a range of opportunities to create theatre, both published text-based and devised work
  • participate as a theatre maker and as an audience member in live theatre
  • understand and experience the collaborative relationship between various roles within theatre
  • develop and demonstrate a range of theatre-making skills
  • develop the creativity and independence to become effective theatre makers
  • adopt safe working practices as a theatre maker
  • analyse and evaluate their own work and the work of others

Assessment

Component 1: Devising

Non-examination assessment

40% of the qualification

80 marks

Content overview

  • Devise an original performance piece.
  • Use on key extract from a performance text and a theatre practitioner as stimuli.
  • Centre choice of text and practitioner.
  • Performer or designer routes available.

Assessment overview

  • AO1, AO2 and AO4 are assessed.
  • Internally assessed and externally moderated.
  • There are two parts to the assessment:
  1. a portfolio (60 marks, 40 marks assessing AO1 and 20 marks assessing AO4)
  2. the devised performance (20 marks, assessing AO2)

 

Component 2: Text in Performance

Non-examination assessment

20% of the qualification

60 marks

Content overview

  • A group performance of one key extract from a performance text.
  • A monologue or duologue performance from one key extract from a different performance text.
  • Centre choice of performance texts.

Assessment overview

  • AO2 is assessed,
  • Externally assessed by a visiting examiner.
  • Group performance worth 26 marks
  • Monologue or duologue worth 24 marks.

 

Component 3: Theatre Makers in Practice

Written examination: 2 hours 30 minutes

40% of the qualification

80 marks

Content overview

  • Live theatre evaluation – choice of performance.
  • Practical exploration and study of a complete performance text – focusing on how this can be realised for performance.
  • Practical exploration and interpretation of another complete performance text, in light of a chosen theatre practitioner – focusing on how this text could be reimagined for a contemporary audience.
  • Centre choice of 15 performance texts from two lists on the next page.
  • Choice of 15 performance texts.
  • Choice of eight practitioners

Assessment overview

Section A: Live Theatre Evaluation

  • Students answer one extended response question from a choice of two requiring them to analyse and evaluate a live theatre performance they have seen in light of a given statement.

Section B: Page to Stage: Realising a Performance Text

  • Students answer two extended response questions based on an unseen extract from the performance text they have studied.
  • Students will demonstrate how they, as theatre makers, intend to realise the extract in performance.
  • Students answer from the perspective of a performer and a designer.

Section C: Interpreting a Performance Text

  • Students will answer on extended response question from a choice of two based on an unseen named section from their chosen performance text.
  • Students will demonstrate how their re-imagined production concept will communicate ideas to a contemporary audience.
  • Students will also need to outline how the work of their chosen theatre practitioner has influenced their overall production concept and demonstrate an awareness of the performance text in its original performance conditions

 

Performance texts

List A – one from:

List B – one from:

Accidental Death Of An Anarchist, Dario Fo

Antigone, Sophocles

Colder Than Here, Laura Wade

Doctor Faustus, Christopher Marlowe

Equus, Peter Shaffer

Hedda Gabler, Henrik Ibsen

Fences, August Wilson

Lysistrata, Aristophanes

Machinal, Sophie Treadwell

The Maids, Jean Genet

That Face, Polly Stenham

The School for Scandal, Richard Brinsley Sheridan

 

The Tempest, William Shakespeare

 

Waiting for Godot, Samuel Beckett

 

Woyzeck, Georg Buchner

 

Practitioners

Antonin Artaud

Kneehigh

Bertold Brecht

Joan Littlewood

Steven Berkoff

Punchdrunk

Complicite

Constantin Stanislavski

 

Assessment Objectives

AO1

Creating and developing ideas to communication meaning as part of theatre-making process

AO2

Making connections between dramatic theory and practice

AO3

Analysing and evaluating their own work

AO4

Group performance – vocal and physical skills