Bridging work for

Sept 2021

DRAMA & THEATRE STUDIES A LEVEL

 Welcome to Drama & Theatre
studies A Level
Year 11 > Year 12 Bridging work booklet
Aims of the Booklet:

 To prepare you for the expectations in

studying Drama and Theatre Studies at
A Level.

 To introduce you to an overview of the

course.

 To expand your knowledge of Theatre

history and Theatre practitioners.

 To engage in playtexts and current 21st

theatre practitioners through written
and practical activities.
 Drama & Theatre studies A Level
This booklet will lead you through a four week programme of Drama & Theatre
Studies. By the end of the this booklet, you will be in a prepared and strong
position to begin your A Level.This booklet is divided into four sections:
WeeK One: An introduction to Component 1 – exploring theatre
history & 20th century theatre practitioners with the opportunity to
apply their methodologies to devising tasks
Week two: An introduction to component 2 – preparing and
performing from script(part 1)
 Week three: An Introduction to component 2 – preparing and
performing from script (part 2)
Week four: An introduction to component 3 (Section A): preparing
and writing a critical live theatre review

A Level in a Nutshell…
Component 1 Component 2 Component 3
Performing from a Text analysis -
Devising
script written exam
 • Devise an original ● Study two ● Section A: Live
group contrasting plays Review
● Section B: Explore
performance ● Perform a
staging a play as
using a play text monologue
the actor and
as stimulus and from one play designer.
performed in the ● Perform a
● Section C:
style of a key group piece the Modernise a
theatre other play. text as the director
practitioner.
40% 20% 40%
Drama & Theatre Studies A Level Specification:
https://qualifications.pearson.com/en/qualifications/edexcel-a-levels/drama-
and-theatre-2016.html
Drama & Theatre Studies A Level - Introduction to the
course
component 1 - devising from a stimulus

key play text coursework

practitioner
devised piece your stimulus will you will be
must reflect the be an extract answering a
style of the key from a published series of
practitioner. play. questions
Drama & Theatre Studies A Level - Introduction to the
course
alongside the
devising process.

Group sizes: 3-6.

3-4 students = 15-20 minutes performance time.
5-6 students = 20-30 minutes performance time.
Drama & Theatre Studies A Level - Introduction to the
course
component 2
will be assessed
by a live
component 2 - text in
examiner
performance
monologue/ duologue group
performance
Drama & Theatre Studies A Level - Introduction to the
course
students select a students perform a play
monologue (1 as a group.
person) or duologue (2 marked on acting only.
people) to perform.
marked on acting only.
monologue = 2-3 minutes performance time. groups of 3-4 = 20-30
minutes performance time. duologue = 5-6 minutes performance time.
groups of 5-6 = 35-45 minutes performance time.
Drama & Theatre Studies A Level - Introduction to the
course
component 3 - theatre makers in practice
Section A: live theatre section b: page to stage Section C: Interpreting
evaluation Text
Drama & Theatre Studies A Level - Introduction to the
course
students watch and students explore a play students explore how they
analyse a piece of live text in its original context would modernise a play
theatre. notes are brought and answer text using the
into the exam room. questions as the actor and influence of a theatre
the designer. practitioner.
They answer questions as
the director.
 Bridging work for
Sept 2020

Week 1:An introduction to Component 1

Exploring Theatre History & 20th century Theatre Practitioners with the opportunity to
apply their methodologies to devising tasks.
 WeeK One: An introduction to Component 1 – exploring theatre
history & 20th century theatre practitioners with the
opportunity to apply their methodologies to devising tasks

Throughout KS3 & GCSE Drama you would have experienced a range of styles and techniques of
theatre, from performing scripts to devising your performances. But, do you ever stop to think, where
has it all come from? Where did the world theatre begin? Who influenced theatre? Who made vital
changes in its development? Why it is important that I know? How may this influence me as performer,
a director or a theatre maker?

At A Level:
 you must develop a clear understanding of Theatre’s past and present to inform your decisions
when making, performing, interpreting and understanding drama and theatre.
 You must also learn a secure knowledge in relevant theoretical research of the processes and
practices involved in creating theatre with the ability to practically explore these theories.

 Finally, you must develop an understanding of how the social, cultural and historical contexts have
influenced theatre, its practitioners and its playwrights.

 Your aim is to become independent, confident, collaborative, inspired and informed to analyse,
critique and create theatre.

Exploring the history of theatre – key historical events

to develop our understanding of theatre’s past and present, we must
begin with mapping out how theatre came to be, but, where do we
start? Context is everything…
Task one: research these dates of key historical events and add an
image, a date & details of what happened and why (Historical
context), how people lived (social context)/behaved (Cultural
context) at this time.

For example:
The great battle of hastings 1066, a battle between the Norman-French army of William, the duke of
Normandy, and An English army under the anglo-saxon King Harold Godwinson, beginning the norman
conquest of England. It took place 7 miles of Hastings and it was ‘Norman’ victory.

Social/cultural–No standing army in the 11th century but the king could rely on experience men during
the war. Normans were adventurous and travelled across Europe in search of wealth and power.
‘common people’ didn’t care who was on the throne as long as they were left in peace. Protecting their
families were the greatest concerns.
 Exploring the history of theatre – key historical dates
1. The first Olympics
2. The Norman Conquest of
Britain
3. The Black Death arrives
in Europe
4. Queen Elizabeth 1st
crowned
5. The American Civil War
starts
6. The start of the Industrial
Revolution
7. Queen Victoria crowned
8. World War 1 Starts
9. Word War 2 starts
10. The first man on the moon
11. The first Glastonbury
12. The first home computer
13. The date Facebook was created
14. 2020 Remember – date,
Image & details
 Exploring the history of theatre – key theatre styles dates
Task Two: Now do the same for these theatre styles, add the image,
the date, the style & key details about what it is, why it occurred and
how it influenced the world of theatre.

For example: site specific theatre - 1980’s.

Started as early as 19th century
although more examples
occurred in early 1980’s. A
distinctive style which is
designed specifically for the
location it is performed in….
Exploring the history of theatre – key theatre style
dates
 Greek Theatre
 Medieval Theatre
 Shakespearean (Renaissance
theatre)
 Restoration Comedy
 Commedia Dell’arte
 Melodrama & Pantomime
 Naturalism
 Epic Theatre
 Theatre of Cruelty
 Total Theatre
 Physical Theatre
 Interactive/Immersive theatre Remember
– date, image & details
Exploring the history of theatre – creating a theatre through time
‘timeline’
Task Three: Now, create a timeline which firstly sequences the key
historical events and then add in your theatre styles in order. Ensure
you add your images, dates and research you have completed from
the previous tasks. make it as creative as you like - you are a drama
student after all!
 exploring 20th century theatre practitioners & their styles

Task four: To expand your knowledge, select one of the 20th century
practitioners from your timeline and research all what you can
about them
and what their
style of
Theatre
includes…
Who?
Stanislavskii
Brecht
Artaud

What is their style?

What audiences did they aim to attract? What type of theatre did
they use? What did it look like? What was their methodology when
is came to acting and design? Can you give examples of their
plays/productions? Were their playwrights who influenced them or
were influenced by them? How is their style different from others?
Plus, anything else you find interesting about them…
 Exploring 20th century theatre practitioners & their styles

Task four: create a PowerPoint presentation using the information

you have researched on your selected 20th century theatre
practitioner by including the following:
 A handout to present to your classmates with key
information, source links, quotes and images
PowerPoints Slides on:
 What is their personal history/background?
 What key historical/cultural/political context was
happening during their time?
 What is their style of theatre/their methodology?
 An example of a rehearsal technique i.e. imagination,
emotional memory etc.
 Who are they are influenced by?
 Are there any examples of their work?
Ensure you check:
Presentation, Spelling & Grammar and accuracy of information
Exploring 20th century theatre practitioners & their styles
(devising work)

Task five: During component one, you will use a practitioner’s style
and an extract from a script as stimuli to create your own original
group performance.
Using the style of your chosen 20th century theatre practitioner, read
through this piece of script (on the next page) and consider how you
would bring this to life, in the style of your chosen practitioner.

Imagine ‘Find me’, is the play text you are given. Firstly, annotate this
extract with your initial ideas, explaining
your choices for how
actors will perform it as it
is and how this will be
supported by lighting, sound/music,
costume & set design.
Remember, it must be in the style of your chosen practitioner.
styles(devising work)
 End of week one
“The word theatre comes from the Greeks. It
means the seeing place. It is the place people come
to see the truth about life and the social situation.”
- Stella Adler
Bridging work for
Sept 2020

Week 2:An introduction to Component 2

Preparing and Performing from Script (Part 1)
WeeK two: An introduction to Component 2 –preparing and
performing from script (part 1)
 you must develop an understanding of the 21 century theatre
practitioners & practices used in 21st-century theatre making.
 Experience a range of opportunities to create theatre, both
published text-based and devised work.
 Develop & demonstrate a range of theatre-making skills.
 Develop the creativity and independence to become effective
theatre makers.
 To adopt safe working practices as a theatre maker.
 To be able to analyse and evaluate your own work & the work of
others.
 WeeK two: An introduction to Component 2 –preparing and
performing from script
Task One: In component 2, you will need to prepare through study,
research and practice to demonstrate key skills and styles as a modern
performer and theatre maker.

From the perspective as a performer, firstly before adding a specific

style or being influenced by a 20th/21st theatre practitioner, it is key in
understanding the performance skills that are on offer.

Physical skills demonstrate key information for the

audience and helps portrays a character’s emotions.
 WeeK two: An introduction to Component 2 –preparing and
performing from script
Please use the following link to support you complete the following
tasks below:
https://www.bbc.co.uk/bitesize/guides/z42vhbk/revision/1
Task one: What are the Physical key elements of
skills?
Create a based on Physical skills and their definitions, add
poster images to show how
 WeeK two: An introduction to Component 2 –preparing and
performing from script
this can appear in a performance. Please you the source link
 WeeK two: An introduction to Component 2 –preparing and
performing from script
above as this will help you with detail and all the information you
may need.
Ensure you include definitions of ‘direction of movement, flow
of movement, weight
of movement, control of movement, orientation of movement
and stillness of
movement’.
For example:
Body The non-verbal way in which a person
Language - communicates their physical and
mental state through using facial expressions, gesture and posture.
 WeeK two: An introduction to Component 2 –preparing and
performing from script
Task Two: What are the key vocal elements ofPlease use the following link to
support you in completing skills? the following tasks below:
https://www.bbc.co.uk/bitesize/guides/zkxbnrd/revision/1 Vocal skills provide lots
of information, such as their age and where they are from.
“From a practical perspective, performers need to ensure that their voice is clear so
the audience can hear what they are saying. A performer should ensure that they
have good articulation and projection. A well-trained performer should be able to
project their voice so they
are loud and clear.
Performers also use a range
of vocal skills to convey the
subtext of a line”.
 WeeK two: An introduction to Component 2 –preparing and
performing from script
Create a mind-map based on Vocal skills and their definitions, add images to show
how this can appear in a performance. Please you the source link above as this will
help you with detail and all the information you may need. For example:
Task three:The 20th Century Theatre Practitioner, Stanislavski is
deemed the pioneer of ‘naturalism’ in Theatre. Stanislavski invented a
range of techniques to support an actor in their preparation and
portrayal of a character.

Research Stanislavski techniques and justify how these techniques can

support an actor’s vocal skills.
 WeeK two: An introduction to Component 2 –preparing and
performing from script
Add these to your mind map. See below a link which you may find
useful for this task:
https://www.bbc.co.uk/bitesize/guides/zxn4mp3/revision/1
Task Four: Research which actors in the 2020 industry use
Stanislavski’s methods to support their performance. Add these
examples to your work with an image and a quote/reason as to why
the use the method.
Extension: Can you provide an example of a 20th century Theatre
Practitioner who offers contrasting intentions when applying vocals in
performance?
 WeeK two: An introduction to Component 2 –preparing and
performing from script
Task five: Applying Stanislavski’s techniques to an individual monologue to support your vocal
skills. This may require some research about the play…
Choose one of the following A Level monologues and annotate in accordance to the following
techniques:
Given Circumstances:
The given circumstances are the information about the character that you start off with and the
play as a whole. How old is the character? What’s their situation in the play and in relation to
the other characters? Are there any notes provided about the play and its characters?

Objectives:
What is the objective? What is this character trying to achieve in this moment?

Super Objectives:
 WeeK two: An introduction to Component 2 –preparing and
performing from script
What is the character’s Super Objective? What are they trying to achieve by the end of the play?

Vocal Skills:
Accent, Pauses, Projection, Pace, Pitch & Tone

Monologue Extracts are taken from the play ‘The Women Who Cooked Her
Husband’: Hilary & Kenneth
 WeeK two: An introduction to Component 2 –preparing and
performing from script
“Debbie Isitt'sThe Woman Who Cooked Her Husband is the story of boring,
culinary goddess Hilary who is left by her husband of many years, Kenneth for
the younger, slimmer and prettier Laura, who cannot cook to save her life.”
 WeeK two: An introduction to Component 2 –preparing and
performing from script

Monologue Extracts are taken from the play ‘The Women Who Cooked Her
Husband’: Hilary & Kenneth
 WeeK two: An introduction to Component 2 –preparing and
performing from script
Bonus task: Once you have completed your character background & annotations. Read the monologue out loud. Firstly,
without expression/monotone. On the second attempt read it out loud with expression, consider your annotations of
vocal skills and see how this changes your interpretation. You may want to try adding physical skill too. Write down
what you did to portray this character physically and how you used space & proxemics.
WeeK two: An introduction to Component 2 –preparing and
performing from script
WeeK two: An introduction to Component 2 –preparing and
performing from script (part 1)
 Acting is not about being someone

END OF WEEK TWO different. It's

finding the similarity
in what is apparently different, then finding myself in there.
- Meryl Streep
Bridging work for
Sept 2020
 Week 3:An introduction to Component 2
Preparing and Performing from Script (Part 2)
WeeK three: An introduction to Component 2 –preparing and
performing from script (part 2)
 you must develop an understanding of the 21st century theatre
practitioners & practices used in 21st-century theatre making.
 Experience a range of opportunities to create theatre, both
published text-based and devised work.
 Develop & demonstrate a range of theatre-making skills.
 Develop the creativity and independence to become effective
theatre makers.
 To adopt safe working practices as a theatre maker.
 To be able to analyse and evaluate your own work & the work of
others.
 WeeK three: An introduction to Component 2 –preparing and
performing from script

Video one:
https://www.youtube.com/watch?v=6mqTCoM3zd0
Video Two: https://www.youtube.com/watch?v=9EHJ_BwcetY
Video three: https://www.youtube.com/watch?v=UXRo_nsUYJA

Task one: To develop your understanding of modern theatre practices, take a look at these
21st century Theatre practitioners at workComplicite, frantic Assembly & Gecko - we will be
exploring these during A level to support your C1 & C2 work. make notes on the following:
 What is their performance style i.e. physical theatre, naturalism etc.
 WeeK three: An introduction to Component 2 –preparing and
performing from script
 How do they use production elements i.e. lighting, sound/music, type of staging, set
design, costume etc.
 What is effective about these performances?
 Which performance clip do you find the most engaging and why?
Task two: In component 2, you will need to prepare through study, research and practice to
demonstrate key skills and styles as a modern performer and theatre maker.
You will develop your understanding of modern theatre practices through teacher led
practical workshops but you will also be expected as an a level student to actively prepare
and lead warm ups, drama exercises and complete workshops to support rehearsals and
assessed performances.
To develop your own understanding of modern theatre practices, choose one of the
following theatre practitioners:
Frantic assembly, complicite, kneehigh, The Paperbirds or Punchdrunk
 WeeK three: An introduction to Component 2 –preparing and
performing from script
You will create a workshop, between 25-35 minutes long and in the style of chosen theatre
practitioner, it should include…
A warm up game (5 minutes)
An individual or pair activity which will allow your classmates to learn a new technique (5-10
minutes)
A main task which will allow your classmates to apply this technique and prepare a short
performance (10-15 minutes)
A rehearsal and an opportunity to show their performance to each other.(10 minutes)
Audience feedback about the performance (5 minutes).

You will need to research these practitioners work help you, check out
their website links on the next page :
 WeeK three: An introduction to Component 2 –preparing and
performing from script
Task two: In component 2, you will need to prepare through study, research and practice to
demonstrate key skills and styles as a modern performer and theatre maker.
You will develop your understanding of modern theatre practices through teacher led
practical workshops but you will also be expected as an a level student to actively prepare
and lead warm ups, drama exercises and complete workshops to support rehearsals and
assessed performances.
To develop your own understanding of modern theatre practices, choose one of the
following theatre practitioners:

Frantic assembly, complicite, kneehigh, The Paperbirds or Punchdrunk information links:

 WeeK three: An introduction to Component 2 –preparing and
performing from script
You will need to research these practitioners work help you, check out their website links
below:
https://www.franticassembly.co.uk/
https://www.kneehigh.co.uk/?gclid=EAIaIQobChMI4tXw7uGI6QIVV-
R3Ch1qTwzbEAAYASAAEgJL_PD_BwE http://www.complicite.org/
https://www.punchdrunk.org.uk/ https://www.thepaperbirds.com/
 WeeK three: An introduction to Component 2 –preparing and
performing from script
Task three: Frantic Assembly is a physical theatre company who devise a wide range
 WeeK three: An introduction to Component 2 –preparing and
performing from script
of plays. One of the plays created by Frantic Assembly is called The Curious Incident
of the Dog in the Night Time
 WeeK three: An introduction to Component 2 –preparing and
performing from script
Task three: Devising your own sequence you will experiment
with devising a sequence of movement in the style of Frantic
Assembly. you will need comfy clothes,
trainers or bare feet, a sturdy char and
some room to move!
(10 minutes)
Watch the following clip twice, it will
show you how to create a sequence of
movement using a chair.
https://youtu.be/tEwxEwE5dgs

Now write 3 safety points that the video

mentions:
 WeeK three: An introduction to Component 2 –preparing and
performing from script
Point 1

Point 2 Point 3

What does the actor mean when she uses the word parallel?

Task three: Devising your own sequence you will experiment

with devising a sequence of movement in the style of Frantic
Assembly. you will need comfy clothes, trainers or bare feet, a
sturdy char and some room to move!

(20 minutes)
 WeeK three: An introduction to Component 2 –preparing and
performing from script
Using the video clip try to copy and learn the sequence of movements that the actor
creates. You might have to stop and start the clip several times in order to do this.

(20 minutes)
Choose some music that you think fits well
with the movement and the pace of your
devised sequence. Rehearse your
sequence to the music you have
chosen.
Task four: Devising your own sequence &
applying this to script
 WeeK three: An introduction to Component 2 –preparing and
performing from script
develop your Frantic Assembly stylised movement sequence by adding Christopher’s
monologue to your piece. You can experiment with use of space, adding more physical
movement and changing your music completely to suit the length of your piece.
 WeeK three: An introduction to Component 2 –preparing and
performing from script
Task Five: To document your sequence add images and annotations to evidence the process.
Like a showreel of your work. Write a reflection of how you found the process, what you
thought was effective and what required development.
WeeK three: An introduction to Component 2 –preparing and
performing from script (part 1)
 End of week three
"I wanted to develop a language that felt accessible and honest. I
wanted to share a process that would take people past their
perceived limitations.“ Scott Graham, Frantic Assembly
Bridging work for
Sept 2020

Week 4: Preparing and writing a Critical Live Theatre Review

 you must develop an understanding of practices used in 21st-
century theatre making.
 To understand the collaborative relationship between roles
within theatre.
 To be an informed audience member in live theatre in order to
analyse & evaluate the work of others.
Task one:preparation for A Level Component 3: Section A -Live Theatre Review, you will complete a
series of tasks based on preparing youto review Live
Performance at an A Level standard.
Watching theatre as an ‘informed’ audience member
Watching actively
When analysing and evaluating a live performance, specific points need to be made to ensure that the watching and
listening were done actively - the show needs to be thought about while being enjoyed. As well as watching
performers, attention should also be paid to the design elements: set design costume design
lighting/projection
design sound design
WeeK four: An introduction to Component 3 –component 3 (Section
A): preparing and writing a critical live theatre review

Task one: To support your preparation for Section A (and the other sections), create your
own ‘student friendly’ Component 3: A Level Drama glossary. See this link to help you:
https://qualifications.pearson.com/content/dam/pdf/A%20Level/Drama%20and%20Theatre%
20Studies/2016/Specification%20an d%20sample%20assessments/A-level-Drama-and-
Theatre-glossary.pdf
 This tasks may appear perhaps basic but this glossary will be vital for all three sections of
your written exam, as you refer to theatre roles, production elements, genre and styles
throughout.
 You do not want to lose unnecessary marks by spelling something wrong or referring to
the incorrect definition.
 The above glossary in the link has placed the keywords in alphabetical order.
 I would recommend you divide the glossary into key sections i.e. Theatre Roles, Acting
Techniques & Styles etc. to make things easier. I have sampled what it can look like below:

WeeK four: An introduction to Component 3 –component 3 (Section

A): preparing and writing a critical live theatre review

Task one: To support your preparation for Section A (and the other sections), create your own
‘student friendly’ Component 3: A Level Drama glossary.
WeeK four: An introduction to Component 3 –component 3 (Section
A): preparing and writing a critical live theatre review

Task two: Prior to watching theatre, it important to understand that a play’s contextis understood,
including its time period and location.
Using the following link create a word document answering the following questions, please do
not copy and paste this information:
https://www.bbc.co.uk/bitesize/guides/z6vwcqt/revision/1
 What is context?
 What is social, political and cultural context?
 Can you give an example of what a ‘theme’ or an ‘issue’ is which may run through a play?
 Can you give an example of a time period and link this to a particular play? Can you explain why it is
important to set this play in this time period?
 What different types of genre and style are there in theatre?
 Can you give an example of structure in a play?
 Can you offer alternative structures to a play which may make the performance even more engaging to
watch?

Extension: Watch Rosie’s Monologue from ‘Things I Know to Be True’, can you identify as an audience
member the play’s context, time period, location, genre and style, in this short clip?
https://www.youtube.com/watch?v=9EHJ_BwcetY
 WeeK four: An introduction to Component 3 –component 3 (Section
A): preparing and writing a critical live theatre review

Task three: At A Level, when writing your Section A: Live Review, it is crucial you are aware of
the play’s context, time period and location but also be aware of how this can divide into three
sections:

Concept/The Productions Context: the ‘Director’s own

spin on a performance…

Firstly, you must comment on the ‘Concept’ of the

production i.e. the context, time period, location, genre,
style & themes in which the Director has chosen and decided.

WeeK four: An introduction to Component 3 –component 3 (Section

A): preparing and writing a critical live theatre review

Task three: At A Level, when writing your Section A: Live Review, it is crucial you are
aware of the play’s context, time period and location but also be aware of how this
can divide into three sections:
OPC/The Original Context: knowing your facts about the performance…

Secondly, you must also demonstrate a knowledge of:

 who the play was written by
 when it was it written
 the context of the time it is written

 where is it originally set and the time period (it may be set in a different time

period)
 the context of the time it is set in

 when it was first performed and how it was performed

Phew! A lot to remember…but this is what they call Original Performance

Conditions.
 WeeK four: An introduction to Component 3 –component 3 (Section
A): preparing and writing a critical live theatre review

Task three: At A Level, when writing your Section A: Live Review, it is crucial you are
aware of the play’s context, time period and location but also be aware of how this
can divide into three sections:
Audience Context: remember the impact of the audience watching it…

 Thirdly, and this can become tricky, BUT a 2020 production can be staged in a different context, time
period and location which is not only completely differentto the original play and how it would be
traditionally performed BUT also different to the time in which the audience are
watching it.
 For example, the National Theatre’s Twelfth Night 2017 production is not only set in a different
location and time period to how it would be traditionally performed (1600’s) but it also shows elements
of a different time period and location (1930’s) to the audience who is watching it in (2017).

“The setting seems to slip and slide between the present and the 1930s, with smooth live jazz and
Art Deco stylings…’ https://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-
olivier-national_42961.html
WeeK four: An introduction to Component 3 –component 3 (Section
A): preparing and writing a critical live theatre review
Task three: At A Level, when writing your Section A: Live
Review, it is crucial you are aware of the play’s context,
time period and location but also be aware of how this can
divide into three sections:
So, it is always really important to cover these three bases
when considering ‘context’ to review live performances
because it is your job to decide whether you think the
director’s concept has been effective in supporting the OPC
and held the engagement of the 21st century audience.

This is why for Component 3 -Section B: Equus and Section

C: Woyzeck of your written paper, we also look at context
regarding concepts, OPC and modern audiences to ensure
your decisions as a ‘theatre maker’ i.e. performer,
designer and director can be justified. It also allows the
opportunity for you to put ‘your spin’ on a production.
WeeK four: An introduction to Component 3 –component 3 (Section
A): preparing and writing a critical live theatre review
Task three: At A Level, when writing your Section A: Live Review, it is crucial you are
aware of the play’s context, time period and location but also be aware of how this
can divide into three sections:

From this to this…same play, written by the same person, in the same time
period, but performed with different concepts
Task three: UsingaStreetCarNamedDesireas an example, research
this play’s Original Performance Conditions (OPC) and answer the
Tennessee Williams following questions below:
and his time:  When was the play written? What was
the social, political and cultural context at
the time?
 Who was the play written by? What is their personal background and context?
 How would this play have been performed? What were the ‘theatre conditions’ during
this time i.e. types of theatres, use of production elements (costumes, lighting, sound
etc.)? Who acted in these plays and why?
Street car named desire and its time:
 What time period is the play set? Where is the location of this play? What is the social,
political and cultural context for the play?
Street Car named desire and its content, genre, style and structure:
 What are the themes and issues which arise in the play?
 How is the genre of this play i.e. tragedy, comedy, a romance etc.? How do you know this? What key elements of
this genre are evident?
 How is this play performed? What is the style?
 What is the structure of the play i.e. linear, non-linear, freytag’s pyramid?
WeeK four: An introduction to Component 3 –component 3 (Section
A): preparing and writing a critical live theatre review
Task four: To watch National Theatre’s version
ofaStreetcarnameddesire(REMOTELY):
It’s streaming for free from 7pm UK time on Thursday 21 May.
Available until 7pm UK time on Thursday 28 May 2020. First of all,
watch it and enjoy!
WeeK four: An introduction to Component 3 –component 3 (Section
A): preparing and writing a critical live theatre review

Task four: Secondly, answer the following…

NationalTheatre’sStreetCarNamedDesireand its time period and context:
 In what time period has the Director decided to set this play set?
 What was the social, political and cultural context of the time period of this
production?
 How has this play have been performed?
 What are the ‘theatre conditions’ for this production i.e. types of theatres, use of
production elements (costumes, lighting, sound, etc.)?
 Who makes up the cast of this production i.e. gender, heritage, age etc.?
WeeK four: An introduction to Component 3 –component 3 (Section
A): preparing and writing a critical live theatre review

Task four: Secondly, answer the following…

its content, genre, style and structure:
 What are the themes and issues which arise in the play?
 What is the genre of this play i.e. tragedy, comedy, a romance etc.? How do you know this? What key
elements of this genre are evident?
 How is this play performed? What is the style?
 What is the structure of the play i.e. linear, non-linear, freytag’s pyramid?
It’s impact on the audience:
 Do the issues, themes and context explored in this performance still resonate with a 2020 audience?
 Do you think it is made successful through the direction of performers and production elements?
 Is it faithful to the OPC of Twelfth Night? If so, why? If not, why?
 Do you believe a production needs to be loyal to the OPC to be deemed a success?
WeeK four: An introduction to Component 3 –component 3 (Section
A): preparing and writing a critical live theatre review
Task five: Like GCSE, to prepare for your Live Review
complete the following…You may do this
onaStreetcarnameddesireor another production of your
choice -
Step One: complete notes on performers and performance
elements whilst watching this live production – see the Live
Notes Document below.
Step Two: Answer questions and fill in the table on the help
sheet (attached) to evidence your response.
Step Three: Use the essay framework if you need too and
write your live review! Aim for at least 1.5 A4 pages in
length.
“I END OF WEEK regard the theatre as the

greatest of all art forms, the most immediate way in which a human
FOUR- See you soon!
being can share with another the sense of what it is to be a
human being.” ― Oscar Wilde