Additional Information
Book Details
Abstract
GCSE Drama is changing, from September 2016 there will be a new GCSE Drama qualification covering the revised criteria and 9-1 grading system. Our brand new published resources are designed to support teachers deliver the content in a practical and engaging way and help students of all abilities prepare for the new exam.
1) Tailor-made for the new specification
New resources written specifically for the new Edexcel GCSE (9-1) Drama specification, to cover all components of the new qualification.
2) Focus on exam preparation
Specific guidance for students on both sections of the exam ‘Bringing Texts to Life’ and ‘Live Theatre Evaluation’ with a focus on developing exam skills and sample answers and commentaries to help students prepare for the exam questions.
3) A practical focus at the heart
Our resources are designed to support the new Edexcel specification in its practical focus. These include worksheets, teaching notes and practical workshop ideas to introduced students and teachers to the new content in a practical and engaging way.
4) Designed to help every student make progress
Clearly structured sections help students of all abilities develop the skills needed throughout the course, with support for lower ability students with written work
The Student Book includes:
- guidance and activities for studying and exploring all the set texts
- support with analysing and evaluation live theatre
- guidance on responding to unseen extracts in the exam
- a Preparing for your Exam section with sample answers and commentaries.
Table of Contents
| Section Title | Page | Action | Price |
|---|---|---|---|
| Front Cover | Front Cover | ||
| Contents | iii | ||
| Foreword | iv | ||
| Introduction | v | ||
| Overview GCSE (9–1) Drama | vi | ||
| Component 1 Devising | vi | ||
| Component 2 Performance from text | vii | ||
| Component 3 Theatre makers in practice | viii | ||
| Assessment objectives | ix | ||
| Exam skills | x | ||
| Exam skills: marks and timing | x | ||
| Exam skills: notes | xi | ||
| Exam skills: revision | xi | ||
| Section A: Bringing texts to life | 2 | ||
| Overview of Section A | 2 | ||
| From page to stage | 4 | ||
| The director | 4 | ||
| Directing: working with actors | 6 | ||
| Directing: working with the set designer | 7 | ||
| Performing: characterisation | 9 | ||
| Working on characterisation | 9 | ||
| Performing: voice and movement | 10 | ||
| Using your voice to build a character | 11 | ||
| Design: set design and staging | 13 | ||
| Design: costume | 15 | ||
| Design: sound | 16 | ||
| Design: lighting | 17 | ||
| Properties and stage furniture | 19 | ||
| An Inspector Calls by J.B. Priestley | 20 | ||
| Performance context | 20 | ||
| Edwardian England | 20 | ||
| The story of An Inspector Calls | 20 | ||
| Character | 22 | ||
| Performing characters in An Inspector Calls | 24 | ||
| An Inspector Calls Act 1 | 25 | ||
| Working on the text as a director of An Inspector Calls | 25 | ||
| Designing for a production of An Inspector Calls | 26 | ||
| Lighting | 27 | ||
| Costumes | 28 | ||
| Sound | 28 | ||
| The Crucible by Arthur Miller | 29 | ||
| Performance context | 29 | ||
| Historical context | 29 | ||
| The story of The Crucible | 30 | ||
| Creating impact in a production of The Crucible | 31 | ||
| Working on the text as an actor in The Crucible | 32 | ||
| Working on the text as a director of The Crucible | 33 | ||
| Designing for a production of The Crucible | 35 | ||
| Costume | 35 | ||
| Lighting | 36 | ||
| Designer’s notes | 36 | ||
| Sound | 36 | ||
| Government Inspector by Nikolai Gogol in a version by David Harrower | 37 | ||
| Performance context | 37 | ||
| The story of Government Inspector | 37 | ||
| Characters | 39 | ||
| Creating impact in a production of Government Inspector | 39 | ||
| Working as an actor in a production of Government Inspector | 40 | ||
| Working on the text as a director of Government Inspector | 41 | ||
| Designing for a production of Government Inspector | 42 | ||
| Costume | 43 | ||
| Sound | 43 | ||
| Lighting | 43 | ||
| Twelfth Night by William Shakespeare | 44 | ||
| Historical context | 44 | ||
| The story of Twelfth Night | 44 | ||
| Character | 45 | ||
| Creating impact in a production of Twelfth Night | 46 | ||
| Working as an actor on Twelfth Night | 47 | ||
| Working on the text as a director of Twelfth Night | 48 | ||
| Designing for a production of Twelfth Night: set, lighting, sound and costume | 48 | ||
| Costumes | 48 | ||
| Lighting | 49 | ||
| Sound | 49 | ||
| DNA by Dennis Kelly | 50 | ||
| Performance and social context | 50 | ||
| The story of DNA | 50 | ||
| Character | 52 | ||
| Creating impact | 53 | ||
| Performing characters in DNA | 53 | ||
| Working on the text as a director of DNA | 54 | ||
| Designing for a production of DNA | 55 | ||
| Costume | 55 | ||
| Props | 56 | ||
| Lighting | 56 | ||
| Sound | 56 | ||
| 1984 adapted from the novel by George Orwell by Robert Icke and Duncan Macmillan | 57 | ||
| Historical context | 57 | ||
| Performance context | 57 | ||
| The story of 1984 | 58 | ||
| Characters | 59 | ||
| Creating impact | 59 | ||
| Working on the text as an actor in 1984 | 60 | ||
| Working on the text as a director of 1984 | 60 | ||
| Designing for a production of 1984 | 61 | ||
| Lighting | 61 | ||
| Sound | 62 | ||
| Costume | 63 | ||
| Blue Stockings by Jessica Swale | 64 | ||
| Historical context | 64 | ||
| Performance and contemporary context | 64 | ||
| The story of Blue Stockings | 65 | ||
| Character | 66 | ||
| Creating impact in a performance of Blue Stockings | 67 | ||
| Working as an actor in Blue Stockings | 67 | ||
| Working on the text as a director of Blue Stockings | 68 | ||
| Working as a designer for Blue Stockings | 69 | ||
| Lighting | 69 | ||
| Costume | 69 | ||
| Sound | 70 | ||
| Dr Korczak’s Example by David Greig | 71 | ||
| Historical context | 71 | ||
| Contemporary and performance context | 72 | ||
| The story of Dr Korczak’s Example | 72 | ||
| Character | 73 | ||
| Creating impact in a production of Dr Korczak’s Example | 75 | ||
| Performing a role in Dr Korczak’s Example | 75 | ||
| Working as the director of Dr Korczak’s Example | 76 | ||
| Working as a designer on Dr Korczak’s Example | 76 | ||
| Costume | 77 | ||
| Lighting | 77 | ||
| Sound | 77 | ||
| Preparing for your exam – Section A: Bringing texts to life | 78 | ||
| Section B: Live theatre evaluation | 94 | ||
| Overview of Section B | 94 | ||
| Choosing a performance | 94 | ||
| Being an informed audience member | 94 | ||
| Question types | 94 | ||
| Elements of a production | 96 | ||
| The director’s vision | 96 | ||
| Style of performance | 99 | ||
| Set design | 101 | ||
| Use of the stage space | 103 | ||
| Lighting design | 105 | ||
| Sound design and music | 108 | ||
| Costume | 109 | ||
| Acting | 112 | ||
| Impact on the audience | 115 | ||
| Preparing for your exam – Section B: Live theatre evaluation | 116 | ||
| Drama | 124 | ||
| Back Cover | Back Cover |