Course Content
Component 1: Theatre Workshop
Students will create, develop and perform a piece of theatre based on a reinterpretation of an extract chosen by the examination board. The piece will use the techniques and working methods of either an influential theatre practitioner or a recognised theatre company.
Component 2: Text in Action
Students will create, develop and perform two pieces of theatre based on a stimulus supplied by the examination board. One will use different techniques and working methods of either an influential theatre practitioner or a recognised theatre company (as chosen in Component 1) and one will use an extract from a text in a different style chosen by the student.
Component 3: Text in Performance
Students will demonstrate knowledge and understanding of two different texts, one written pre1956 and one written post-1956. They will also be required to answer questions on a specified extract from ‘The Curious Incident of the Dog in the NightTime’, Mark Hadden, adapted by Simon Stephens
| Component | Assessment | Duration | Weighting |
|---|---|---|---|
| 1: Theatre Workshop | Practical | N/A | 20% |
| 2: Text In Action | Practical | N/A | 40% |
| 3: Text In Performance | Practical | 2h 30m | 40% |
Year 12
Half Term 1 (Sept-Nov)
Half Term 2 (Nov – Dec)
Half Term 3 (Jan – Feb)
Half Term 4 (Feb – March)
Half Term 5 (April – May)
Half Term 6 (May – July)
Half Term 1 (Sept-Nov)
Focus and Topic
- C1: Reinterpreting A Doll’s House using NT’s Jane Eyre
C3: Introduction to Accidental Death of an Anarchist
Core Knowledge
- Understand the plot, themes, character arcs, and social/historical/political (SCHP) context of A Doll’s House
- Know how to research and analyse the visual style, rehearsal methods, physical ensemble, and symbolic staging used in NT’s Jane Eyre
- Understand the ethos and creative aims of the National Theatre and how they reimagine classic texts
- Develop a clear understanding of Accidental Death of an Anarchist: its plot structure, genre (farce/satire), comic devices, and Dario Fo’s intention to critique corrupt institutions
Core Skills
- Interpreting themes through non-naturalistic techniques
- Using NT-style transitions and ensemble movement
- Embedding live/percussive sound and symbolic physicality
- Exploring status, timing, vocal delivery and rhythm in Fo’s satire
- Collaborating effectively in ensembles
- Incorporating research into creative decisions
- Evaluating and refining performance choices
- Using rehearsal journals to track development
- Integrating design and performance coherently
Assessment
- Group performance using NT devising methods (5 mins)
- Written essay (60 mins): How has Jane Eyre influenced your reinterpretation of A Doll’s House?
- Research booklet on NT staging and rehearsal style
Half Term 2 (Nov – Dec)
Focus and Topic
- C1: Final performance & log
C3: Practical exploration of Anarchist
Core Knowledge
- Understand how to structure a devised reinterpretation of a naturalistic text using symbolic staging and ensemble movement
- Be able to reflect on your rehearsal and research process, referencing the influence of NT’s Jane Eyre
- Understand the purpose, themes and structure of Anarchist, including detailed knowledge of its key characters, comic rhythm, and the political events it satirises
- Understand how farce uses performance, exaggeration, and theatrical illusion to provoke laughter and reveal truths
Core Skills
- Refining physical and vocal performance through rehearsal
- Annotating key moments with performance ideas
- Writing critically about rehearsal and research decisions
- Applying design decisions to reinforce meaning
- Collaborating effectively in ensembles
- Incorporating research into creative decisions
- Evaluating and refining performance choices
- Using rehearsal journals to track development
- Integrating design and performance coherently
Assessment
- Final C1 devised performance (filmed)
- Creative Log (1500–2000 words): analysis of research, rehearsal, and influence
- Anarchist scene work journal and blocking annotations
Half Term 3 (Jan – Feb)
Focus and Topic
- C3: Studying and performing Machinal
C2: Exploring Artaud and Frantic Assembly
Core Knowledge
- Know the themes (oppression, mechanisation), episodic structure, expressionist style and SCHP context of Machinal
- Understand Artaud’s Theatre of Cruelty philosophy: how sensory tools (sound, light, proximity) affect the audience physically and emotionally
- Understand Frantic Assembly’s collaborative rehearsal style and core techniques: chair duets, round-by-through, devising from physical images
- Know how to analyse and compare the philosophies, rehearsal practices and stylistic aims of different theatre companies and practitioners
Core Skills
- Interpreting narrative through physical and symbolic imagery
- Devising stylised physical sequences
- Creating sensory environments (Artaud)
- Comparing practitioner-led performance techniques
- Collaborating effectively in ensembles
- Incorporating research into creative decisions
- Evaluating and refining performance choices
- Using rehearsal journals to track development
- Integrating design and performance coherently
Assessment
- Ensemble performance of Machinal-influenced physical piece
- Written comparative reflection: Artaud vs Frantic Assembly methods and impact
- Visual storyboard or sequence map showing influences
Half Term 4 (Feb – March)
Focus and Topic
- C3: Machinal performance & direction
C2: Theatre companies & spatial design (Anthony Hopkins Theatre, Roundabout Theatre)
Core Knowledge
- Understand how theatre companies like Roundabout and Sherman Cymru use intimate spaces, minimalist design and audience proximity to shape staging choices
- Know how different theatre spaces (in-the-round, traverse, studio) affect blocking, proxemics and design
- Understand how to shape a performance in response to audience layout, company ethos and performer/audience connection
- Apply symbolic movement and gesture to build character and communicate narrative in confined or immersive spaces
Core Skills
- Directing and staging scenes for small-space audiences
- Building atmosphere with lighting, sound, and minimalist design
- Developing a coherent visual concept to reflect play themes and message
- Blocking ensemble with clarity and intention
- Collaborating effectively in ensembles
- Incorporating research into creative decisions
- Evaluating and refining performance choices
- Using rehearsal journals to track development
- Integrating design and performance coherently
Assessment
- Performance of Machinal extract in selected layout
- Written Director’s Concept (600–800 words)
- Moodboard/Model Box showing design linked to company philosophy and play message
Half Term 5 (April – May)
Focus and Topic
- C2: Headlong & Frantic Assembly devising
C3: Curious Incident of the Dog in the Night-Time – Scene Study
Core Knowledge
- Understand the full plot, structure, themes (neurodiversity, logic vs emotion, family breakdown), and characterisation of Curious Incident
- Know how Headlong Theatre use multimedia, fractured time, and technology to support narrative complexity
- Know Frantic Assembly’s choreographic tools and how movement is used to replace speech or express internal experience
- Understand how practitioners’ ethos and methods are integrated into rehearsal (e.g., collaborative development, tech-led performance, ensemble focus)
Core Skills
- Creating non-verbal storytelling through movement
- Synchronising ensemble transitions and rhythm
- Designing tech-integrated performance using visual metaphor
- Rehearsing abstract emotional content in stylised form
- Collaborating effectively in ensembles
- Incorporating research into creative decisions
- Evaluating and refining performance choices
- Using rehearsal journals to track development
- Integrating design and performance coherently
Assessment
- Devised multimedia scene inspired by Curious Incident (solo or group)
- Annotated rehearsal log showing practitioner influence
- Oral presentation of design and movement concept with evidence of research
Half Term 6 (May – July)
Focus and Topic
- C2: Devising from a stimulus using Frantic Assembly
Core Knowledge
- Understand how to respond creatively to an abstract or visual stimulus to create non-linear performance
- Be able to plan and rehearse a movement-based piece using Frantic Assembly’s rehearsal tools (e.g., physical motifs, scoring, symbolic movement)
- Understand how to construct meaning, structure and atmosphere without text
- Know how to reflect critically on rehearsal choices and the audience’s interpretation of performance
Core Skills
- Devising an original ensemble piece using Frantic Assembly’s style
- Rehearsing with symbolic movement, gesture and transitions
- Using sound and image as structural anchors
- Evaluating impact, clarity and emotional communication
- Collaborating effectively in ensembles
- Incorporating research into creative decisions
- Evaluating and refining performance choices
- Using rehearsal journals to track development
- Integrating design and performance coherently
Assessment
- Devised performance inspired by stimulus
- Final evaluation or director’s log
- Peer feedback and group reflection
Year 13
Half Term 1 (Sept-Nov)
Half Term 2 (Nov – Dec)
Half Term 3 (Jan – Feb)
Half Term 4 (Feb – March)
Half Term 5 (April – May)
Half Term 6 (May – July)
Half Term 1 (Sept-Nov)
Focus and Topic
- C1: Reinterpreting A Doll’s House using NT’s Jane Eyre
C3: Introduction to Accidental Death of an Anarchist
Core Knowledge
- Understand the plot, themes, character arcs, and social/historical/political (SCHP) context of A Doll’s House
- Know how to research and analyse the visual style, rehearsal methods, physical ensemble, and symbolic staging used in NT’s Jane Eyre
- Understand the ethos and creative aims of the National Theatre and how they reimagine classic texts
- Develop a clear understanding of Accidental Death of an Anarchist: its plot structure, genre (farce/satire), comic devices, and Dario Fo’s intention to critique corrupt institutions
Core Skills
- Interpreting themes through non-naturalistic techniques
- Using NT-style transitions and ensemble movement
- Embedding live/percussive sound and symbolic physicality
- Exploring status, timing, vocal delivery and rhythm in Fo’s satire
Assessment
- Group performance using NT devising methods (5 mins)
- Written essay (60 mins): How has Jane Eyre influenced your reinterpretation of A Doll’s House?
- Research booklet on NT staging and rehearsal style
Half Term 2 (Nov – Dec)
Focus and Topic
- C1: Final performance & log
C3: Practical exploration of Anarchist
Core Knowledge
- Understand how to structure a devised reinterpretation of a naturalistic text using symbolic staging and ensemble movement
- Be able to reflect on your rehearsal and research process, referencing the influence of NT’s Jane Eyre
- Understand the purpose, themes and structure of Anarchist, including detailed knowledge of its key characters, comic rhythm, and the political events it satirises
- Understand how farce uses performance, exaggeration, and theatrical illusion to provoke laughter and reveal truths
Core Skills
- Refining physical and vocal performance through rehearsal
- Annotating key moments with performance ideas
- Writing critically about rehearsal and research decisions
- Applying design decisions to reinforce meaning
Assessment
- Final C1 devised performance (filmed)
- Creative Log (1500–2000 words): analysis of research, rehearsal, and influence
- Anarchist scene work journal and blocking annotations
Half Term 3 (Jan – Feb)
Focus and Topic
- C3: Studying and performing Machinal
- C2: Exploring Artaud and Frantic Assembly
Core Knowledge
- Know the themes (oppression, mechanisation), episodic structure, expressionist style and SCHP context of Machinal
- Understand Artaud’s Theatre of Cruelty philosophy: how sensory tools (sound, light, proximity) affect the audience physically and emotionally
- Understand Frantic Assembly’s collaborative rehearsal style and core techniques: chair duets, round-by-through, devising from physical images
- Know how to analyse and compare the philosophies, rehearsal practices and stylistic aims of different theatre companies and practitioners
Core Skills
- Interpreting narrative through physical and symbolic imagery
- Devising stylised physical sequences
- Creating sensory environments (Artaud)
- Comparing practitioner-led performance techniques
Assessment
- Ensemble performance of Machinal-influenced physical piece
- Written comparative reflection: Artaud vs Frantic Assembly methods and impact
- Visual storyboard or sequence map showing influences
Half Term 4 (Feb – March)
Focus and Topic
- C3: Machinal performance & direction
C2: Theatre companies & spatial design (Anthony Hopkins Theatre, Roundabout Theatre)
Core Knowledge
- Understand how theatre companies like Roundabout and Sherman Cymru use intimate spaces, minimalist design and audience proximity to shape staging choices
- Know how different theatre spaces (in-the-round, traverse, studio) affect blocking, proxemics and design
- Understand how to shape a performance in response to audience layout, company ethos and performer/audience connection
- Apply symbolic movement and gesture to build character and communicate narrative in confined or immersive spaces
Core Skills
- Directing and staging scenes for small-space audiences
- Building atmosphere with lighting, sound, and minimalist design
- Developing a coherent visual concept to reflect play themes and message
- Blocking ensemble with clarity and intention
Assessment
- Performance of Machinal extract in selected layout
- Written Director’s Concept (600–800 words)
- Moodboard/Model Box showing design linked to company philosophy and play message
Half Term 5 (April – May)
Focus and Topic
- C2: Headlong & Frantic Assembly devising
C3: Curious Incident of the Dog in the Night-Time – Scene Study
Core Knowledge
- Understand the full plot, structure, themes (neurodiversity, logic vs emotion, family breakdown), and characterisation of Curious Incident
- Know how Headlong Theatre use multimedia, fractured time, and technology to support narrative complexity
- Know Frantic Assembly’s choreographic tools and how movement is used to replace speech or express internal experience
- Understand how practitioners’ ethos and methods are integrated into rehearsal (e.g., collaborative development, tech-led performance, ensemble focus)
Core Skills
- Creating non-verbal storytelling through movement
- Synchronising ensemble transitions and rhythm
- Designing tech-integrated performance using visual metaphor
- Rehearsing abstract emotional content in stylised form
Assessment
- Devised multimedia scene inspired by Curious Incident (solo or group)
- Annotated rehearsal log showing practitioner influence
- Oral presentation of design and movement concept with evidence of research
Half Term 6 (May – July)
Focus and Topic
- C2: Devising from a stimulus using Frantic Assembly
Core Knowledge
- Understand how to respond creatively to an abstract or visual stimulus to create non-linear performance
- Be able to plan and rehearse a movement-based piece using Frantic Assembly’s rehearsal tools (e.g., physical motifs, scoring, symbolic movement)
- Understand how to construct meaning, structure and atmosphere without text
- Know how to reflect critically on rehearsal choices and the audience’s interpretation of performance
Core Skills
- Devising an original ensemble piece using Frantic Assembly’s style
- Rehearsing with symbolic movement, gesture and transitions
- Using sound and image as structural anchors
- Evaluating impact, clarity and emotional communication
Assessment
- Devised performance inspired by stimulus
- Final evaluation or director’s log
- Peer feedback and group reflection
Key Info
- Start Date: September 2026
- Awarding Body: EDUQAS
- Study Mode: Full Time
- Course Length: 2 Years
Entry Requirements
TBC
Complementary Subjects
The course also compliments studies in Music,
English Language and Media Studies.
Career Opportunities
A Level Drama and Theatre will prepare you for
specialist Drama and Theatre courses in higher
education.
It also provides an excellent foundation for students
to pursue careers in Acting, Performing Arts,
Community Arts Worker, Theatre Director and
Teaching.