Lenzie Academy

Higher Drama
Revision Guide

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1. Course Outline

Aims of Course

 To investigate relationships, issues and topics

 To gain knowledge and understanding of aspects of theatre
 To develop acting and directing skills and contribute to a
presentation
 To experience and analyse theatrical performance

Course Content

The course is divided into two component units: Drama Skills and
Production Skills. Pupils will also have to prepare for Section 1:
Study of a text in its theatrical context and Section 2: Structured
Response Question and Section 3: Performance Analysis of the
written exam.

August – January

Exam Preparation – Written Exam

Section 1: Theatre Production: Text in Context involves the in

depth exploration of a text (‘The Crucible’ by Arthur Miller), both
theoretically and practically. The students will not only look at the
storyline and relationships in this chosen play but also examine how
the play would have been performed when it was originally written
and how it might be performed to an audience of today. Students
will also study and perform an acting role from this text and a
contrasting piece from another text.

Section 2: Theatre Production: Application involves candidates

answering a design question based on their set text. They are
required to demonstrate how they would use a number of directing
and design techniques to stage ‘The Crucible’.

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Section 3: Performance Analysis involves the evaluation and
analysis of a contemporary piece of theatre through workshops,
discussion and research. Pupils will analyse how meaning is created
onstage.

This element will be externally assessed in May and is worth 40% of

total course award.

December – March

Exam Preparation – Practical Exam

Pupils must prepare two 8 minute acting pieces which show a

contrast. They must sustain their character and convey
relationships through credible interaction with other characters and
must use appropriate voice and movement when performing the role.
In addition to this, candidates must write an essay about the
process they undertook to develop their character. This element is
also externally assessed and is worth 60% of total course award.
This will take place in March.

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2. Theatre Production: Text in Context

What you need to know

For this essay you must:

- Be able to demonstrate knowledge of the play

(describe/explain)
- Be able to demonstrate how you would use either acting,
directing or production concepts to achieve dramatic impact

Question Types

There are three types of questions in the exam: Acting, Directing

and Design.

 For Acting you must explain how you would physically bring the
character to life onstage
 For Design you must explain how you would apply two
Production Areas to ‘The Crucible’
 For Directing you must explain a holistic vision of the play and
explain Acting, Production Areas, Staging Ideas and Production
Concepts

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General Essay Hints and Tips

• You must include an introduction and a conclusion

• You should aim to write at least 4 sides of A4 to access the
full range of marks
• ‘The Crucible’ – use speech marks
• Indent or highlight your quotes
• “I have seen you nights” – use quotation marks
• Put all quotes in chronological order
• Include at least 5 quotes in your essay; no quotes – no marks
for section A
• Identify where the quotes are from e.g. Act 1
• Refer to the whole play
• Use the words of the question throughout – this will help to
structure your essay

Introduction

The Crucible’ by Arthur Miller is a play set

in the theocratic society of Salem in which Conclusion

witch trials are ongoing based on false In conclusion, five different…use

evidence created by a group of girls; we words of the question to refer to

see the impact this has on them and what you have covered in the

the townspeople as the play progresses. essay.

Then use words of the question to explain

what you are going to do in the essay.

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Concept Bank

For each question you will explain how you would bring ‘The Crucible’
to life to create a theatrical presentation. This is an imagined
performance. You may choose to refer to any of the concepts listed
below.

Acting Concepts

- characterisation
- acting techniques
- acting style (naturalistic or abstract)
- voice and movement
- proxemics
- interaction between characters
- the different ways that the actor uses his/her voice
- the different ways that the actor uses his/her movement
- the relationship between spoken text and physical movement or
gesture
- performing of the subtext

Directing Concepts

- setting (e.g. keeping playwright’s intended setting or

reimagining it in another time period – 1937? 1952? Present
day)
- stage imagery
- plot; themes and issues
- character motivation
- character development
- character interaction
- relationships between characters
- any pre-show
- use of Theatre Production Areas
- proxemics
- acting style

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- character interaction
- voice and movement techniques
- actor/audience relationship
- special effects (strobe light, smoke machine, pyrotechnics)
- drama media (projections, video footage, soundscapes etc)

Design Concepts

- setting/period
- plot; themes/issues
- message
- character motivation
- character development/personality
- character interaction
- relationship between characters
- mood/atmosphere
- venue
- stage configuration
- set design
- actor/audience relationship
- lighting
- sound
- costume
- props
- drama media
- Costume/Make up concepts (period, age, personality, status,
change in status, immediate circumstances, costume fabrics
and cut, colour, style, make-up materials and tools)

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Think of it like a
A Point – Using the wording from the
sandwich.
question you answer the question.

Quotation – You use

exemplification from the
text that backs up your
point.

B Point – You fully explain how

your directorial
interpretation will highlight
your point.

Sandwich Example

A point – Abigail is a manipulative character that will do anything

to save her own skin.
Quote –”I saw Indians smash my dear parents’ heads on the pillow
next to mine...and I can make you wish you had never seen the sun
go down!”
Justification - This quote highlights Abigail’s life experience and
demonstrates that she is not as innocent as the other girls. (A1 – 1
Mark)This makes her a complex character because she uses her
violent experiences to intimidate others. (A2 – 1 Mark)

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B point – 2 Marks

1. To portray Abigail’s complex and manipulative nature I would

use proxemics. I would move closer to the other girls
throughout this quote to intimidate them.
2. I would use direct eye contact, stern facial expression and a
calm tone to again highlight her callous nature.
3. I would speak with a slow pace, low pitch and volume and good
clarity to ensure the girls understood everything I said and
the consequences which face them if they do not heed
Abigail’s warning.

3. Theatre Production: Text in Context Exemplar Questions

1. As a director, describe in detail five different changes in mood

and atmosphere in your selected text. (You must use textual
references from the play to help you to justify your answer.)
Explain in detail the way in which you would use five directing
concepts to highlight these changes in your final production. (These
need to be related to the first part of this question.)

2. As a director, describe in detail five different dramatic

features that help to create the climax of your selected text. (You
must use textual references from the play to help you to justify
your answer.)
Explain in detail, five directing concepts that would help you to
achieve your desired dramatic impact in your final production.
(These need to be related to the first part of this question.)

3. As an actor, choose one of the characters from your selected

text and describe in detail five different feelings that this

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character has towards any other characters. (You must use textual
references from the play to help you to justify your answer.)
Explain in detail, the way in which you would use five acting concepts
to portray this character’s feelings in your final production. (These
need to be related to the first part of this question.)

4. As an actor, choose one complex character from your selected

text and describe in detail five different aspects of their
personality. (You must use textual references from the play to help
you to justify your answer.)
Explain in detail, the way in which you would use five acting concepts
to portray this character’s personality. (These need to be related to
the first part of this question.)

5. As a designer, describe in detail five different moments in your

selected text that convey aspects of the play’s overall themes
and/or issues. (You must use textual references from the play to
help you to justify your answer.)
Explain in detail the way in which you would use five staging and/or
design concepts to help you to highlight the play’s themes/s and/or
issues. (These need to be related to the first part of this question.)

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4. Theatre Production: Application

What you need to know

For this essay you must

- Be able to demonstrate knowledge of the play

(describe/explain)
- Be able to demonstrate your understanding of production
roles for the play

Question Types

There are three types of questions which ask you to respond on the
way the following roles could be applied to the play

 For Acting you must explain how you would physically bring the
character to life onstage
 For Design you must explain how you would apply Production
Areas to ‘The Crucible’

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 For Directing you must explain how you would instruct actors
to bring the characters to life

5. Theatre Production: Application Exemplar Questions

Question Types

Candidates demonstrate their ability to interpret questions and

respond in an informed way through the following skills, knowledge
and understanding:

- Acting concepts
- Design concepts
- Directing concepts
- Performance concepts
- Use of performance space
- A range of staging, styles and settings of a production
- Historical, social and cultural and theatrical context
- Target audience
- Impact and audience appreciation
- Form, structure, genre and style
- Plot development
- Key moments or scenes
- A range of production roles
- Characterisation techniques
- Character status, motivation, personality, attitude and
relationships
- Themes and issues
- Message/purpose
- Mood and atmosphere
- Creation of tension
- Dramatic features
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- Rehearsal techniques

Questions take the form of short, structured response questions

usually worth 1 – 4 marks. These will be very similar to those
completed at National 5 level.

Your answers will be marked based on your understanding of the

question, the text and your use of terminology! Please ensure you
are revising this continually throughout the year and ask your
teacher if you are unsure of the correct word to use/meaning of a
word.

6. Performance Analysis Essays

What is a Performance Analysis Essay?

- In this Section you will be asked to give a performance analysis

of a theatrical presentation that you have seen live
- The theatrical presentation must have been presented in the
past two years
- You will be asked to think about individual aspects of a
production
- A Performance Analysis is similar to a theatre review in the
sense that you will comment on different areas of a production
and explain the impact each area had on the audience
- You will also comment on what you liked/disliked about the
production and why
- In the exam, there is only one question; within that question
you must choose two production areas to write about
- Think about the productions you have seen and decide which is
most appropriate to the question

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You may be asked to write about two of the following areas:

- Lights
- Sound
- Set
- Props
- Costume
- Make up
- Director’s Intentions
- Performance Space
- Actor/Audience relationship

Hints and Tips

- You must use appropriate Drama terminology (look at
terminology booklet)
- Always think...what impact did this element have on the
audience?
- Always describe the performance...not the plot. Explain what
you saw and heard and describe how you felt about it.

Example point

 Identify– I believe the use of avenue staging was very

successful.

 Describe– When the writer entered the pub, he was stood at

one end of the stage and the soldiers were at the other.

 Explain – This suggested that there was a sense of distance

and hostility between the soldiers and the writer.

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 Analyse Audience Impact – This helped to establish the
difference between the soldiers and the writer immediately.

 This will gain two marks

7. Performance Analysis Exemplar Questions

1. Consider the contrasts in a performance you have seen recently.

• Now select two production areas from the list below
• acting
• setting
• costume
• sound
In your analysis, identify and explain in detail the ways in which your
two selected production areas helped to communicate the contrasts
in the play and enhanced your appreciation of the performance. (20
Marks)

2. Consider the themes and ideas in a performance you have seen

recently.
• Now select two production areas from the list below
• acting
• set
• costume
• choice and use of performance space.

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In your analysis, identify and explain in detail the ways in which your
two selected production areas helped to communicate the themes
and ideas in the play and enhanced your appreciation of the
performance. (20 Marks)

3. Consider the message and/or purpose in a performance you have

seen recently.
• Now select two production areas from the list below
• acting
• directing
• set
• sound
In your analysis, identify and explain in detail the ways in which your
two selected production areas helped to communicate the message
and/or purpose in the play and enhanced your appreciation of the
performance. (20 Marks)

4. Consider the mood and/or atmosphere in a performance you

have seen recently.
• Now select two production areas from the list below
• lighting
• setting
• costume
• sound
In your analysis, identify and explain in detail the ways in which your
two selected production areas helped to communicate the mood
and/or atmosphere in the play and enhanced your appreciation of
the performance. (20 Marks)

5. Consider the director’s intentions in a performance you have

seen recently.
• Now select two production areas from the list below
• acting
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• performance space
• costume
• sound
In your analysis, identify and explain in detail the ways in which your
two selected production areas helped to communicate the director’s
intentions in the play and enhanced your appreciation of the
performance. (20 Marks)

6. Consider the tension in a performance you have seen recently.

• Now select two production areas from the list below
• Make up
• lighting
• costume
• sound
In your analysis, identify and explain in detail the ways in which your
two selected production areas helped to communicate the tension in
the play and enhanced your appreciation of the performance. (20
Marks)

7. Consider the dramatic impact in a performance you have seen

recently.
• Now select two production areas from the list below
• acting
• setting
• costume
• sound
In your analysis, identify and explain in detail the ways in which your
two selected production areas helped to communicate the dramatic

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impact in the play and enhanced your appreciation of the
performance. (20 Marks)

8. Performance Examination
For the performance, you will be given two extracts which you will
perform in front of an external examiner and an S3 audience. There
will be at least one other candidate in your acting piece and although
you perform together, you will be assessed as an individual.

Preparing a dramatic piece for examination.

A drama examiner will look for the following:
- Spatial awareness, movement and gesture
- Vocal quality, clarity, fluency, projection
- Awareness of audience, awareness of performance elements,
integration, communication
- Control, appropriateness, conviction, credibility, support
- Pace and timing
- Interpretation, sustaining roles, responding
- These points come under four headings:
- Characterisation
- Vocal Skills
- Movement Skills
- Impact on Audience

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You should consider the following questions when preparing your
performance extracts for the external examination.

Characterisation
- Why is the role an important part of the drama?
- Are the responses to the action and dialogue believable?
- Does the actor concentrate and stay in role?

Vocal Skills
- Is the language used by the character appropriate?
- Does the language help make the role credible?
- Can the vocals be heard?
- Are the vocals clear?
- Does the speaker show a clear understanding of what is being
said?
- Is there rhythm, fluency and variation in the way the actors
speak?

Movement Skills
- Is the movement appropriate for the role?
- Is the blocking in for sightlines correct?
- Is there any symbolic use of space, movement and gesture?
- Is space used to create interesting visual images?
- Do the gestures and movements make the roles better?
- Is space and movement used with purpose and to help
communicate the role to the audience?

Impact on Audience
- Does the piece flow easily?
- Is the piece disjointed in any places?
- Is there any unnecessary stage traffic?
- Does the piece have purpose?
- Does the piece communicate to an audience?

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You should now spend some time making notes about how you wish to
perform your acting pieces. You should begin by having a read
through of your performance pieces. Your teacher will then go on to
block the extracts. You should make careful notes on entrances,
exits, positioning and movement on the stage. When that has been
completed, your group should begin to make performance notes.

Think carefully about:

- How will each line be delivered?
- What posture or stance will each character use?
- How will you move around the stage which will add to meaning?
- What elements of characterisation do you want to convey to an
audience?
- What type of relationship(s) do you want to convey to an
audience?
- How do you want your character to be perceived by the
audience?
- What mood or atmosphere do you wish to create?

What happens on the day?

On the following pages you will see a list of comments that will
appear on the examiners checklist. The examiner is required to
complete one of these checklists for each of your acting pieces.
Each acting role is awarded out of 25 marks so there is a possible 50
marks available for this section of the examination. Each role is
divided into five sections:

 Understanding
 Portrayal
 Voice
 Movement
 Impact (on Audience)

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The examiner must tick one comment from each of the five sections.
The marks are then combined to give your final acting mark. In
addition to this, the examiner reads and marks your Preparation For
Performance essay which is worth a possible 10 marks.

9. Higher Drama Lexicon

Below is the Higher Drama Lexicon from the SQA website. It
includes all essential Higher Drama vocabulary which you may be
asked to demonstrate your understanding of in the written exam
and written unit assessments.

General terms
Acting style
Actor-audience relationship
Atmosphere
Blocking
Central character/complex character/important character/
Minor character/main character/pivotal character
Characterisation
Character behaviour/character motivation/character
development/character interaction/relationships between
characters
Climax
Context/dramatic context/social context/political
Context/cultural context
Design concepts

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Dialogue
Drama media (projections, video footage, sound-scapes)
Drama process
Dramatic features
Dramatic tension/points of tension/moments of tension
Dramatic irony
Duologues
Episodic structure
Focus
Given circumstances
Ground plans
Key scene
Key moment
Language
Message
Mood
Original production/original staging/stage configurations
Performance analysis
Performance concepts
Pre-show
Plot
Plot twists
Protagonist and antagonist
Purpose
Proxemics
Rehearsal activities
Set
Setting
Site specific theatre
Special effects
Textual evidence
Traditional theatre
Special effects
Stage imagery
Status

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Stimulus
Subtext
Symbols and imagery
Target audience
Tension
Textual analysis
Theatrical background
Themes and issues
Time period/passage of time/shifts in time
Positioning
Use of levels
Venue

Conventions Movement Voice

Aside Balance Accent
Dialogue Body language Articulation
Flash-back Eye contact Clarity
Flash-forward Facial Emphasis
Freeze frame expression Fluency
Frozen picture Gesture Intonation
Mime Mannerisms Pace
Monologue Mime Pause
Movement Naturalistic Projection
Narration Posture Pitch
Slow motion Positioning Register
Soliloquy Proxemics Rhythm
Split stage Rhythm Tone
Tableau Speed Volume
Voice over Stance
Stylised
Timing
Use of levels
Use of space

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Use of direction

Form Genre Structure

Dance drama Black comedy Linear
Forum theatre Comedy Non-linear
Mime Comedy of manners
Monologue Commedia dell ‘arte
Movement Docudrama
Musical Epic theatre
Pantomime Farce
A play, scripted or Historical drama
improvised Physical Melodrama
theatre Satire
Tragedy
Tragicomedy

Style Characterisation and Production areas

rehearsal techniques
Naturalistic Character cards Acting
Non- Hot seating Costume
naturalistic Improvisation Directing
Key moments Lighting
Mantle of the expert Make up
Role play Props
Role on the wall Set
Role-reversal Sound
Still image/speaking
through the image Use of
prop
Thought tracking
Thought tunnel
Voices in the head
Visualisation exercises
Writing in role

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The above list is simply a guide. It is designed to inform teaching
and learning and to support learners as they move through the
Coursework at Higher. It should be noted that it is neither
prescriptive nor exhaustive but the terms used reflect what can
be asked about during aspects of Unit assessment and Course
assessment at this level.

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