What is the best theatre practitioner to use for devising in Edexcel A-Level Drama?

There's no single 'best' practitioner—it depends on your stimulus and strengths. Stanislavski works well for naturalistic, character-driven pieces; Brecht suits political or epic theatre; Artaud is great for sensory, non-linear work; Frantic Assembly is ideal for physical theatre. Choose one you understand deeply and can apply consistently. Avoid switching practitioners midway.

How long should the devising portfolio be for Edexcel A-Level?

The portfolio should be 3000 words (or equivalent in recorded format). It must cover your research, development, and evaluation of the process. Quality over quantity—every paragraph should show analysis, not just description. Use subheadings to structure it clearly.

Can I use a stimulus that is a song or a piece of music?

Yes, absolutely. Songs, music, and soundscapes are valid stimuli. However, you must explore them theatrically—consider lyrics, mood, rhythm, and how they can inspire movement, character, or narrative. Avoid simply recreating the song's story; instead, use it as a springboard for original ideas.

How is the devising performance assessed in Edexcel A-Level?

The performance is assessed on its theatrical impact and how well it realises your intentions. Examiners look for clear application of your practitioner's techniques, effective use of performance skills (voice, movement, interaction), and a coherent piece that engages the audience. You'll be marked as an ensemble, so teamwork is crucial.

What if my group disagrees on creative decisions during devising?

Disagreements are normal and can be productive. Use them as opportunities to explore different ideas—try out both options in rehearsal and evaluate which works better. Document this process in your portfolio as evidence of collaboration and refinement. If needed, vote or compromise, but always keep the piece's overall aim in mind.

Do I need to design set, lighting, and sound for my devised piece?

You don't have to design all elements, but you should consider how design choices support your piece. If you're a performer, focus on acting; if you're a designer, you can specialise. However, the portfolio should explain how design (if used) contributes to the overall impact. Even minimal design can be effective if purposeful.

How to Revise Devising — Edexcel A-Level Drama

Devising is a topic in the Edexcel A-Level Drama specification. This guide covers learning objectives, examiner tips, common mistakes, and key terminology to help you revise effectively.

Examiner Tips for Devising

Ensure the chosen key extract is significant to the whole text and at least 10 minutes in length when performed.
Use the portfolio to explicitly track the development of ideas from the initial stimulus to the final performance.
Ensure the chosen practitioner is different from the one used in Component 3.
Designers must be involved in the execution of their design and ensure it is realised in the performance.
Adhere strictly to the recommended word/time limits for the portfolio to ensure conciseness.
Test camera positioning and audio levels during a dress rehearsal to ensure all students are identifiable and audible.
Ensure the performance is recorded unedited and in a single take
Use clear, well-paced introductions stating name, candidate number, and role

Common Mistakes in Devising

Failure to meet the regulatory minimum performance time of 6 minutes.
Teachers directing the performance rather than facilitating the process.
Lack of clear identification of students on the recording.
Inconsistent or superficial application of the chosen practitioner's methodology.
Devising a re-interpretation of the original text rather than using the extract as a stimulus for original work.
Uneven treatment of analysis and evaluation in the portfolio.

Key Marking Points

AO1: Creating and developing ideas to communicate meaning as part of the theatre-making process, making connections between dramatic theory and practice.
AO2: Applying theatrical skills to realise artistic intentions in live performance.
AO4: Analysing and evaluating their own work and the work of others.
Evidence of research into the chosen text and practitioner.
Application of practitioner methodologies, theatrical style, and conventions.
Ability to refine and amend work during the development process.

← Back to Edexcel A-Level Drama

Devising

EDEXCEL

A-Level

Component 1: Devising requires students to develop an original performance piece based on one key extract from a performance text and the methods of one influential theatre practitioner. Students must interpret, create, and develop ideas collaboratively, culminating in a group or duologue performance or design realisation, followed by an analysis and evaluation of the creative process.

Objectives

Exam Tips

Pitfalls

Key Terms

Mark Points

Topic Overview

Devising is a core component of the Edexcel A-Level Drama and Theatre specification, where you create original theatre from a stimulus. This process requires you to work collaboratively as a performer, director, and designer, drawing on the work of a chosen theatre practitioner (e.g., Brecht, Stanislavski, Artaud) to shape your piece. Devising counts towards 40% of your final A-Level grade (Component 1), assessed through a portfolio and a live performance. It's your chance to demonstrate creativity, analytical thinking, and practical skills in a real-world theatrical context.

The devising process involves exploring a stimulus (e.g., a poem, image, news article) to generate ideas, then developing these into a structured performance. You must document your journey in a portfolio (3000 words or equivalent), explaining how you applied your practitioner's techniques and how your piece communicates meaning to an audience. The final performance is assessed on its theatrical impact and your ability to realise your intentions. Mastering devising not only boosts your exam grade but also prepares you for higher education or careers in theatre, film, and creative industries.

Devising fits into the wider subject by connecting theory to practice. You'll study a practitioner's methodology (e.g., Brecht's epic theatre or Stanislavski's naturalism) and apply it to your own work. This mirrors professional theatre-making, where companies often devise new pieces. The skills you develop—collaboration, problem-solving, critical reflection—are transferable across all areas of drama and beyond. Success in devising requires a balance of creative risk-taking and rigorous self-evaluation.

Key Concepts

Core ideas you must understand for this topic

→Stimulus: The starting point for your devised piece (e.g., a photograph, poem, news headline). You must explore it from multiple angles to generate original ideas.
→Theatre Practitioner: A specific theatre maker (e.g., Stanislavski, Brecht, Artaud, Frantic Assembly) whose techniques and principles you apply to structure and perform your piece. Your portfolio must show clear application of their methods.
→Portfolio: A written or recorded document (3000 words) that explains your devising process, including research, experimentation, and evaluation. It must link your choices to your practitioner and intended audience impact.
→Collaborative Process: Devising is a team effort. You must negotiate ideas, assign roles (performer, director, designer), and rehearse effectively. Assessment includes your ability to work as an ensemble.
→Evaluation and Refinement: Continuously assessing your work through rehearsals, peer feedback, and self-reflection. You must show how you refined your piece to improve its theatrical effectiveness.

What You Need to Demonstrate

Key skills and knowledge for this topic

AO1: Creating and developing ideas to communicate meaning as part of the theatre-making process, making connections between dramatic theory and practice.
AO2: Applying theatrical skills to realise artistic intentions in live performance.
AO4: Analysing and evaluating their own work and the work of others.
Evidence of research into the chosen text and practitioner.
Application of practitioner methodologies, theatrical style, and conventions.
Ability to refine and amend work during the development process.
Effective use of vocal and physical skills (performers) or design skills (designers).
Clear communication of artistic intentions to an audience.

Marking Points

Key points examiners look for in your answers

AO1: Creating and developing ideas to communicate meaning as part of the theatre-making process, making connections between dramatic theory and practice.
AO2: Applying theatrical skills to realise artistic intentions in live performance.
AO4: Analysing and evaluating their own work and the work of others.
Evidence of research into the chosen text and practitioner.
Application of practitioner methodologies, theatrical style, and conventions.
Ability to refine and amend work during the development process.
Effective use of vocal and physical skills (performers) or design skills (designers).
Clear communication of artistic intentions to an audience.
Balanced analysis and evaluation of the creative process and final performance.
Realisation of artistic intentions through vocal and physical skills (performers)
Realisation of artistic intentions through characterisation and communication (performers)
Realisation of artistic intentions through design skills (designers)
Realisation of artistic intentions through understanding of communication and context (designers)
Effective use of variety, range, and control in performance
Credibility and consistency of characterisation
Integration of design elements with the devised work
Effective use of design skills within time and resource constraints
Analysis and evaluation of ideas explored and research undertaken.
Rationale behind decisions made during the devising process.
Analysis and evaluation of collaborative involvement.
Evaluation of content, genre, structure, character, form, style, and language.
Evaluation of the final performance and the effectiveness of the student's individual contribution.
Evaluation of the realisation of artistic intentions.
Use of appropriate subject-specific terminology.
Balanced consideration between analysis and evaluation.

Examiner Tips

Expert advice for maximising your marks

💡Ensure the chosen key extract is significant to the whole text and at least 10 minutes in length when performed.
💡Use the portfolio to explicitly track the development of ideas from the initial stimulus to the final performance.
💡Ensure the chosen practitioner is different from the one used in Component 3.
💡Designers must be involved in the execution of their design and ensure it is realised in the performance.
💡Adhere strictly to the recommended word/time limits for the portfolio to ensure conciseness.
💡Test camera positioning and audio levels during a dress rehearsal to ensure all students are identifiable and audible.
💡Ensure the performance is recorded unedited and in a single take
💡Use clear, well-paced introductions stating name, candidate number, and role
💡Test camera positioning and audio levels during a dress rehearsal
💡Ensure all design candidates have their work clearly visible and assessed within the performance
💡Adhere strictly to the regulatory minimum performance time to avoid mark penalties
💡Use distinct costume or prop items to aid identification on camera
💡Ensure the portfolio shows a balanced consideration between analysis (what was done and why) and evaluation (how successful it was).
💡Use the specific statements provided in the specification to structure the portfolio reflections.
💡Ensure all claims about the creative process are supported by evidence from the research or practical workshops.
💡Adhere to the recommended word/time limits to ensure the portfolio is concise and coherently structured.
💡Explicitly link the influence of the chosen practitioner to specific creative choices made in the devised piece.
💡Tip 1: In your portfolio, always link your practical choices back to your practitioner's specific techniques. For example, if using Brecht, explain how you used gestus or direct address to create alienation. Use quotes from the practitioner's writings to support your points.
💡Tip 2: In your performance, ensure your piece has a clear dramatic structure (beginning, middle, end) and communicates a central message or theme. Examiners look for cohesion and purpose, not just a series of disconnected scenes.
💡Tip 3: Record your devising process from day one. Take photos, videos, and notes of rehearsals. This evidence helps you write a detailed portfolio and shows your development. Also, be prepared to justify changes you made during the process.

Common Mistakes

Pitfalls to avoid in your exam answers

Failure to meet the regulatory minimum performance time of 6 minutes.
Teachers directing the performance rather than facilitating the process.
Lack of clear identification of students on the recording.
Inconsistent or superficial application of the chosen practitioner's methodology.
Devising a re-interpretation of the original text rather than using the extract as a stimulus for original work.
Uneven treatment of analysis and evaluation in the portfolio.
Failure to submit the required online form regarding text and practitioner choices.
Failure to meet the regulatory minimum performance time of 6 minutes
Poor identification of individual students on the recording
Inappropriate use of non-assessed individuals without prior permission
Teachers directing the performance rather than facilitating
Designers failing to supervise the execution of their own designs
Costuming students in a way that makes individual identification difficult (e.g., all in black)
Providing isolated analysis without leading to evaluation.
Uneven treatment of analysis and evaluation.
Failure to use appropriate subject-specific terminology.
Lack of clear connection between research/practitioner methodology and the final performance outcomes.
Superficial reflection on the collaborative process.
Misconception: 'Devising is just improvising and making it up as you go.' Correction: While improvisation is a tool, devising requires structured planning, research, and application of a practitioner's techniques. You must document your process and justify choices.
Misconception: 'The portfolio is just a diary of what we did.' Correction: The portfolio is an analytical document. You must explain why you made decisions, how they link to your practitioner, and how they affect the audience. Avoid simple descriptions.
Misconception: 'We can use any practitioner we like, even if we don't understand them.' Correction: You must choose a practitioner you can apply effectively. Superficial use (e.g., just adding a freeze-frame for Brecht) loses marks. Deep understanding of their aims and methods is essential.

Frequently Asked Questions

Common questions students ask about this topic

Before You Start

Prior knowledge that will help with this topic

•Understanding of at least one theatre practitioner (e.g., Stanislavski, Brecht, Artaud) and their key techniques.
•Basic knowledge of dramatic elements (e.g., character, plot, tension, contrast) and how they create meaning.
•Experience in group work and performance, as devising relies heavily on collaboration and communication.

Likely Command Words

How questions on this topic are typically asked

Devise

Interpret

Create

Develop

Analyse

Evaluate

Apply

Realise

Communicate

Perform

Demonstrate

Integrate

Discuss

Outline

Connect

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Practice questions tailored to this topic