How do I choose which practitioner to use for Text in Action?

Choose a practitioner whose techniques resonate with the themes and style of your chosen texts. For example, if your texts deal with social injustice, Brecht's epic theatre might be effective. Consider also the practical demands: some practitioners require specific staging or actor training. Discuss options with your teacher and experiment in early rehearsals to see which methodology feels most productive.

What should I include in my portfolio to get top marks?

Your portfolio should include a clear introduction outlining your chosen texts and practitioner, detailed research on context and theory, a log of rehearsals with reflective analysis, and a final evaluation. Use specific examples to show how you applied techniques, and critically assess what worked and what didn't. Ensure it is well-structured and uses correct terminology.

Can I perform a monologue from the same play as my group piece?

Yes, but it must be a different section of the play, and you should approach it with a different focus or interpretation to avoid repetition. The monologue should showcase your individual skills and understanding of the practitioner, while the group piece demonstrates collaboration. Check with your exam board guidelines to ensure no overlap is prohibited.

How long should my practical performance be?

The group piece should last between 10 and 15 minutes, and the monologue/duologue should be 2 to 5 minutes. Timing is crucial: too short and you won't demonstrate depth, too long and you may lose focus. Rehearse with a timer and trim unnecessary sections while keeping the essence of the text.

What if my group members don't pull their weight?

Address issues early through open communication and clear division of tasks. If problems persist, involve your teacher as a mediator. In your portfolio, you can reflect on challenges and how you overcame them, which can actually demonstrate problem-solving skills. However, ensure you still deliver a polished performance on the day.

Do I need to design costumes and set for the performance?

Not necessarily, but any design choices should be intentional and support your practitioner's style. For example, if using Brecht, you might use minimal set and visible costume changes. If using Artaud, sensory elements like lighting and sound become crucial. Whatever you choose, justify it in your portfolio and ensure it enhances the performance.

How to Revise Text in Action — WJEC A-Level Drama

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

Examiner Tips for Text in Action

Ensure the chosen practitioner or company is distinct from the one used in Unit 1
Document how live theatre influences your creative choices early in the process
Focus on the 'why' behind your research choices, not just the 'what'
Ensure the chosen text is professionally commissioned or produced
Use the research to inform both the devised piece and the text-based extract performance
Ensure the devised piece clearly demonstrates the specific working methods and techniques of the chosen practitioner or company
Use the stimulus as a genuine starting point for both pieces rather than an afterthought
Document the development process thoroughly to support the process and evaluation report

Common Mistakes in Text in Action

Choosing the same theatre practitioner or company as used in Unit 1
Failing to study the chosen extract within the context of the whole text
Neglecting to make explicit connections between the live theatre viewed and their own creative process
Lack of clear evidence of the practitioner's or company's working methods in the devised piece
Insufficient research into the historical, social, and cultural context of the chosen practitioner or company
Failing to ensure the practitioner or company chosen for Unit 3 is different from the one used in Unit 1

Key Marking Points

Application of research into the chosen theatre practitioner or company in practical work
Understanding of the chosen text's structure, character construction, and style
Ability to make connections between dramatic theory and practice
Evidence of how live theatre viewing has influenced creative decision-making
Clear application of the practitioner's or company's techniques, methods, style, and conventions in the devised piece
Clear evidence of the creative process for both pieces

← Back to WJEC A-Level Drama

Text in Action

WJEC

A-Level

The Researching stage of A2 Unit 3: Text in Action involves three core components: studying a chosen 10-15 minute extract within the context of the whole text (focusing on structure, character construction, and style), researching the techniques and working methods of an influential theatre practitioner or company (different from the one used in Unit 1), and viewing at least one live theatre production to inform creative decisions.

Objectives

Exam Tips

Pitfalls

Key Terms

Mark Points

Topic Overview

Text in Action is a core component of the WJEC A-Level Drama and Theatre qualification, designed to bridge the gap between theoretical study and practical performance. This unit challenges students to explore two contrasting texts from different historical periods, analysing them through the lens of a practitioner or theatrical movement. The aim is to develop a deep understanding of how text can be transformed into live theatre, considering the social, cultural, and historical contexts that shape meaning. By engaging with both page and stage, students learn to interpret dramatic material creatively and critically, preparing them for further study or careers in the performing arts.

This unit is divided into two parts: a written portfolio (40% of the unit) and a practical performance (60%). The portfolio requires students to document their research, creative decisions, and reflective analysis, demonstrating how they have applied a chosen practitioner's methodology to their chosen texts. The performance component involves presenting a group piece (either devised or from a script) and a monologue or duologue, assessed by a visiting examiner. Success in Text in Action demands not only performance skills but also the ability to articulate artistic choices and justify them with reference to theatrical theory.

Mastering Text in Action is essential for achieving top grades in WJEC A-Level Drama, as it synthesises all the skills developed throughout the course: textual analysis, research, collaboration, and performance. It encourages students to become independent theatre-makers who can innovate while respecting the integrity of the text. This unit also fosters transferable skills such as critical thinking, problem-solving, and effective communication, which are invaluable for university and beyond.

Key Concepts

Core ideas you must understand for this topic

→Practitioner Methodology: Understanding and applying the techniques of a specific theatre practitioner (e.g., Stanislavski, Brecht, Artaud) or movement (e.g., Epic Theatre, Theatre of Cruelty) to interpret and perform text.
→Contextual Analysis: Examining the social, political, and cultural contexts of the play's creation and setting, and how these influence character, theme, and staging.
→Performance Space and Audience: Considering how the chosen performance space (e.g., proscenium arch, thrust, in-the-round) and the relationship with the audience affect directorial and acting choices.
→Structuring a Portfolio: Creating a coherent written document that includes research, rehearsal logs, and evaluation, using specific examples to justify creative decisions.
→Collaborative Devising: Working effectively in a group to create original performance material that responds to a text or stimulus, ensuring all members contribute to the final piece.

What You Need to Demonstrate

Key skills and knowledge for this topic

Application of research into the chosen theatre practitioner or company in practical work
Understanding of the chosen text's structure, character construction, and style
Ability to make connections between dramatic theory and practice
Evidence of how live theatre viewing has influenced creative decision-making
Clear application of the practitioner's or company's techniques, methods, style, and conventions in the devised piece
Clear evidence of the creative process for both pieces
Application of the chosen practitioner's or company's techniques and methods in the devised piece
Effective use of dramatic conventions, forms, and techniques to communicate meaning

Marking Points

Key points examiners look for in your answers

Application of research into the chosen theatre practitioner or company in practical work
Understanding of the chosen text's structure, character construction, and style
Ability to make connections between dramatic theory and practice
Evidence of how live theatre viewing has influenced creative decision-making
Clear application of the practitioner's or company's techniques, methods, style, and conventions in the devised piece
Clear evidence of the creative process for both pieces
Application of the chosen practitioner's or company's techniques and methods in the devised piece
Effective use of dramatic conventions, forms, and techniques to communicate meaning
Successful amendment and refinement of work for performance
Integration of influences from live theatre viewed during the course
Clear distinction in style between the devised piece and the text-based extract
Effective realization of artistic intentions through performance or design skills
Application of theatrical skills to realise artistic intentions in live performance (AO2).
Effective use of performance or design skills to communicate meaning to an audience.
Successful application of practitioner/company techniques in the devised piece.
Coherent interpretation of the chosen text extract in the text-based piece.
Effective interaction with other performers (for acting candidates).
Realisation of design elements (lighting, sound, set, or costume) as per the specified minimum requirements.
Clear identification of the candidate by name and number at the start of the performance.
Connections between theory and practice (10 marks)
Analysis and evaluation of the creative process (10 marks)
Analysis and evaluation of the final performance or design (10 marks)
Explanation of how research on the theatre practitioner/company and chosen style informed practical work
Explanation of how the stimulus was used to interpret the text and provide ideas for devised work
Analysis of how dramatic conventions or design techniques were used to create meaning
Evaluation of how the piece was refined and amended for performance
Analysis of how live theatre influenced their own work
Evaluation of the effectiveness of performing or design skills and their contribution to the piece
Evaluation of the effectiveness of the practitioner or company and stylistic techniques in performance

Examiner Tips

Expert advice for maximising your marks

💡Ensure the chosen practitioner or company is distinct from the one used in Unit 1
💡Document how live theatre influences your creative choices early in the process
💡Focus on the 'why' behind your research choices, not just the 'what'
💡Ensure the chosen text is professionally commissioned or produced
💡Use the research to inform both the devised piece and the text-based extract performance
💡Ensure the devised piece clearly demonstrates the specific working methods and techniques of the chosen practitioner or company
💡Use the stimulus as a genuine starting point for both pieces rather than an afterthought
💡Document the development process thoroughly to support the process and evaluation report
💡Ensure the text-based extract is clearly contrasted in style with the devised piece
💡Focus on the quality of interaction between performers during the live performance
💡Use the 5-10 minute design presentation to clearly explain the rationale and realization of design choices
💡Ensure all technical equipment is fully functional and tested before the examiner arrives.
💡Design candidates should use the 5-10 minute presentation to provide a clear rationale and show evidence like plots, scale models, or cue sheets.
💡Ensure the performance is recorded from the audience perspective for submission.
💡Focus on sustained engagement and interaction with other performers throughout the piece.
💡Check that the chosen text extract is within the context of the whole text and professionally commissioned/produced.
💡Submit the process and evaluation report within one week of the practical assessment.
💡Ensure the report is completed and submitted within one week of the practical assessment
💡Use the report to explicitly link research on the practitioner/company to the practical choices made in both the devised and text-based pieces
💡Ensure the report covers all three required sections: connections between theory and practice, analysis of process, and evaluation of the final outcome
💡Use photographs or diagrams sparingly in Section 1 only where necessary to illustrate theoretical connections
💡Ensure the teacher sees one draft for authentication purposes, but remember they cannot offer detailed feedback on content or errors
💡In your portfolio, use specific examples from rehearsals to illustrate how you applied a practitioner's technique. For instance, if using Stanislavski, describe how you used 'emotional memory' to develop a character's backstory, and then reflect on whether it worked in performance.
💡For the practical performance, ensure your group piece has a clear directorial concept that is evident from the opening moment. Examiners look for a cohesive vision that is sustained throughout, so avoid disjointed scenes that don't connect thematically or stylistically.
💡When performing a monologue or duologue, focus on the relationship between the characters and the audience. Even in a monologue, the character is communicating with someone (the audience or an imaginary figure), so maintain a strong sense of intention and objective.

Common Mistakes

Pitfalls to avoid in your exam answers

Choosing the same theatre practitioner or company as used in Unit 1
Failing to study the chosen extract within the context of the whole text
Neglecting to make explicit connections between the live theatre viewed and their own creative process
Lack of clear evidence of the practitioner's or company's working methods in the devised piece
Insufficient research into the historical, social, and cultural context of the chosen practitioner or company
Failing to ensure the practitioner or company chosen for Unit 3 is different from the one used in Unit 1
Neglecting to make the text-based extract a different style from the devised piece
Insufficient engagement with the stimulus material
Lack of clear refinement or evidence of the development process
Failing to integrate research into the practical work
Inadequate interaction between performers on stage
Exceeding the maximum performance time (examiners will stop watching).
Significantly short performances that lack sufficient evidence of development or audience engagement.
Failure to clearly identify the candidate at the start of the performance.
Design candidates failing to provide the required 5-10 minute presentation to the examiner.
Inconsistent application of the chosen practitioner's techniques in the devised piece.
Failure to ensure the text-based piece is in a different style to the devised piece.
Exceeding the 3000-word limit
Failing to make clear connections between dramatic theory and practice
Providing a descriptive commentary of the rehearsal period rather than an analysis and evaluation
Failing to analyze how live theatre influenced creative decisions
Neglecting to evaluate the effectiveness of the practitioner/company techniques in the final performance
Misconception: The portfolio is just a diary of rehearsals. Correction: The portfolio must be a reflective, analytical document that explains why choices were made, not just what happened. It should link to practitioner theory and evaluate the effectiveness of decisions.
Misconception: You can perform any text as long as it's from a different period. Correction: The two texts must be from contrasting historical periods (e.g., pre-1900 and post-1900) and must be approved by your teacher. They should also be suitable for exploring your chosen practitioner's methods.
Misconception: The practical performance is only about acting. Correction: The performance is assessed on how well you apply practitioner techniques to the text, including directorial choices, use of space, and design elements (lighting, sound, costume) if applicable. Acting alone is not enough.

Frequently Asked Questions

Common questions students ask about this topic

Before You Start

Prior knowledge that will help with this topic

•Understanding of basic theatrical terminology (e.g., blocking, proxemics, subtext) and familiarity with at least one major theatre practitioner (e.g., Stanislavski, Brecht) from earlier units.
•Experience in group performance and devising, as Text in Action requires collaborative creation and problem-solving.
•Ability to analyse a play text critically, including identifying themes, character arcs, and dramatic structure.

Likely Command Words

How questions on this topic are typically asked

Research

Study

Consider

Explore

Participate

Apply

Create

Develop

Interpret

Analyse

Evaluate

Refine

Realise

Perform

Present

Communicate

Explain

Demonstrate

Ready to test yourself?

Practice questions tailored to this topic

Text in Action

Topic Overview

Key Concepts

What You Need to Demonstrate

Marking Points

Examiner Tips

Common Mistakes

Frequently Asked Questions

Before You Start

Likely Command Words

Ready to test yourself?

Related Topics in WJEC A-Level Drama

Theatre Workshop

E2E stub topic

Theatre Workshop

Theatre Workshop