Drama and Theatre

    AQA
    A-Level

    Specification: 7262

    The AQA A-Level Drama and Theatre specification covers 19 topics with 240 learning objectives (7262). Use the topic browser below to explore subtopics, exam tips, common mistakes, and key terminology for each area of the course.

    Starting AQA A-Level Drama and Theatre this term? The whole specification is below, unit by unit.

    This subject will help you develop key knowledge and skills required for exam success.

    19

    Topics

    240

    Objectives

    0

    Exam Tips

    0

    Pitfalls

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    Key Features

    • Master key concepts
    • Develop exam technique
    • Apply knowledge effectively

    About AQA A-Level Drama and Theatre

    The AQA A-Level Drama and Theatre course offers an exciting and rigorous exploration of performance, design, and critical analysis. You will study a diverse range of play texts, from classic works to contemporary pieces, and engage with the theories and practices of influential theatre practitioners. The course encourages you to develop your skills as a creator, performer, and informed audience member, fostering a deep understanding of how theatre is made and received.

    The specification is structured into three components: two practical units and one written exam. In the practical components, you will create and perform original drama and work on a scripted performance, either as a performer or designer. The written exam assesses your knowledge and understanding of two set texts and a live theatre production you have seen. This balanced approach ensures you develop both practical expertise and analytical acumen.

    Assessment Structure

    The AQA A-Level Drama and Theatre is assessed through three components. Component 1: Drama and Theatre (written exam, 40% of A-Level, 80 marks) includes questions on two set texts and a live theatre production. Component 2: Creating Original Drama (practical coursework, 30% of A-Level, 60 marks) requires you to create and perform a piece of original drama influenced by a prescribed practitioner, accompanied by a working notebook. Component 3: Making Theatre (practical coursework, 30% of A-Level, 60 marks) involves performing three extracts from different plays, with a reflective report. All components are mandatory and are marked by teachers and moderated by AQA.

    Why Choose AQA?

    • AQA offers a clear and flexible specification that allows you to choose your own set texts and practitioners, enabling you to tailor the course to your interests and strengths.
    • The practical components are highly regarded by universities and drama schools, as they develop transferable skills such as collaboration, creativity, and critical thinking.
    • AQA provides excellent support materials, including exemplar work and detailed guidance, which helps both students and teachers navigate the requirements effectively.

    Frequently Asked Questions

    Specification Topics

    19 topics

    Subject content

    create, perform and respond to drama and theatre, explore the relationship between theory and practice in a range of theatrical styles and periods and historical, social and cultural contexts, develop the creativity and independence to become effective theatre makers +8 more

    11 objectives11 subtopics

    Drama and theatre

    This subject content is assessed in a written exam., See Component 1: Drama and theatre (page 23) for details.

    2 objectives2 subtopics

    Knowledge and understanding

    development of pace, pitch and dramatic climax, The theatrical processes and practices involved in interpreting and performing theatre How conventions, forms and techniques are used in drama and live theatre to create meaning How creative and artistic choices influence how meaning is communicated to an audience Interpretative processes relating to:, structure +24 more

    27 objectives27 subtopics

    Area of study 1 – Set plays

    Study should be targeted at developing ideas for how the plays chosen may be interpreted and performed., Students must study and explore practically two set plays, one chosen from List A and one chosen from List B., For plays in List A, for the purposes of the exam students must be prepared to adopt the perspective of at least two of the following three roles: +9 more

    12 objectives12 subtopics

    List A

    Sophocles Antigone (The Three Theban Plays, translated by Robert Fagles, Penguin, 1984) William Shakespeare Much Ado About Nothing (ed Claire McEachern, Bloomsbury Arden Shakespeare, 2016) Carlo Goldoni A Servant to Two Masters (ed Lee Hall, Methuen Drama, 1999) Henrik Ibsen Hedda Gabler (Student Edition, Bloomsbury, 2002) Bertolt Brecht The Caucasian Chalk Circle (ed Eric Bentley, Penguin, 2007) Dario Fo Accidental Death of an Anarchist (Methuen Drama, 1987) Jez Butterworth Jerusalem (Nick Hern Books, 2009), Specific editions are not prescribed for these plays. However, we've listed the editions we use to set questions on our website in the A-level Drama and Theatre: Notes and guidance: Set plays document., If you wish to use a different edition, we recommend you source a copy of the one we use to make sure it's similar. This will enable your students to access the questions on the paper. Adaptations are not appropriate. +1 more

    4 objectives4 subtopics

    List B

    These plays have been selected to represent 20th and 21st century drama., Specific editions are prescribed for these plays. Please find the ISBN of your chosen set play on our website in the A-level Drama and Theatre: Notes and guidance: Set plays document., Federico García Lorca Yerma (Methuen Drama, 2007) Tennessee Williams The Glass Menagerie (Penguin, 2009) Steven Berkoff Metamorphosis (in Three Theatre Adaptations from Franz Kafka, Amber Lane Press, 1988) Caryl Churchill Cloud Nine (in Plays: 1, Methuen Drama) Timberlake Wertenbaker Our Country's Good (Methuen Student Editions) Polly Teale Brontë (Polly Teale, Nick Hern Books, 2011) Danai Gurira The Convert (Methuen Drama, 2022) Inua Ellams Three Sisters (A new play after Chekhov) (Methuen Drama)

    3 objectives3 subtopics

    Area of study 2 – Live theatre production

    Students should learn how to:, include a range of production values (lighting, sound, set and costume)., Students must learn how to analyse and evaluate the work of live theatre makers (performers/ designers/directors). +20 more

    23 objectives23 subtopics

    Creating original drama

    performer or, lighting designer or, director. +9 more

    12 objectives12 subtopics

    Creating devised drama

    collaborate with other theatre makers, The practitioner must be a different practitioner to the practitioner used for text-based exploration., develop their own ideas +18 more

    21 objectives21 subtopics

    Performing devised drama

    Students must draw on and demonstrate a practical understanding of the subject content listed in Knowledge and understanding (page 11)., Students must learn how to contribute to devised drama in a live theatre context for an audience., They must contribute as either a performer, designer or director. +5 more

    8 objectives8 subtopics

    Making theatre

    Students must draw on and demonstrate a practical understanding of subject content listed in Knowledge and understanding (page 11)., They must study:, explore practically three key extracts each taken from a different play +36 more

    39 objectives39 subtopics

    Guidance on theatrical skills 3.4.1 Performer

    develop understanding of the configuration of the performer/audience relationship, develop physical skills and techniques including the appropriate use of movement, body language, posture, gesture, gait, agility, synchronisation, fluidity, develop facial expression and techniques including for example eye contact, listening and response, expression of mood +6 more

    9 objectives9 subtopics

    Lighting designer

    develop the ability to create lighting states, manipulating focus, intensity, colour, shadow for particular effect, adopt the latest safe working practices., learn how to design and realise lighting plots that contribute positively to the overall effect of the performance and are fully aligned with the dramatic aims of the group +7 more

    10 objectives10 subtopics

    Sound designer

    develop the ability to make appropriate recordings and/or selections of sound/music, develop the ability to create and enhance meaning for an audience, learn how to create and realise sound designs that contribute positively to the overall effect of the performance and are fully aligned with the dramatic aims of the group +7 more

    10 objectives10 subtopics

    Set designer

    develop the ability to create opportunities for the performers and meaning for an audience, develop the ability to design sets to accommodate the action and traffic of the piece including the positioning of entrances/exits, use of projections/media and effective and/or fluent scene changes, It is the student's set design that is assessed. Although students are expected to construct the set when possible, this will not form part of the assessment. +7 more

    10 objectives10 subtopics

    Costume designer

    Students who have chosen costume design as a specialism are expected to:, adopt the latest safe working practices., learn how to design and realise costumes that contribute positively to the overall effect of the performance and are fully aligned with the dramatic aims of the group +12 more

    15 objectives15 subtopics

    Puppet designer

    Students who have chosen puppet design as a specialism are expected to:, learn how to design and realise puppets that contribute positively to the overall effect of the performance and are fully aligned with the dramatic aims of the group, develop the ability to create a durable puppet that is easy for a puppeteer to manipulate and which engages the audience +7 more

    10 objectives10 subtopics

    Director

    learn how to develop directorial strategies that contribute positively to the overall effect of the performance and are fully aligned with the dramatic aims of the group, Students who have chosen directing as a specialism are expected to:, develop inventiveness and clarity of directorial vision +6 more

    9 objectives9 subtopics

    Prescribed practitioners

    Mike Alfreds Contemporary Actor centred/truth in performance Antonin Artaud Early 20th century Theatre of Cruelty Steven Berkoff Contemporary Expressionism/physical theatre Alecky Blythe Contemporary Verbatim theatre maker Augusto Boal Late 20th century Theatre of the Oppressed Bertolt Brecht Early 20th century Political/epic theatre Peter Brook Contemporary Wide spectrum of approaches Bruiser Theatre Company Contemporary Physical/actor orientated Alison Chitty Contemporary Costume and set designer, For Component 2 students must select a practitioner from the list below., Complicite Contemporary Physical theatre Paule Constable Contemporary Lighting designer Gordon Craig Early 20th century Designer Bob Crowley Contemporary Costume and set designer DV8 Contemporary Physical/verbatim theatre/multimedia Declan Donnellan Contemporary Director Gregory Doran Contemporary Director Eclipse Contemporary Black-led company Marianne Elliott Contemporary Director Polly Findlay Contemporary Director Dario Fo & Franca Rame Contemporary Political/comic theatre Forkbeard Fantasy Contemporary Multimedia Frantic Assembly Contemporary Physical theatre Gareth Fry Contemporary Sound designer Gecko Contemporary Stylised/physical theatre John Godber Contemporary Political comedy Rupert Goold Contemporary Director Graeae Theatre Company Contemporary Performers with disabilities Jerzy Grotowski Mid 20th century Poor theatre Handspring Puppet Company Contemporary Puppetry Headlong Contemporary Innovative ensemble theatre Nicholas Hytner Contemporary Director Nicholas Kent Contemporary Verbatim theatre Kneehigh Theatre Contemporary Multi-disciplined/storytelling/physical theatre Ralph Koltai Late 20th century Designer Mike Leigh Contemporary Character based devising Phyllida Lloyd Contemporary Director David Mamet Contemporary Director John McGrath Mid 20th century Socio-political/site specific theatre Vsevolod Meyerhold Early 20th century Constructivism Bill Mitchell Contemporary Site specific theatre, set and costume designer Katie Mitchell Contemporary Naturalism/multimedia +2 more

    5 objectives5 subtopics

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