IGCSE Drama (0411) – Syllabus Overview & Study Notes
These notes are designed to help students and teachers cover every required area of the Cambridge IGCSE Drama syllabus. They follow the official structure, use accurate terminology and provide practical classroom ideas.
1. Assessment Overview
Component
Weighting
Structure & Timing
Assessment Objectives (AO)
Component 1 – Written Examination 40 %
Section A – Short‑answer questions (30 min)
Section B – Extended response (45 min)
Section C – Practical drama task (30 min)
AO1 (knowledge & understanding of repertoire), AO2 (devising), AO3 (performance skills)
Component 2 – Coursework (Performance) 60 %
Three separate performances (each 5–7 min)
Each performance is based on a different stimulus (text, image, audio or multimedia)
Students submit a reflective evaluation (≈300 words) for each piece
Video‑recordings must meet Cambridge moderation standards (see section 5)
AO1, AO2, AO3 (all assessed across the three performances)
Assessment Objectives (AO) – Quick Reference
AO
What is assessed?
Typical marks (%)
AO1
Knowledge & understanding of drama repertoire, terminology and conventions
≈30 %
AO2
Devising original drama from a stimulus – idea generation, structure, characterisation, dialogue
≈30 %
AO3
Performance skills – vocal, physical, use of space, design integration, evaluation of own work
≈40 %
2. Working with Published Plays (Component 1)
Component 1 often requires students to analyse an extract from a published play and to plan a short performance.
Context & Genre – Identify the playwright, period, social/historical background and the genre (tragedy, comedy, etc.).Plot & Structure – Map the extract’s position in the whole play (act/scene, climax, resolution).Character Objectives – State what each character wants in the extract and the obstacles they face.Key Techniques – Note dramatic devices such as irony, foreshadowing, sub‑text, pacing, contrast & dynamics.Design Implications – Suggest how lighting, sound, set and costume could support the intended mood.
When answering exam questions, use a clear paragraph structure: Point – Evidence (from the extract) – Explanation (link to AO) .
3. Devising Original Drama (Component 2)
3.1 Selecting a Stimulus – Guidance Checklist
Focus – The stimulus should suggest a clear dramatic conflict or theme.Age‑appropriateness – Content must be suitable for 14‑16‑year‑olds.Feasibility – Consider time, resources and the size of the class.Originality – For each of the three performances the stimulus must be different and must not be one of the pre‑release extracts supplied by Cambridge.Documentation – Record the source (author, title, URL) for moderation.
3.2 Video‑Recording Standards (for moderation)
Camera positioned at a fixed, eye‑level point covering the whole performance area.
Clear audio – no background music unless it is part of the design.
Candidate identification on the video (e.g., name on a sheet held up at the start).
File format: MP4, max 30 minutes per performance.
3.3 Devising Process – Step‑by‑step
Interpret the stimulus
Discuss meaning, emotions and possible story ideas.
Record key words, images and questions on a stimulus board.
Generate ideas
Brain‑storm characters, settings, conflicts and possible outcomes.
Use mind‑maps, story‑boards or quick sketches.
Structure the piece
Decide on a clear beginning, middle and end (usually a three‑act mini‑structure).
Identify the dramatic tension arc and the climax.
Develop characters & dialogue
Assign each character an objective, obstacle and relationship.
Write short dialogue snippets; keep language natural and purposeful.
Design integration
Choose one or two design elements (e.g., lighting colour, a prop) that reinforce the theme.
Plan a simple cue sheet for lighting/sound.
Rehearse & refine
Experiment with physicalisation, improvisation and pacing.
Gather peer and teacher feedback; adjust contrast, dynamics and proxemics.
Final performance & evaluation
Deliver the piece to an audience (or record for moderation).
Write a 300‑word reflection covering AO1‑AO3: repertoire knowledge, devising choices, performance skills and suggested improvements.
4. Elements of Practical Drama (Expanded)
Element
Definition
Classroom Example
Structure / Plot
Sequence of events that creates a coherent story arc, including exposition, conflict, climax and resolution.
Mapping the three‑act structure of a 5‑minute devised piece.
Characterisation
Creating believable personalities, objectives, status and relationships.
Assigning each student a distinct social rank and a secret objective.
Dialogue
Spoken words that reveal character, sub‑text and move the plot forward.
Re‑writing a line to show hidden hostility.
Physicality / Movement
Body language, gestures and stage movement that convey meaning.
Using neutral space to show power shifts between two characters.
Pacing & Timing
Control of speed and rhythm to build tension, release or humour.
Deliberate pause before a revelation to heighten suspense.
Contrast & Dynamics
Variation in energy, volume, tempo or status that creates interest.
Alternating fast, chaotic movement with a sudden stillness.
Tension
The feeling of unease or anticipation created by conflict, obstacles or unanswered questions.
Gradually increasing the distance between two characters until they almost touch.
Proxemics (Spatial Awareness)
Use of distance, level and orientation to show relationships.
Placing a character upstage to suggest marginalisation.
Design Integration
How costume, set, props, lighting and sound support the drama.
Using a single red scarf as both a symbol of love and a weapon.
5. Design in Practice (AO2)
Each design element can be explored with a quick classroom activity that links directly to the AO2 requirements.
Costume – Students create a “character badge” from coloured paper to indicate status, then discuss how colour affects perception.Set / Props – Using only three everyday objects, groups design a minimal set that conveys a specific location (e.g., a kitchen).Lighting – In a darkened room, experiment with a torch to create mood shifts (bright‑warm for safety, dim‑cool for danger).Sound – Record a short soundscape (rain, traffic, crowd) and decide where it should cue a scene change.Stage Space – “Upstage‑Downstage” drill: students move a character from downstage to upstage to show loss of power.
6. Performance Skills (AO3)
Vocal Techniques – projection, articulation, pitch, pace, emotional tone.Physical Techniques – posture, gesture, facial expression, controlled breathing.Use of Space – purposeful movement, levels, respecting stage boundaries.Sustaining a Role – keeping objectives consistent throughout the piece.Audience Communication – eye‑contact, timing of humour, reacting to audience energy.
Suggested 10‑minute drills :
“Vocal Ladder” – move from a whisper to a shout while keeping clarity.
“Mirror Exercise” – pairs copy each other’s physical choices, then switch.
“Space Walk” – rehearse a short scene using only upstage/downstage to show status.
7. Staging & Design (AO2 – Expanded)
Design choices shape meaning and are part of the AO2 assessment.
Design Element
Purpose in Drama
Classroom Activity
Costume
Indicates character, period, status and mood.
Design a simple costume piece (e.g., scarf) that reflects a character’s inner conflict.
Set / Props
Creates location, time and symbolic meaning.
Build a miniature set from cardboard; discuss how each object adds sub‑text.
Lighting
Focuses attention, creates atmosphere, signals changes.
Use a desk lamp with coloured gels to show a mood shift from hope to fear.
Sound
Establishes setting, mood and can cue actions.
Layer a heartbeat sound to heighten tension during a climactic moment.
Stage Space
Defines relationships (proximity, distance, level).
Map a scene on a floor‑plan, then rehearse changing distances to show evolving power.
8. Drama & Theatrical Terminology (AO1)
Key terms are expected in both the exam and coursework. Use the glossary regularly in class discussions.
Term
Definition
Example
Act
A major division of a play, usually marked by a change in time or place.
Shakespeare’s “Hamlet” has five acts.
Scene
A subdivision of an act; a continuous stretch of action in one location.
Scene 2 of Act 1 in “Romeo and Juliet”.
Stage Directions
Instructions in the script indicating movement, tone, lighting, etc.
“(aside)”, “(enters stage left)”.
Objective
What a character wants to achieve in a scene or throughout the play.
Juliet’s objective: to convince Romeo to marry her.
Sub‑text
The underlying meaning or feeling not spoken aloud.
“I’m fine” said while trembling.
Blocking
Planning of actors’ movements and positions on stage.
All characters move to centre stage for the climax.
Upstage / Downstage
Areas of the stage relative to the audience; upstage is farthest, downstage nearest.
A character standing upstage appears less dominant.
Neutral Space
Unmarked area of the stage used to represent any location.
Students create a “street” using neutral space.
Improvisation
Spontaneous creation of dialogue or action without a script.
“Yes, and…” exercises.
Proxemics
Use of distance and orientation to show relationships.
Two characters standing shoulder‑to‑shoulder versus across the stage.
Contrast & Dynamics
Variation in energy, volume, tempo or status that creates interest.
Switching from a frantic, loud argument to a quiet, reflective monologue.
9. Sample Stimuli & Extracts for Coursework
These ideas can be used directly or adapted to suit class size and ability. Remember to apply the stimulus‑selection checklist (section 3.1).
Text Stimulus : Excerpt from The Little Prince (Antoine de Saint‑Exupéry) – themes of friendship and responsibility.Image Stimulus : Photograph of a bustling market in Marrakech – explore cultural clash and sensory detail.Audio Stimulus : Short news report about a local environmental protest – devise a piece about activism.Multimedia Stimulus : 30‑second TikTok clip showing a teenager’s daily routine – examine identity and social‑media pressure.Poetry Stimulus : “The Road Not Taken” by Robert Frost – create a monologue about choice.
10. Classroom Activities & Discussion Points
Analyse a recent news article as a stimulus: identify possible dramatic conflict and devise a short scene.
Debate the ethical responsibilities of a director when adapting culturally sensitive material.
Compare two productions of the same play (e.g., classic vs. modern setting) – discuss how design choices affect meaning.
Reflect on personal performance strengths; set SMART goals for improvement (link to AO3).
Practice video‑recording a 2‑minute rehearsal and critique the technical quality using the standards in section 3.2.
11. Key Take‑aways
The IGCSE Drama syllabus balances knowledge (AO1) , devising (AO2) and performance skills (AO3) .
Component 1 (40 %) tests analytical and planning abilities; Component 2 (60 %) assesses creative devising, design integration and performance.
Success requires accurate terminology, a clear understanding of the production process, and reflective evaluation of one’s own work.
Using varied stimuli (text, image, audio, multimedia) encourages creativity and demonstrates the breadth of drama as a subject.
Suggested diagram: Flowchart linking “Stimulus → Devising → Rehearsal → Performance → Evaluation” with AO1, AO2 and AO3 highlighted at each stage.