IGCSE Drama (0411) – Revision Notes
1. Syllabus Aims & Learning Outcomes
- Enjoyment & Appreciation: Develop a love for drama and an understanding of its cultural significance.
- From Script to Performance: Learn how ideas are transformed into a staged production.
- Devising & Creativity: Encourage original thinking, collaboration and the ability to devise short pieces from a stimulus.
The three Assessment Objectives (AOs) are:
| AO | Focus | Weighting (overall) |
|---|
| AO1 | Knowledge & understanding of drama concepts, terminology and the role of design. | 30 % |
| AO2 | Analysis of language, structure and dramatic techniques; evaluation of design and performance choices. | 30 % |
| AO3 | Practical application – performance skills, role creation and sustained execution. | 40 % |
2. Elements of Practical Drama
These are the building blocks examined in both written work and performances. Each element should be identifiable in a text and demonstrable in a rehearsal.
| Element |
Definition (concise) |
Classroom / Performance Example |
| Structure & Plot |
Organisation of events – exposition, rising action, climax, falling action, resolution. |
Storyboard the plot of *Romeo and Juliet* showing the turning points. |
| Characterisation |
Creation of a character through speech, movement, relationships and choices. |
Maintain a “character diary” for Hamlet to explore his objectives. |
| Dialogue |
Spoken interaction that reveals character, advances plot and creates sub‑text. |
Practice delivering a line with hidden anger (sub‑text). |
| Physicality |
Body language, gesture, posture and movement that convey meaning. |
Design a “physical metaphor” for a character’s inner turmoil. |
| Pacing & Tension |
Control of tempo and the build‑up of suspense to keep the audience engaged. |
Vary speech speed in a courtroom scene to heighten drama. |
| Contrast & Dynamics |
Use of opposing forces (e.g., loud/soft, fast/slow, light/dark) to create interest. |
Stage a sudden shift from a bright, lively setting to a dark, silent one. |
| Spatial Awareness / Proxemics |
Use of stage space (upstage, downstage, centre, wings) and distance between characters to show relationships. |
Place two characters at opposite ends of the stage to visualise conflict. |
| Contrast & Dynamics (continued) |
Deliberate changes in energy, volume or movement to highlight differences. |
Switch from a slow, dragging walk to a quick, sharp sprint at a climactic moment. |
3. Performance Skills (AO3)
These skills are assessed under AO3 – practical application.
- Vocal Techniques
- Projection – voice audible to the back of the house.
- Articulation – clear pronunciation of consonants and vowels.
- Intonation & dynamics – pitch and volume for emotional effect.
- Pacing – controlling speed for clarity and tension.
- Breath control – sustaining long phrases without strain.
- Physical Techniques
- Gesture – purposeful movements that support the text.
- Facial expression – subtle changes that reveal feeling.
- Movement quality – smooth, sharp, heavy, light, etc.
- Use of space – blocking, levels, pathways, proximity (proxemics).
- Role Creation & Sustaining a Role
- Research the character’s background, objectives and obstacles.
- Develop a “character map” (objectives, obstacles, relationships, status).
- Maintain consistency throughout a performance, even when interruptions occur.
- Continuously refer back to the character’s super‑objective to stay “in role”.
- Communication with the Audience
- Eye‑contact, timing and energy to engage viewers.
- Adjusting volume and physicality for different theatre‑in‑the‑round configurations.
- Improvisation & Adaptability
- Quickly respond to unexpected changes (missed line, technical fault).
- Use “yes, and…” to build scenes collaboratively.
Suggested Classroom Drills
- Projection ladder – read a line moving from whisper to full‑house voice.
- Spatial walk – walk the stage, stopping at each “stage direction” (upstage, downstage, centre) while delivering a line.
- Emotion switch – say the same line with three contrasting emotions in rapid succession.
- Contrast exercise – perform a short passage first in a slow, low‑energy manner, then repeat it fast, loud and dynamic.
4. Staging & Design (AO2)
Design elements support meaning and are always discussed in AO2 answers. Use the correct design vocabulary.
| Design Area |
Purpose (what it achieves) |
Typical Design Vocabulary |
Example for a *Melodrama* |
| Set |
Creates location, atmosphere and symbolic meaning. |
flats, platforms, perspective, texture, colour‑blocking |
Exaggerated painted flats with stark linear perspective. |
| Costume |
Shows character, period, status and psychological state. |
silhouette, fabric, colour symbolism, accessories |
Bright, contrasting colours to signal hero vs. villain. |
| Props |
Support action, provide symbolism and aid realism. |
hand‑held, set‑piece, symbolic, functional |
Large, broken mirror representing shattered identity. |
| Lighting |
Creates mood, focus, time of day and can suggest inner states. |
spotlight, wash, gobos, colour gel, intensity, direction |
Sharp spotlights for dramatic revelations. |
| Sound |
Establishes setting, heightens emotion and can provide leitmotifs. |
diegetic, non‑diegetic, ambience, effects, music, volume |
Thunder rolls for tension; a recurring motif for the heroine. |
| Stage Space |
Determines audience‑actor relationship and visual hierarchy. |
proscenium, thrust, arena, in‑the‑round, sight‑lines |
Proscenium for a “classic” feel; thrust for intimacy. |
Design Vocabulary Checklist (AO2)
- Silhouette, texture, colour symbolism, period detail
- Perspective, depth, scale, focal point
- Spotlight, wash, backlight, gobos, dimmer, cue
- Diegetic, non‑diegetic, ambience, sound‑effect, leitmotif
- Proscenium arch, thrust stage, arena, sight‑line, audience proximity
5. Working with Published Plays (Component 1)
When analysing a pre‑release extract, follow a systematic approach.
- First reading – overall meaning: note theme, tone and immediate impression.
- Second reading – detailed annotation: highlight dramatic elements (conflict, objectives, stage directions, language features).
- Identify the required AO(s): AO1 for knowledge, AO2 for analysis, AO3 if a performance‑based task is set.
- Make production choices (design, setting, time period, tone). Justify each choice using evidence from the extract.
- Analyse language & sub‑text: metaphor, irony, rhetorical questions, pauses, speech‑patterns.
- Plan a short performance (if required): blocking, vocal emphasis, physicalisation, lighting cues.
Example – *An Inspector Calls* (Excerpt)
- Theme: Social responsibility.
- Conflict: Inspector vs. the Birling family’s denial.
- Design idea (AO2): Stark, cold lighting with sharp angles to emphasise moral judgement.
- Performance note (AO3): Inspector’s voice should be calm yet authoritative; maintain steady eye‑contact to convey power.
6. Devising Original Drama (Component 2 Coursework)
Devising is a core part of the syllabus – you must create a short piece (2–3 minutes) from a stimulus.
- Select a stimulus – poem, image, news article, historical event, personal experience, or a combination.
- Generate ideas – brainstorming, mind‑mapping, “what‑if” questions.
- Develop a structure – decide on exposition, climax, resolution; ensure a clear beginning, middle and end.
- Create characters – give each a clear objective, obstacle, relationship and distinct voice.
- Write a script or outline – include dialogue, stage directions, and any required design notes (costume, lighting, sound).
- Rehearse – experiment with movement, vocal choices, blocking and use of space.
- Evaluate – reflect on what worked, what didn’t, and why. Use the coursework rubric (AO1‑AO3) to guide your commentary.
Stimulus Ideas
- Image: A crowded subway platform at rush hour.
- Poem: “The Road Not Taken” by Robert Frost.
- Historical event: Launch of Sputnik, 1957.
- Personal experience: “The day I lost my favourite toy.”
7. Dramatic & Theatrical Terminology (AO1)
Use these terms accurately in all written answers and when discussing performance.
| Term | Definition (concise) |
|---|
| Monologue | A long speech delivered by one character to the audience or another character. |
| Aside | A brief remark spoken by a character that is heard by the audience but not by other characters. |
| Soliloquy | A speech in which a character thinks aloud, revealing inner thoughts. |
| Climax | The point of greatest tension or turning point in the plot. |
| Exposition | Information that introduces the setting, characters and situation. |
| Denouement | The final resolution where loose ends are tied up. |
| Blocking | The precise movement and positioning of actors on stage. |
| Upstage / Downstage | Upstage = farthest from the audience; Downstage = nearest to the audience. |
| Stage left / Stage right | Left/right from the actor’s perspective when facing the audience. |
| Projection | Speaking loudly enough to be heard clearly throughout the auditorium. |
| Tempo | The speed at which a scene or line is delivered. |
| Designer (set, costume, lighting, sound) | Specialist who creates visual and auditory elements to support the director’s vision. |
| Proxemics | The study of distance between characters on stage to convey relationship. |
| Contrast & Dynamics | Use of opposing forces (e.g., loud/soft, fast/slow) to create interest. |
8. Assessment Overview
Component 1 – Written Exam (60 %)
- Two pre‑release extracts – analyse language, structure and dramatic techniques (AO1 + AO2).
- One essay question – thematic or comparative (AO1 + AO2).
- One creative writing task – devise a short scene or rewrite an ending (AO3 – practical knowledge).
Component 2 – Coursework (40 %)
- Three performances:
- Published play (selected by the school).
- Devised piece (2–3 minutes).
- Practical activity (improvisation, movement work, or design showcase).
- Reflective commentary (≈1500 words) covering:
- Planning & research (AO1)
- Analysis of choices – language, design, performance (AO2)
- Evaluation of the rehearsal process and final performance (AO3)
Assessment Objectives Recap
| AO | Focus | Weighting (overall) |
|---|
| AO1 | Knowledge & understanding of concepts, terminology and design. | 30 % |
| AO2 | Analysis of language, structure, dramatic techniques and design choices. | 30 % |
| AO3 | Practical performance skills – role creation, sustained execution and improvisation. | 40 % |
9. Quick Revision Checklist
- Can you define each element of practical drama and give a concrete classroom example?
- Do you know the full range of vocal and physical techniques required for AO3?
- Are you comfortable using design vocabulary when discussing set, costume, lighting, sound and stage space?
- Can you produce a concise AO2 analysis of a short extract (theme, conflict, language, design ideas)?
- Have you practised the full devising process from stimulus to reflective commentary?
- Are you familiar with the exam structure, weighting and the specific demands of each AO?