ABOUT THIS COURSE
This course is focussed on meeting the demands of the higher level marking bands across all three of the specification components. It focuses on the characteristics of work produced by students working at the highest levels and provides a range of teaching approaches and materials designed to ensure students achieve A and A* in Drama and Theatre specification.
BENEFITS OF ATTENDING
- Understand the assessment demands of the AQA A Level Drama and Theatre Studies specification
- Develop practical strategies for meeting the requirements of the higher bands across all Components
- Develop your practice through discovering innovative ways of teaching the course
- Explore exemplar materials to identify characteristics of outstanding work
- Increase confidence in preparing candidates to achieve A and A*
- Consider lessons learnt from the first examination series in 2018
- Opportunity to share best practice with teachers across the country
|COURSE DATES||Online | Friday 11 June 2021|
|WHO SHOULD ATTEND?||
|IN-SCHOOL||You can also book this as an In-School Course|
10.00 – 11.00 am: Focus on assessment demands at A and A*
- Review characteristics of A and A* A Level student
- Grades A & A*: what are the differences between these?
- Key attributes of Grade A & A* Drama Students
- Lessons learnt from 2019 examination series for Grade A and A* students, including on the written paper
11.00-11.15 am: Break
11.15-12.45 pm: Component 1 written paper – Section A&B: the set texts
- Developing excellent understanding of the page to stage process
- Examine A and A* exemplar responses to the focussed extract questions for Section A and B
- Preparing students to respond as a performer, director and designer at the highest level
- Teaching how to respond excellently in Section A – focussing on text in performance
- Analysing social, historical and cultural characteristics of a theatrical text for top marks
- The demand for outstanding usage of theatrical language in the written paper
12.45 – 1.45 pm: Lunch
1.45 – 2.15pm Tactics for achieving the highest grades in section C of the exam
- How to guide the top end students when first discussing a live production
- What notes should candidates be taking in order to capture an in-depth understanding of the production as a whole?
- Focus on the 25 mark essays, what does a grade A/A* candidate need to do?
- Shorter questions, what are the potential pitfalls?
- Guiding top end students to evaluate based on their own personal judgement of success as well as the total dramatic effectiveness of the production as a whole
2.15 – 3.00 pm Achieving A and A* in Component 2
- Explore teaching approaches to stretch and challenge A and A* performers
- Examine exemplar working notebooks and develop understanding of the characteristics of the work of the most successful candidates
- The characteristics of the most effective student performance including analysis of vocal and physical skills
- Using the prescribed practitioners – how A* students use practitioners to create dynamic devised performance
- Outstanding reflective report writing, including top band links between theory and practice
3.00-3.10 pm afternoon break
3.10-3.45 pm Making Theatre for A and A*
- Exploring extracts: keeping the most able on track, so that they don’t miss marks
- Developing high ability students’ ability to interpret key extracts – what do examiners expect?
- Standing out from the crowd on the prescribed practitioner
Plenary and depart
Georgina is Head of Drama and Theatre Studies at LVS Ascot. She has been teaching AQA GCSE and A-Level for the past six years and her subject results for both courses last year were in the top 1% for value added in the country. Alongside her teaching, Georgina is a tutor on The Ufton Drama Summer School, a gifted and talented drama programme for GCSE and A-level students. Georgina has recently written an adaptation of the classical Greek tragedy, Antigone, which is currently being edited for publication. Georgina works closely with the University of Reading to assist with the training of new drama teachers and mentors in the delivery of dynamic and contemporary approaches to teaching the subject.