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Unit 3: Challenge

12 dot points, in syllabus order. Each dot point has a focused answer, with exam-style questions and worked answers where available.

How do the four types of dramatic tension hold an audience and drive dramatic action?

Understand and manipulate dramatic tension, including the tensions of task, relationship, surprise and mystery, to create and sustain dramatic action and engage an audience

Dramatic tension. Defines the four types of tension, task, relationship, surprise and mystery, explains how each is built and released, and shows how forming, presenting and responding all depend on controlling tension to engage an audience.

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What exactly are the dramatic languages, and how do they combine to create dramatic action and meaning?

Understand and manipulate the dramatic languages, the elements of drama, the skills of drama, the conventions and stagecraft, to create dramatic action and communicate meaning

Dramatic languages. Defines the elements of drama, the skills of drama, conventions and stagecraft, explains how they combine to create dramatic action and meaning, and shows how forming, presenting and responding all depend on controlling this shared vocabulary.

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How does Stanislavski's system of realism establish the baseline that Unit 3's challenging styles deliberately react against?

Understand and apply the conventions of Stanislavskian realism, including objectives, the magic if and emotion memory, and explain why challenging theatre styles reject its emotional absorption

Stanislavski and realism. Explains objectives and the through line, the magic if, given circumstances, emotion memory and the fourth wall, and why understanding psychological realism is essential to grasping how Unit 3's challenging styles reposition the audience.

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What are the three drama processes, and how does every QCE Drama task draw on forming, presenting and responding?

Understand and apply the three interrelated drama processes, forming, presenting and responding, across making and analysing dramatic action in both units

Three drama processes. Defines forming, presenting and responding, explains how they interrelate, and maps which process each of IA1, IA2, IA3 and the external assessment foregrounds, so students can plan study around the framework the whole course is built on.

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How does physical theatre make the body, rather than the script, the primary carrier of dramatic meaning?

Apply the conventions of physical theatre, including ensemble, the expressive body and devised movement, to make and present dramatic action that communicates meaning through movement before words

Physical theatre. Explains the expressive body, ensemble and the chorus, transformation of object and space, the influence of Lecoq, Grotowski and Frantic Assembly, and how forming, presenting and responding work when movement carries the meaning.

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How does Theatre of the Absurd use illogical form to challenge an audience's sense of meaning and purpose?

Apply the conventions of Theatre of the Absurd to make and present dramatic action that challenges an audience's assumptions about meaning, language and the human condition

Theatre of the Absurd. Explains circular structure, devalued language, clowning and stasis, the influence of Beckett and Ionesco, and how forming, presenting and responding work when the goal is to make an audience confront a world that has lost its certainties.

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How does verbatim theatre use real testimony to challenge an audience's understanding of an event?

Apply the conventions of verbatim and documentary theatre to make and present dramatic action drawn from real testimony that challenges audiences on issues of human conscience

Verbatim and documentary theatre. Explains the use of real testimony, transcripts and primary sources, headphone or recorded-delivery techniques, the ethics of editing real voices, and how forming, presenting and responding work when the drama stakes its authority on truth.

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How does Theatre of the Oppressed turn spectators into participants who rehearse social change?

Apply the conventions of Boal's Theatre of the Oppressed, including Forum Theatre and the spect-actor, to make and present dramatic action that challenges oppression and explores alternatives

Augusto Boal and Theatre of the Oppressed. Explains Forum Theatre, the spect-actor, the Joker, Image Theatre and how making, presenting and responding work when the goal is to rehearse strategies against real social oppression rather than deliver a finished play.

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How does Artaud's Theatre of Cruelty assault the senses to challenge an audience beneath the level of words?

Apply the conventions of Antonin Artaud's Theatre of Cruelty to make and present dramatic action that affects an audience viscerally rather than through rational, text-based argument

Antonin Artaud and the Theatre of Cruelty. Explains total theatre, the assault on the senses, the displacement of text by sound, light and gesture, the plague metaphor, and how forming, presenting and responding work when the goal is to shock an audience into raw awareness.

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How does epic theatre challenge an audience to think rather than simply feel?

Apply the dramatic languages and conventions of Brecht's epic theatre to make and present dramatic action that provokes critical reflection on social and political issues

Brecht and epic theatre. Explains the Verfremdungseffekt, gestus, episodic structure, the use of song, placards and direct address, and how forming, presenting and responding work when the goal is to make an audience reason about social change rather than lose themselves in emotion.

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How do you perform an excerpt of a published challenging text so that its dramatic purpose lands for a chosen audience?

Demonstrate the presenting process by performing an excerpt of a published text in a challenging style, applying the dramatic languages to realise its dramatic purpose for an intended audience (IA1)

QCE Drama IA1 performance. Explains what the performance instrument assesses, how the presenting process works, how to apply the dramatic languages to realise a challenging style, how to manage the conditions, and the difference between performing and merely reciting a text.

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How do you communicate a clear dramatic concept that shapes a challenging piece of theatre?

Develop and communicate a dramatic concept that interprets a challenging issue through a chosen theatre style, justifying choices of dramatic languages for an intended audience

Developing a dramatic concept. Explains how to interpret a challenging issue through a chosen style, manipulate dramatic languages for purpose and audience, structure a justified concept, and how this underpins the IA2 dramatic concept task in forming, presenting and responding.

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