Identify and undertake one or more production roles, explaining how each contributes to realising the ensemble's dramatic vision.

What this dot point is asking

You must be able to name the major production roles, explain what each does, and demonstrate competence in at least one. You also need to show how your role connects to the whole.

Performance roles

• Actor. Embodies character through voice, movement, gesture and presence, sustaining belief and communicating meaning to the audience. The actor applies skills drawn from practitioners such as Stanislavski (psychological truth) or Brecht (demonstrating rather than disappearing into character).
• Ensemble performer. In devised work, performers often play multiple characters, narrate, and operate as a unit, sharing focus and creating images together.

Direction and dramaturgy

• Director. Holds the overall artistic vision, shapes the staging, guides actors, and ensures every element serves a unified interpretation. The director decides focus, pace, rhythm and the audience's journey.
• Dramaturg. Researches context, shapes structure and meaning, and keeps the work coherent. In a devised piece the dramaturg helps the ensemble decide what the work is really about and how its parts fit together.

Design roles

• Set designer. Creates the physical world of the play, shaping space, levels and the audience's spatial relationship to the action.
• Lighting designer. Uses intensity, colour, angle and timing to direct focus, establish mood, mark time and reveal or conceal.
• Sound designer. Builds the aural world through music, effects and atmosphere, supporting tension, location and transitions.
• Costume and make-up designer. Communicates character, status, period and transformation through what performers wear.

Support and management roles

• Stage manager. Coordinates rehearsals and performances, calls cues, and keeps the production running safely and on time. This role makes everyone else's work possible.
• Producer or company manager. Organises resources, schedule and logistics so the creative work can happen.

Undertaking a role in the Group Production

In the Group Production you generally perform and may also take a creative or technical responsibility. The assessment looks at how skilfully you apply your role and how well you collaborate. For example, if you take the lighting role for the empty bus shelter piece, you might choose a single cold sidelight that grows colder as hope fades, justifying the choice by the theme rather than by spectacle. You then negotiate with the performers so the light and the action support one another.

Original example: a stage manager in a five-person ensemble builds a cue sheet linking a recurring bus-engine sound to a slow fade, so that every performer knows the rhythm. By making the timing reliable, the stage manager frees the actors to focus on presence, and the whole work tightens.

Why it matters

Understanding production roles lets you both contribute effectively and analyse professional theatre with precision. When you review a professional work in your Folio, naming the specific role responsible for an effect (the lighting designer, the dramaturg) makes your analysis sharper and your evaluation more credible.

A final point about choosing roles strategically. Because the Group Production is assessed on creative application and collaboration, the role you take should let you generate strong, visible evidence of both. A confident performer who also takes the sound role, for instance, has two streams of evidence: vocal and physical choices in performance, and the soundscape decisions that supported the ensemble. Whatever the mix, keep a record of what you proposed, what the group adopted, and how your role connected to the others, because the assessment of your individual contribution within a collaborative outcome depends on that visible trail. The clearer you make the link between your specialised work and the shared vision, the higher the band your contribution can reach.