a level drama essay structure

A Level Drama and Theatre Studies (Edexcel) Essay Structure

Quick Reply

Related discussions.

• A-level Drama and Theatre Study Group 2022-2023
• A-level English Literature Study Group 2023-2024
• A-Level English Literature
• How to get my grades up fast?
• HSPS A- Levels
• Edexcel A Level Drama Portfolio Component 1
• Alevel Help
• How to Finish Essay Qs in the Time (A-Level)?
• Drama Schools
• Classical Civilisation Notes
• Drama for gcse
• A level options
• A-level English Literature Study Group 2022-2023
• A Level - Othello Critics
• Philosophy essays
• AQA Drama and Theatre A Level
• Edexcel A Level English Literature Paper 1: Drama 9ET0 01 - 7 Jun 2022 [Exam Chat]
• how to answer a greek theatre 20 marker?
• GCSE Options (please read and help me)

Posted 2 weeks ago

Last reply 1 month ago

Posted 2 months ago

Last reply 2 months ago

Posted 3 months ago

Posted 4 months ago

Last reply 5 months ago

Posted 5 months ago

Articles for you

What are university entry requirements?

Finding a university place in Ucas Clearing 2024: 10 top tips to help you get ready

Top 10 tips for Ucas Clearing 2024

Bringing business people into the classroom: what students learn from industry professionals

Skip to content

Get Revising

Join get revising, already a member.

Drama essay structure

• Created by: fleurgracex
• Created on: 03-05-18 12:47

BASIC ESSAY STRUCTURE

Introduction:

a)    When was the paly written/set, by whom and in what style/s

b)    Accept the premise of the question

c)    Highlight the areas of the question you will be focusing on (divide your paragraphs accordingly)

d)    Show a connection between the themes of the play and your interpretation

P (point) E (vidence) A (udience reaction) …

• Drama & Theatre Studies
• Essay Structure

Report Fri 10th July, 2020 @ 09:54

Thanks for the article!

Report Sun 25th October, 2020 @ 01:09

Thank you for sharing!

Report Fri 3rd September, 2021 @ 16:46

Report Tue 16th November, 2021 @ 13:01

Thanks for the information!

Report Thu 18th November, 2021 @ 10:34

To be honest, I feel more relieved to find out that I am not the only one who has a lot of homework and uses some services to finish everything on time. I can't imagine how people lived before the Internet as I don't know what I would have done without it. I have a lot of writing assignments and as I am bad at grammar and not only I use this service topessayediting.com which edits them very quickly as I always write them in the last minute. This is the best when you want to finish your essay quickly.

Similar Drama & Theatre Studies resources:

Guide to Component 3 0.0 / 5

lady Windermere's Fan 0.0 / 5

Accidental Death of An Anarchist - Revision Notes 5.0 / 5 based on 2 ratings

Essay Structure for Drama (Othello and Amadeus) 0.0 / 5

Drama 0.0 / 5

Ancient Greek Theatre 0.0 / 5

Woyzeck Section C 4.0 / 5 based on 3 ratings

OUR COUNTRY'S GOOD 0.0 / 5

Small Island introductory paragraph 0.0 / 5

Section C Outline 0.0 / 5

Edexcel A Level Drama

Topic questions, past papers, model answers & revision notes for the Edexcel A Level Drama specification.

Drama and Theatre

• Eduqas Home chevron_right
• Qualifications

AS/A Level Drama and Theatre

For help with e-submission process click here.

Important information is provided for teachers each month via circulars on our secure website (please ask your Examinations Officer for detail). Please see the June circular for information regarding the Component 2 stimulus material. 

View the AS/A Level Drama FAQs here .

A reminder to please see the January newsletter for important changes to the numbering of questions in the WJEC Eduqas AS Level Component 2 written paper.

• Key Documents
• Past Papers / Mark Schemes

Our Eduqas A level in Drama and Theatre is an exciting and inspiring course which prepares learners for further study in Higher Education or any other pathway they might choose. This highly practical specification provides learners with a range of essential life skills which will help them succeed in any chosen career. They will have the opportunity to work as either performers and/or designers on three different performances.

The Eduqas A level in Drama and Theatre offers a practical and challenging course of study which encourages learners to:

• Develop and apply an informed, analytical framework for making, performing, interpreting and understanding drama and theatre
• Understand the place of relevant theoretical research in informing the processes and practices involved in creating theatre and the place of practical exploration in informing theoretical knowledge of drama and theatre
• Develop an understanding and appreciation of how the social, cultural and historical contexts of performance texts have influenced the development of drama and theatre
• Understand the practices used in twenty-first century theatre making
• Experience a range of opportunities to create theatre, both published textbased and devised work · participate as a theatre maker and as an audience member in live theatre
• Understand and experience the collaborative relationship between various roles within theatre
• Develop and demonstrate a range of theatre making skills
• Develop the creativity and independence to become effective theatre makers
• Adopt safe working practices as a theatre maker
• Analyse and evaluate their own work and the work of others.

The Eduqas A level in Drama and Theatre is an exciting and inspiring course which prepares learners for further study in Higher Education. This highly practical specification provides learners with the opportunity to work as either performers and/or designers on three different performances.

This specification builds on the knowledge, understanding and skills established at GCSE Drama .

E-Submission

This subject uses e-submission for the submission of candidate work to EDUQAS for moderated or assessed units/components. For more information and guidance on the process please visit the  e-submission webpage .

Why choose Eduqas?

• Direct access to our   subject specialists
• Access to our digital resources website which hosts a wealth of free material
• The opportunity to receive centre visits from our   Regional Support Team

Important information, past papers, marking schemes, entry/amendment uploads & make post-results enquiries.

This subject uses e-submission for submission of candidate work for moderated or assessed units.

We offer an extensive range of free digital educational resources.

Access interactive units including general data, exam questions, marking schemes & examiner comments.

Grade boundaries are the minimum number of marks needed to achieve each grade.

• Digital Resources
• Online Exam Review

Discover FREE Digital Resources!

Unlock your learners’ potential with an impressive range of FREE digital resources, teaching tools and materials.

View resources

Access a collection of interactive units that bring together a number of elements including general data, exam questions, their marking schemes and examiner comments, which will lead you through a review of exam questions.

Visit OER website

• Upcoming Courses
• On Demand Courses
• Materials from previous events

Download your free Guide to Switching! 

This is a hidden field that will be populated via javascript in preparation for submission to Campaign Monitor letting you know the name of the document the user downloaded

Your English Literature

we see , we read , we experience

Essay Structure – Edexcel A Level English Literature

14th June 2017

by Aimee Wright

The first thing you need to consider when writing an English essay is the structure, and how you can make sure it is one that you can remember and will give you a good grade.

• Generic Introduction :You will need to know the book , the author , the publication date and the literary period / monarchy era – g. Frankenstein , Mary Shelley, 1818, Romantic period. Then, you will need to state the genre of the book(s) – e.g. Frankenstein is a gothic novel. Lastly, you will need to briefly summarise the theme / character that the question asks of you. Below are some example generic introductions :
• (For the Prose exam): Frankenstein by Mary Shelley was published in 1818, during the Romantic Period, and The Handmaid’s Tale by Margaret Atwood was published in 1985, and is a postmodern text. Both of these texts are science fiction novels, but Frankenstein is a gothic novel, written in the first wave of gothic literature, while The Handmaid’s Tale is a dystopian novel. *The role of gender in the misuse of science* is seen in both texts in the way that the writers have used linguistic techniques and contextual factors, and this is what will be explored in this analysis.
• (For Othello ): Othello by William Shakespeare was published in 1604 during the Elizabethan era. The play is considered a tragedy, but many critics have picked up on the use of satire that Shakespeare has used, however it is not used so much that it could be seen as a comedy. In this analysis, it will be explored how Shakespeare has used his linguistic abilities and contextual factors to present the *theme of betrayal*, and subsequently how critics have viewed this.
• (For A Streetcar Named Desire ): A Streetcar Named Desire by Tennessee Williams was published in 1947, making it a modernist play. The play is a tragedy which aligns with the context of events such as World War Two, and the Great Depression, as these are very tragic. In this analysis, the *character of Blanche* will be explored, and it will be considered whether Williams uses linguistic, structural and contextual techniques to impact Blanche’s character.
• (For Post 2000 Poetry): Please Hold by Ciaran O’Driscoll is a poem that presents the themes of frustration, manipulation and irritation that the modern day society brings. As a postmodern poem, the twenty-first century challenges that the narrator undertakes align with each other. On first reading Somewhat Unravelled by Jo Shapcott, the reader can perceive that the narrator also represents strong emotions to represent how the narrator is feeling. By comparing these two poems, the analysis will explore how *strong emotions* are used in order to relay a story, such as through linguistic and structural crafting.
• (For Keats ): The Eve of St Agnes by John Keats was written in 1819, just two years before Keats’ death, in the Romantic period. The *theme of physical sensations* in this poem are represented through linguistic and structural methods, as well as contextual factors of the time. Physical sensations are not just seen in The Eve of St Agnes , however – Keats has also used this theme in La Belle Dame sans Merci , which was written in 1819 like The Eve of St Agnes . In this analysis, it will be seen whether La Belle Dame sans Merci shares a similar approach to physical sensations, and whether the time period had impact on this.

It is important to mention what you are going to be discussing in the essay. But, you do not need to use specific details in your introduction, otherwise the rest of your essay will seem sort of shallow. So, use phrases such as ‘In this analysis, the linguistic and structural crafting will be explored’, for instance.

If the question is particularly linked to a specific one contextual factor – maybe it is about monarchy or social hierarchy, or war? – you should give a brief overview of that contextual factor. E.g. “The social hierarchy in Shakespearean times was based on the chain of being , which will be discussed in this analysis.”

• In comparison essays – so the Prose and Poetry exams – it is important to highlight which text is your primary text . In the Prose exam, your primary text is Frankenstein , because it “comes first” in literary history. In Post 2000 poetry, the primary text is the poem from the anthology , accompanied by the unseen poem . In Keats, the primary text is the poem it gives you , and you “support” your points with another poem. But, it is important not to compare . So, when exploring your point further, you could say “To support this point, this is also seen in *insert other poem name* by using the same techniques.”
• In non-comparison essays – the Drama exam – you will need to write the same number of points that you would use for a comparison essay (the average is 2-3), but you may need more substance and expansive analysis. For example, if you wrote two paragraphs for one point in the Prose exam (which includes two texts ) you would still need to write two paragraphs for one point , even though you only have one text .
• So the structure of your essays need to be clear , concise and understandable . Especially for comparison essays, you will need to split up your points into more than one paragraph so that the examiner can understand your analysis more clearly.Having said this, in the Prose exam, it is important to note that you must state the points for both texts in the initial paragraph. This is so that the examiner can see where your point is going from the beginning.In the comparison essays in the Poetry exam, the first paragraph of the point should be about the primary text , which will then lead you to explore the secondary text . So, the advice for this would be: do not plan points for both poems – if you want to plan, just think of points for the primary text , and then think about how that same technique or concept is seen in your secondary text .
• Quoting / quotations: It is important to follow the succeeding points when considering the quotations that you use –
• Think about the context that you are talking about, and how you are putting the quotation in a sentence. Generally, it is better to put a quotation in a sentence like: “This is seen in the declarative sentence , ‘We are two-legged wombs.’ (p.146).” (this is a quote from The Handmaid’s Tale ). But if you are going to use the quotation like this: “The narrator said that ‘We are two legged-wombs’ to present the idea that the Handmaids are irrelevant.” you will need to think about the structure of the sentence. Instead of using the pronoun ‘We’ in the quotation, put ‘they’ in square brackets to show that you have modified the quotation . So, the sentence would look like this: “The narrator said that ‘[they] are two-legged wombs’ to present the idea that the Handmaids are irrelevant.”
• Think about the length of the quotation that you are using. If there is a long quotation – perhaps one that includes a stream of consciousness or syndetic listing , or just lengthy description – you may want to use snippets of the quotation to ensure that the examiner does not get bored. So instead of saying: “Walton (who is speaking) is seen to be a man who has power. Shelley presents this by saying, ‘One man’s life or death were but a small price to pay for the acquirement of the knowledge which I sought, for the dominion I should acquire and transmit over the elemental foes of our race.’” (This is a quotation from Frankenstein ). you could use specific words or phrases to portray the same point. For instance, if your point was: “Walton (who is speaking) is seen to be a man who has power. Shelley presents this is seen in his fourth letter with a semantic field of power and knowledge, with words such as ‘acquirement’; ‘knowledge’; ‘dominion’’ and ‘transmit’.”
• Terminology : I know that terminology is difficult to use, especially if you can’t think of the name for a technique. But, you are marked on your terminology use as it “proves” that you know what you’re talking about.
• Where to use terminology: when structuring your point, you should use terminology either before you mention the quotation – this is if you are making a point that the technique has a direct impact on the theme or character – or after you mention the quotation – this is just to show that you know what technique the author has used.Before the quotation: If you are making the point that the author uses declarative sentences to depict the theme or character, you could say: “Atwood uses declarative sentences to represent how straightforward prejudice is as a theme in society: ‘We are two-legged wombs.’ (p.146).” The idea that prejudice is ‘straightforward’ is your point .After the quotation: So, after the point made above, you could expand by saying: “Atwood uses this declarative sentence to represent that the Handmaids are discriminated against in a simple way, otherwise she may have used another sentence mood, such as exclamatory sentences . In addition, the metaphor of Handmaids being ‘two-legged wombs’ shows Atwood’s linguistic crafting to portray that Handmaids are only seen as women who give birth to children, and nothing else.” The use of further terminology in your essay – in this case ‘exclamatory sentences’ and ‘metaphor’ – will show more knowledge.
• Word Specific Analysis: Instead of using terminology for the analysis of a whole quotation , you can use Word Specific Analysis to really unpick the underlying ideas. For instance: “Atwood uses the pronoun ‘We’ to represent that the Handmaids are a collective. This shows that if one Handmaid is victimised or targeted, the whole group of Handmaids are discriminated against. In addition, the use of the noun ‘wombs’ indicates the part of the body that the Handmaids are seen as: they are just seen as being able to conceive a child, and nothing more.”

For instance: “ Bright star! would I were steadfast as thou art by John Keats uses the Petrarchan sonnet  form. Petrarch was famous for using themes such as unrequited love, and the sonnet will always use a Volta . The Volta is the beginning of the ninth line of the sonnet and, in Keats’ poetry, is often representative of his own personal change in mood or thought, so the Volta ‘No’ in Bright star! could be Keats changing his mind, or disagreeing, with his previous comments.”

In the Drama exam, it is important to know the names of speech and structure:

For instance: “ Othello by William Shakespeare uses a variety of structures to symbolise the theme of betrayal. For instance, Iago often speaks in prose when his plan is beginning to unravel. Prose, in comparison to the poetic speech that characters usually speaks in, is used to represent the unstoppable thoughts and ideas that a character may have.”

• Context: It is explicitly important to use contextual information to back up your ideas.
• The Prose Exam:The most important piece of context for this exam is about the science of the time and how it is used in your texts. This is because the section of the exam is ‘Science and Society’. This also means you have to have a substantial knowledge of the society at the time of the novels as well.
• Other exams:It is just as important to use author-personal context as well as societal This includes the author’s family, associates, events that happened to them etc.You should use a balance of societal and personal context to show your varied knowledge. In fact, you can often use a piece of context as your point e.g. “Keats wrote in the second generation of the Romantic poets, so he had influence from the work of Wordsworth and Samuel Taylor Coleridge, for instance. The Romantics have many different conventions, but to represent the theme of physical sensations in The Eve of St Agnes , Keats has employed the Romantic connection to nature.”
• Critics and Different Interpretations:The Drama exam is the only exam that you get marked on for critical analysis and using different interpretations, but it does not hurt to use them in each exam.

“In Othello , Shakespeare represents Desdemona as being associated with everyone, or having an impact on each character for a different reason.”

This can be supported by Anna Jameson , a critic of the play. You do not need to remember every detail of her critical evaluation, but you need to remember the general idea or snippets of quotes:

“To support this point, Anna Jameson said that Desdemona is the ‘source of the pathos’ of the play. This links to the idea that she is associated with everyone because she emits the ‘pathos’ and diffuses it to each character, and this is what creates the tragedy in the play.” What is important to mention , however, is that you should back up the critical reading with a quotation from the play, rather than just your “point”:

“This is seen just before Desdemona’s death when she says ‘I never did / Offend you in my life; never loved Cassio’, then Othello says ‘Honest Iago hath tane order for’t.’ This represents Desdemona’s impact on multiple characters through the possessive pronoun ‘you’ and the mention of ‘Cassio’ and ‘Iago’, and the bitter tone of these declarative sentences portrays pathos, therefore showing where Jameson got her idea from.”

To make another point, you could challenge the critic. Another point could be:

“Desdemona is seen as ‘fair’, and innocent, and Shakespeare represents this by repeatedly having Othello call her the epithet ‘gentle Desdemona’.”

Therefore, you could use Jameson’s idea to challenge this point:

“To challenge this point, Anna Jameson said that Desdemona is the ‘source pathos of the play’. If Desdemona is the ‘source pathos’, it can be analysed that she is not truly ‘gentle’, but is actually sorrowful.”

You could disagree with the critic as well, but do not use first person . Say it as though you are disagreeing on behalf of the audience:

I hope that this is all helpful for the exam, the exams start tomorrow so good luck!

Bibliography

Atwood, M. (1985). The Handmaid’s Tale. London: Vintage Random House.

Keats, J. (2007). Selected Poems. London: Penguin Classics.

Poems of the Decade: An Anthology of the Forward Books of Poetry. (2011). London: Forward Ltd.

Shakespeare, W. (1622). Othello. Cambridge: Cambridge University Press.

Shelley, M. (1818). Frankenstein (3 ed.). London: Penguin Group.

Williams, T. (1947). A Streetcar Named Desire. London: Penguin Group.

Share this:

Leave a comment cancel reply.

Website Powered by WordPress.com .

• Already have a WordPress.com account? Log in now.
• Subscribe Subscribed
• Copy shortlink
• Report this content
• View post in Reader
• Manage subscriptions
• Collapse this bar

• TOP CATEGORIES
• AS and A Level
• University Degree
• International Baccalaureate
• Uncategorised
• 5 Star Essays
• Study Tools
• Study Guides
• Meet the Team
• Theatre Studies

Metamorphosis- Form and Structure.

Metamorphosis- Form and Structure

• The play is performed as a piece of Total Theatre.
• This is to stimulate all the senses, as they are all engaged in real life.
• Every part of the actors’ bodies, every facial expression, and all the vocal ranges of the actors’ voices are used and pushed to the extreme.
• To represent different reactions, the actors use the Berkoff Scale with the different levels provoking different responses and emotions in the audience.
• The levels are: naturalistic, bold, abstract, distorted, and grotesque. They increase in intensity as you progress along the scale.
• These different intensities allow the audience to both emphasise with the characters and be physically repulsed, depending on which level is used.
• Many different dramatic techniques are used to make it a piece of physical theatre, thus creating the eerie world of the Samsa household.
• These include the extensive use of mime, as no props are used, such as when the family make objects appear from the air whilst collecting food for Gregor, and when they mime eating their breakfast.
• This creates a sense of emptiness, thus highlighting the emptiness of their lives. It also creates an unwelcoming, cold atmosphere and makes their world appear even more far apart from that of the audiences.
• Gregor’s transformation is effective, because rather than using props that would over exaggerate it, the actor just manipulates his body to achieve the insect state.
• It maintains the simplicity, and can also shock the audience with the amazing manoeuvring of the body, and makes the entire stage seem quite fantastic and strange. It completely detaches the play from the ordinary, and the audience.
• Robotic movements are used to illustrate how the Samsa family have become so concerned with the way they appear to society, that they are almost like machines being controlled by it.
• It also reiterates how unfulfilled their lives are, that they behave in such an un-unique fashion.
• In addition, it again distances the audience from the Samsa world, as they see them behaving so unnaturally and abnormally.
• They also repeat many of these gestures, representing the repetitiveness of their lives. For example, when the family are saying what Gregor means for them, they repeat robotic movements to ticking.
• The ticking noise is used a lot in the play, and they are all obsessed with time. This is to represent that they have no future, so they concentrate on the present.
• Other unerring sounds are used, such as the heartbeat, which creates a very sinister atmosphere.
•  This mixture of bizarre movement together with sound, creates an intense atmosphere, thus achieving the objective of total theatre and completely stimulating the audience.
• Tableaux are used expansively throughout the play to show the responses and reactions of the family at certain points, such as when Gregor escapes whilst Greta and Mrs Samsa are clearing his room.

• This freezing creates an un-naturalistic effect, which again distances the audience and characters.
• This effectively creates a world of shock, as the audience are able to study the faces of the actors, and depending on what level of the Berkoff Scale is used, can become quite affected by them.    
• Images are created using just the actors’ bodies, such as when they make a beetle by standing in a line, waving their arms.
• This creates a heightened world, so surreal that it completely distances the audience, making them feel quite disturbed.

This is a preview of the whole essay

• The plot takes place over a few days in the Samsa household.
• The story is not linear, but uses flashbacks to show events that have happened in the past.
• This creates a cinematic effect, which makes the audience remember the story more clearly.
• It is therefore more visually interesting because it is more like a film than a play, thus emphasising the distance between the audience and the actors, and keeps their interest.
• The flashbacks create a contrast between the human Gregor and how the Samsa’s life used to be, compared with life with Gregor as an insect. This makes their present situation even more disturbing and strange.
• The play has no individual scenes, but it is separated into three different sections. This again makes it seem less like a conventional play and helps create the strange, disturbing world of the Samsa household.
• Each section entails some kind of metamorphosis, and involves its own mounting action and climax.
• Section one has no title, but is simply called, “Section One.” This nothingness represents the emptiness of Gregor’s life and signifies that it is the first stage of the metamorphosis of the whole family.
• The metamorphosis in this section is a physical one, as Gregor transforms into a beetle.
• He also develops as a character in this sector, as his dedication and love for his family are revealed.
• His mother is shocked and his father reacts antagonistically. Greta is the only character that tries to care for Gregor, or show him any sympathy.  
• The climax of this section is the hostile reaction Gregor receives from his parents when he emerges from his room for the first time as a bug.
• Section two is titled, “Next Evening.” This name highlights how life and the family are simply moving on despite Gregor’s shocking transformation, and how he is gradually being left behind.
• Gregor becomes more insect-like and feels more alienated from the family and humanity.
• Greta begins to lose affection for Gregor, becoming more concerned with her own well-being.
• Mr Samsa completely refuses to accept Gregor’s insect state as his son, though Mrs Samsa continues to stand by him.
• The metamorphosis in section two is that of the families, as they begin to learn to support themselves and change their lives, and change their emotions towards Gregor.
• The main climax is Mr Samsa throwing an apple into Gregor’s back.
•  There is also a small part at the end of section two titled, “Gregor’s Dream.” It is an ironic name as it is far from what Gregor would dream for, as it shows his pain from the rotting apple, and the families anguish.
• Visually it is like a dream, with the family forming images of a beetle.
• Section three is called, “Phase three.” This represents that it is the final phase of Gregor’s life.
• Mr and Mrs Samsa retain their previous feelings towards Gregor.
• Gregor feels completely alienated from the family and humanity and becomes very weak.
• Greta goes through a huge metamorphosis as she changes from kindly caring for her brother, to completely hating him. This is what eventually kills Gregor.
• This is ironic as Gregor is in fact more beautiful as a person on the inside than Greta is, but yet it is he who has to die.
• The main climax is that of Gregor entering the room with the lodgers in, and Greta’s reaction of repulse. This is the ultimate climax of the play.
• Each climax occurs when Gregor enters the main living quarters- ironic because the more Gregor accepts his state and tries to join the family and therefore humanity, the more the family repulse him and he is driven further away.
• The structure is held together by the repetition of the climaxes occurring at the end of each section.

Document Details

• Word Count 1204
• Page Count 2
• Level AS and A Level
• Subject Drama

Related Essays

Form and Structure of road

metamorphosis

form and structure my mother said

Language in metamorphosis

• International
• Education Jobs
• Schools directory
• Resources Education Jobs Schools directory News Search

AQA A Level Drama and Theatre Studies Essay Pack

Subject: Drama

Age range: 16+

Resource type: Other

Last updated

9 September 2018

• Share through email
• Share through twitter
• Share through linkedin
• Share through facebook
• Share through pinterest

4 full mark or top band essays from student who received an A* in the final A Level exam. Includes one direction question, one lighting and sound question (both based on The Glass Menagerie), two Live Theatre questions. NEW SPEC (2016-)

Tes paid licence How can I reuse this?

Your rating is required to reflect your happiness.

It's good to leave some feedback.

Something went wrong, please try again later.

Empty reply does not make any sense for the end user

Report this resource to let us know if it violates our terms and conditions. Our customer service team will review your report and will be in touch.

Not quite what you were looking for? Search by keyword to find the right resource:

This website works best with JavaScript switched on. Please enable JavaScript

• Centre Services
• Associate Extranet
• All About Maths

A-level Drama and Theatre

• Specification
• Planning resources
• Teaching resources

Assessment resources

• Answers and commentaries (1)
• Approval forms (2)
• Candidate record forms (8)
• Centre declaration sheets (10)
• Examiner reports (6)
• Mark schemes (5)
• Notes and guidance (3)
• Question papers (23)
• Statement of dramatic intentions (4)
• Component 1 (31)
• Component 2 NEA (9)
• Component 3 NEA (13)
• June 2022 (10)
• June 2023 (10)
• November 2020 (7)
• November 2021 (4)
• Sample set 1 (4)

Showing 62 results

Question paper: Component 1 Drama and theatre - June 2023 New

Published 12 Jul 2024 | PDF | 313 KB

Question paper (Modified A4 18pt): Component 1 Drama and theatre - June 2023 New

Published 12 Jul 2024 | PDF | 193 KB

Question paper (Modified A3 36pt): Component 1 Drama and theatre - June 2023 New

Published 12 Jul 2024 | PDF | 212 KB

Examiner report: Component 2 NEA Creating original drama - June 2023 New

Published 12 Jul 2024 | PDF | 180 KB

Insert: Component 1 Drama and theatre - June 2023 New

Published 12 Jul 2024 | PDF | 328 KB

Insert (Modified A4 18pt): Component 1 Drama and theatre - June 2023 New

Published 12 Jul 2024 | PDF | 261 KB

Insert (Modified A3 36pt): Component 1 Drama and theatre - June 2023 New

Published 12 Jul 2024 | PDF | 315 KB

Examiner report: Component 3 NEA Making theatre - June 2023 New

Published 12 Jul 2024 | PDF | 216 KB

Examiner report: Component 1 Drama and theatre - June 2023 New

Published 12 Jul 2024 | PDF | 270 KB

Mark scheme: Component 1 Drama and theatre - June 2023 New

Published 12 Jul 2024 | PDF | 667 KB

Notes and guidance: Component 2 NEA Creating original drama New

Published 6 Jun 2024 | PDF | 211 KB

Notes and guidance: Component 3 NEA Making theatre New

Published 6 Jun 2024 | PDF | 267 KB

Statement of dramatic intentions: Component 3 NEA Making theatre 2025

Published 10 Nov 2023 | PDF | 79 KB

Published 10 Nov 2023 | DOCX | 320 KB

Performance duration declaration form: Component 2 NEA Creating original drama 2025

Published 10 Nov 2023 | DOCX | 334 KB

Play approval form: Component 3 NEA Making theatre 2025

Published 10 Nov 2023 | DOCX | 88 KB

Candidate record form: Component 3 NEA Making theatre 2025

Published 10 Nov 2023 | PDF | 96 KB

Centre declaration sheet 2025

Published 10 Nov 2023 | PDF | 74 KB

Published 10 Nov 2023 | DOC | 520 KB

Published 10 Nov 2023 | DOCX | 400 KB

Programmes & Qualifications

Cambridge international as & a level drama (9482).

• Syllabus overview

Cambridge International AS & A Level Drama encourages learners to develop their skills in performing, devising and researching a wide range of theatrical styles and genres. They learn to communicate with an audience through practical and creative work on performance texts and their own devised material, both as individuals and in groups. Underpinned by theoretical and practical study, they learn to research, analyse, create and interpret, and to become skilled, well-informed and reflective theatrical practitioners who enjoy drama.

Cambridge International AS & A Level Drama provides a foundation for the further study of drama or related courses in higher education.

The syllabus year refers to the year in which the examination will be taken.

• -->2021-2023 Syllabus update (PDF, 171KB)
• -->2021 - 2023 Drama - Glossary of dramatic and theatrical terms (PDF, 211KB)
• -->2024-2026 Syllabus update (PDF, 125KB)
• -->2024 - 2026 Glossary of dramatic and theatrical terms (PDF, 463KB)

Syllabus updates

We have a comprehensive range of materials to help you teach the 2022-2024 syllabus including:

• Scheme of work
• Specimen Paper answers
• Coursework handbook
• Example Candidate Responses.

These materials are available on our School Support Hub .

Endorsed resources

View the supporting resource for Cambridge International AS & A Level Drama (9482).

Cambridge International AS & A Level Drama (Collins)

Introduce students to the key concepts, approaches and skills needed for advanced level drama study. The course can be used flexibly for independent learning, research and revision.

Read more on the Collins website

Important notices

For some subjects, we publish grade descriptions to help understand the level of performance candidates’ grades represent.

We paused the publication of grade descriptions in response to the Covid-19 pandemic and the temporary changes to the awarding standard in 2020, 2021 and 2022.

As the awarding standard has now returned to the pre-pandemic standard, we are working to produce up-to-date grade descriptions for most of our general qualifications. These will be based on the awarding standards in place from June 2023 onwards.

Check the Submit for Assessment page and the samples database for information and guidance on submitting moderated and examined work using Submit for Assessment.

School Support Hub

Teachers at registered Cambridge schools can unlock over 30 000 teaching and learning resources to help plan and deliver Cambridge programmes and qualifications, including Schemes of work, Example candidate responses, Past papers, Specimen paper answers, as well as digital and multimedia resources.

Schemes of work

Example responses, past papers, specimen paper answers.

Register your interest in becoming a Cambridge School

Stay up to date

Sign up for updates about changes to the syllabuses you teach

• Past papers, examiner reports and specimen papers
• Published resources

Save 10% on All AnalystPrep 2024 Study Packages with Coupon Code BLOG10 .

• Payment Plans
• Product List
• Partnerships

• Try Free Trial
• Study Packages
• Levels I, II & III Lifetime Package
• Video Lessons
• Study Notes
• Practice Questions
• Levels II & III Lifetime Package
• About the Exam
• About our Instructor
• Part I Study Packages
• Part I & Part II Lifetime Package
• Part II Study Packages
• About your Instructor
• Exams P & FM Lifetime Package
• Quantitative Questions
• Verbal Questions
• Data Insight Questions
• Live Tutoring
• EA Practice Questions
• Data Sufficiency Questions
• Integrated Reasoning Questions

Demystifying CFA® Level III Essay Questions for 2024-2025 Candidates

Are you preparing for the CFA Level III exam? If so, you’re on the home stretch of one of the most challenging and rewarding journeys in the finance world. This final hurdle isn’t just about multiple-choice questions; it’s unique, with a significant portion dedicated to essay questions. You might be wondering, “How can I effectively tackle these essays?” Well, in the subsequent paragraphs, we’ll discuss some strategies that can help you master this section and ensure your preparation journey is as smooth as possible. For more detailed information on the exam structure and requirements, you can visit the CFA Institute’s official website .

What’s the Structure of the CFA Level III Exam?

Before we focus on the strategies, it’s crucial to understand the exam layout. The CFA Level III exam isn’t just another test; it’s a comprehensive assessment designed to evaluate your knowledge and analytical skills in portfolio management and wealth planning. This exam is a marathon, not a sprint, lasting a total of 4 hours and 24 minutes. It’s split into two sessions of 2 hours and 12 minutes each.

In these sessions, you’ll encounter a mix of essay questions and multiple-choice questions (MCQs), precisely 11 essay sets and 11 item sets, each worth 12 points. This balanced distribution means that each session will have a combination of 5 to 6 essay and item sets. Feeling the intensity already? It does sound like a rigorous challenge, but with the right preparation and mindset, it’s absolutely manageable. For further insights into the exam format and to explore the new specialized pathways introduced for CFA Level III, refer to the CFA Institute’s detailed guide .

Why Do Candidates Struggle with Level III?

Have you ever wondered why Level III feels so challenging? Here are a few reasons candidates often stumble:

• Lack of a Personalized Study Plan: Do you tailor your study schedule based on topic weight? If not, you might miss out on key areas.
• Ignoring Learning Outcome Statements (LOS): These statements tell you exactly what you need to know. Skipping them can leave you with knowledge gaps.
• Insufficient Study Time: Balancing work and study can be tough. Are you dedicating at least 350 hours to prep? If not, time might be your enemy.
• Lack of Practice: Practicing under exam conditions is crucial. Without it, you might not be ready for the real thing.
• Exam Anxiety: Feeling nervous? Poor time management can worsen anxiety, impacting your performance.

Creating a personalized study plan, focusing on LOS, and dedicating enough study hours can make a huge difference. And remember, practicing under timed conditions is key to building confidence.

Why Are Essay Questions So Challenging?

You might be wondering, “Why do candidates often struggle with the essay section?” The answer lies in the nature of these questions. Unlike multiple-choice questions, which primarily test your ability to recall and recognize information, essay questions demand a higher level of cognitive engagement. They require you to demonstrate a deep understanding of the material and the ability to apply that knowledge in practical, often complex scenarios.

First, let’s talk about the cognitive load involved. Multiple-choice questions allow you to rely on recognition; if you’ve studied well, you can often spot the correct answer among the options. Essay questions, on the other hand, require recall and synthesis. You must retrieve information from memory and organize it into a coherent response. This process is more mentally taxing and can be particularly challenging under exam conditions.

Moreover, essay questions are designed to assess a broad range of skills. They evaluate not just what you know but how well you can apply that knowledge. This includes your ability to analyze a situation, draw on various parts of the CFA curriculum, and construct a well-reasoned argument. For example, you might be asked to design an investment strategy based on a client’s profile, requiring you to integrate knowledge from ethics, portfolio management, and risk management.

Another challenge is the need for precision and relevance in your answers. It’s a common misconception that longer responses are better. In reality, the CFA Institute values answers that are concise and directly address the question. This means you need to be very clear and specific in your responses. Providing unnecessary details or straying off-topic can actually detract from your answer.

Let’s consider an example. Suppose you’re asked to explain the implications of a specific economic scenario on a client’s investment portfolio. A good answer would briefly outline the scenario, directly address its impact on the portfolio, and suggest appropriate adjustments. It’s not about writing everything you know about the economy; it’s about providing a focused, insightful analysis that answers the question.

Time management is another crucial factor. The essay section requires you to allocate your time wisely. Spending too long on one question can leave you with insufficient time to complete others. Effective time management comes from practice and familiarity with the exam format. You need to develop a strategy for quickly organizing your thoughts and structuring your responses.

Preparation for essay questions also involves mastering the art of self-grading. Unlike multiple-choice questions, where you can easily check your answers against a key, essay questions require a more nuanced evaluation. When practicing, it’s important to critically assess your own answers. Look for areas where you might have been unclear or failed to fully address the question. This self-assessment helps you refine your technique and identify gaps in your knowledge.

Let’s not forget the psychological aspect. The pressure of writing essays in a timed environment can be daunting. Building confidence is key. Regular practice under exam-like conditions can help you become more comfortable with the format and reduce anxiety on exam day. This practice should include not only writing essays but also reviewing model answers and understanding what makes them effective.

Finally, consider the feedback loop. Utilize resources like AnalystPrep’s Level III package to get expert feedback on your practice essays. Understanding how your answers are graded can provide valuable insights and help you improve.

Strategies for Tackling CFA Level III Essay Questions

• Read the Question First : When you start an essay question, do you dive straight into the case information? Here’s a tip: Read the question first. By doing this, you know exactly what to look for in the case information. This way, you’re not just reading; you’re reading with a purpose.
• Highlight Key Words : Have you ever lost track of what the question is asking? Highlighting keywords and phrases can help you stay focused. The CFA Institute often bolds these command words, guiding you on what’s expected.
• Analyze: Break down the parts and show how they relate.
• Calculate: Perform the math.
• Compare: Show similarities and differences.
• Contrast: Highlight differences.
• Define: Provide the exact meaning.
• Describe: Detail the characteristics.
• Discuss: Examine from different viewpoints.
• Evaluate: Reach a conclusion using your knowledge.
• Explain: Make something clear.
• Justify: Provide reasons and evidence.
• Keep It Concise : Don’t be fooled by the term “essay.” Your answers should be concise and to the point. Long paragraphs? Skip them. Bullet points are your friend, and in computer-based exams, using the hyphen (“-”) as a bullet is fine. Clarity is your goal.
• Show Your Work : Ever worry about partial credit? For calculation questions, showing your work step by step can earn you partial credit even if your final answer isn’t perfect. Use the Math Editor tool to ensure your calculations are clear.
• Manage Your Time : Time management is crucial. Allocate 1 minute per point, as recommended by the CFA Institute. If you’re stuck, make an educated guess and move on. Don’t let one question eat up all your time.
• Use Abbreviations : Time is of the essence, so use well-known abbreviations like “PV” for present value. These save time and are perfectly acceptable.

Time Management Tips

• Know Your Time Allocation : Stick to the recommended time per question.
• Move on Promptly : When time’s up, move to the next question.
• Think Before Typing : Spend more time reading and planning and less time typing.

Recommended Process for Answering Essay Questions

• Read All Question Parts First : Get an overview.
• Read Case Information Next : Now you know what to look for.
• Reread Specific Questions : Before answering, revisit the specific part you’re tackling.
• Answer Concisely : Be clear and direct.
• Move On : Don’t dwell on one question too long.

The Importance of a Personalized Study Plan

Another critical aspect of mastering the CFA Level III exam is having a personalized study plan. This isn’t just about allocating a certain number of hours to study each week. It’s about understanding the weightings of different topics and focusing your efforts accordingly. For instance, Portfolio Management and Wealth Planning make up a significant portion of the exam, so it’s wise to allocate more study time to these areas.

But a study plan isn’t static. It should evolve as you progress, allowing you to identify and address your weaknesses. Regularly reviewing Learning Outcome Statements (LOS) can help you stay on track and ensure you’re covering all necessary content.

Maximizing the Benefits of Practice Exams

Practice exams are an essential component of your preparation for the CFA Level III exam. They not only familiarize you with the exam format and time constraints but also help you gauge your understanding and readiness. Here’s how to maximize their benefits:

• Simulate Exam Conditions : Take practice exams under realistic conditions. This means timing yourself strictly and adhering to the same environment you’ll experience on exam day. This practice helps you build stamina and get comfortable with the exam’s pace.
• Review and Learn : After each practice exam, thoroughly review your answers. Identify where you went wrong and understand why. This review process is crucial for learning from your mistakes and improving your performance.
• Focus on Weak Areas : Use practice exams to pinpoint your weak areas. Allocate extra study time to these topics and seek additional resources if necessary. Strengthening these areas will boost your confidence and overall exam performance.

The Role of Mental and Physical Well-being

Preparing for the CFA Level III exam can be intense and stressful. Maintaining your mental and physical well-being is crucial for peak performance. Here are some tips to help you stay balanced:

• Healthy Routine : Establish a healthy daily routine that includes balanced meals, regular exercise, and adequate sleep. Physical health directly impacts your mental clarity and focus.
• Stress Management : Practice stress management techniques such as meditation, deep breathing exercises, or yoga. These practices can help calm your mind and reduce anxiety.
• Regular Breaks : Take regular breaks during your study sessions to prevent burnout. Short, frequent breaks can help maintain your focus and productivity over long study periods.

Leveraging AnalystPrep for Success

Feeling overwhelmed? You’re not alone. Many candidates find the essay section daunting. This is where AnalystPrep can be a game-changer. With a comprehensive toolkit designed specifically for CFA candidates, AnalystPrep’s Level III package offers a blend of practice questions, video lessons, and detailed study notes. Here’s how you can make the most of it:

• Video Lessons : AnalystPrep offers over 60 hours of video lessons covering the entire CFA Level III curriculum. These lessons break down complex topics into digestible segments, making it easier to understand and retain the information.
• Study Notes : With 2,000+ pages of study notes , AnalystPrep provides a detailed yet concise overview of all topics. These notes are invaluable for quick revisions and clarifying doubts.
• Practice Questions and Cases : AnalystPrep includes 50+ essay-type cases and numerous multiple-choice questions . Practicing these questions helps you get used to the exam format and improves your problem-solving skills.
• Performance Tracking : Use AnalystPrep’s Performance Tracking Tools to monitor your progress and identify areas needing improvement. Personalized feedback from the Ask-A-Tutor Questions feature can provide insights and guidance.

Final Thoughts

The journey to mastering the CFA Level III essay questions is undeniably demanding yet immensely rewarding. As you approach this final stretch, remember that your success hinges not only on your technical knowledge but also on your ability to effectively communicate and apply that knowledge in real-world scenarios. Embrace the challenge with confidence, leveraging your strategic preparation and the wealth of resources at your disposal. By honing your analytical skills, managing your time wisely, and practicing diligently, you will be well-equipped to excel in the essay section. Trust in your preparation, stay focused, and visualize your success as you work towards earning your CFA charter. Your dedication and perseverance will not only help you conquer this exam but also pave the way for a distinguished career in finance. Now, go forth and turn your hard work into the professional accomplishment you’ve been striving for. Good luck!

Related Articles

• CFA Level III 2025: Choose Your Path with New Specialized Pathways
• CFA Institute Level III Pathways
• 8 Ways to Improve Your Writing Skills for the CFA Level III Exam

Offered by AnalystPrep

Understanding the GMAT® Focus Edition: A Comprehensive 2024 – 2025 Guide

Calculator tips and tricks for cfa exa ....

Analysts may use either a Texas Instruments BA-II Plus or HP-12C (or the... Read More

Exam Study Tips for Postponed 2021 CFA ...

The CFA institute postponed the June exams and cancelled the December 2020 exams... Read More

Beta and CAPM

Beta Beta is a measure of systematic risk, which refers to the risk... Read More

Bond Valuation (Calculations for CFA® ...

Bond valuation is an application of discounted cash flow analysis. The general approach... Read More

• Share full article

Living small

A Compact London Home With a Diva of a Staircase

The architect Winka Dubbeldam’s renovation of a nondescript 800-square-foot building resulted in a minimalist house with a maximalist sense of drama.

An elliptical steel staircase is the centerpiece of Archi-Tectonic’s townhouse renovation in the Primrose Hill neighborhood of London. Credit... Nick Kane

Supported by

By Julie Lasky

• July 26, 2024

Primrose Hill is a northwest London neighborhood famous for its topography — the hill offers skyline views — and envy-producing, village-like charm. The district has Georgian- and Victorian-era terrace houses and many leafy trees. But even locals may not know of a little street that wends through it like a country lane.

Klaartje Quirijns, 56, a filmmaker, and Hannes Witteveen, 55, a lawyer, once counted themselves among the ignorant. For a decade, the pair, who are Dutch, lived with their two daughters around the corner from that lane without having a clue that it was there or that their future home sat on it.

But as Ms. Quirijns once said in an interview, “All my films arise from the same question: ‘What are the deceptive worlds we don’t get to see?’”

The house they would buy in 2020 — after a lifetime of renting, they hungered to be homeowners — was an odd duck among the preening architecture. Square, flat-topped and brick, it looked like a baby bunker.

We are having trouble retrieving the article content.

Please enable JavaScript in your browser settings.

Thank you for your patience while we verify access. If you are in Reader mode please exit and  log into  your Times account, or  subscribe  for all of The Times.

Thank you for your patience while we verify access.

Already a subscriber?  Log in .

Want all of The Times?  Subscribe .

Advertisement