Component 3
Component 3 is the Scripted Performance. It is worth 20% of your overall grade.
What's assessed
Performance of two extracts from one play (you may contribute as performer or designer):
study and present a key extract (monologue, duologue or group performance)
study and present a second key extract (monologue, duologue or group performance) from the same play.
Each student's contribution to each key extract performance is marked out of 20.
Free choice of play but it must contrast with the set play chosen for Component 1: Things I know to be True
Your chosen play must not match more than one of these aspects of 'Things I know to be True':
Playwright: Andrew Bovell
Description: Suburban drama
Performance style: Australian realism
Time period: 2000 to 2020
Please see the Script Extracts Link below for suggested plays. Please note - approval of each script has to be given by AQA every year.
How it's assessed
Performance of Extract 1 (20 marks) and Extract 2 (20 marks)
40 marks in total
20% of GCSE
This component is marked by a visiting examiner from AQA.
Specialisms:
Performer
Must perform one character/interpret one role per extract2.
The performer may perform the same character in both extracts or perform different characters in each extract. ( 2Or more than one role if appropriate eg in a multi-role play. )
Lighting designer
Must create one lighting design per extract.
The lighting design must be different for each extract ie the student must design two different lighting plots, one for each extract. Each design must show a range of lighting effects/states and cues/transitions designed to meet the demands of the extract being performed.
Sound designer
Must create one sound design per extract.
The sound design must be different for each extract ie the student must create two different sound plots, one for each extract. Each design must show a range of sound effects and cues/transitions designed to meet the demands of the extract being performed.
Set designer
Must create one set design per extract.
The set design must be different for each extract ie the student must either design two different settings, one for each extract, or adapt a single set for each extract. Each design must show dressings and props designed to meet the demands of the extract being performed.
Costume designer
Must create one costume for one Performer per extract.
The costume design must be different for each extract ie the student must either design two different costumes, one for each extract, or adapt a single costume for each extract. Each design must show clothing and accessories, and hair and make-up if applicable, designed to meet the demands of the extract being performed.
Costume designer
Must create one costume for one Performer per extract.
The costume design must be different for each extract ie the student must either design two different costumes, one for each extract, or adapt a single costume for each extract. Each design must show clothing and accessories, and hair and make-up if applicable, designed to meet the demands of the extract being performed.
Puppet designer
Must create one puppet per extract.
The puppet design must be different for each extract ie the student must either design two different puppets, one for each extract, or adapt a single puppet for each extract. Each design must show a complete puppet, designed to meet the demands of the extract being performed.
All designs must be assessed in live performance:
For lighting designers the lights and lighting effects must be seen in the live performance.
For sound designers the sound and sound effects must be heard in the live performance.
For set designers the set seen in the live performance should follow the students' design.
For costume designers the costume designed must be seen in the live performance.
For puppet designers the puppet designed must be a part of the live performance.
Design students are not assessed on their ability to operate equipment associated with their design.
Lighting designers are not required to operate the lighting equipment in the live performance.
Sound designers are not required to operate the sound equipment in the live performance.
Set designers are not assessed on the set's construction.
Costume designers are not assessed on the costume's construction.
Puppet designers are not assessed on the puppet's construction and need not be the puppet operators during the live performance.
Assessors must assess the design and not its execution.
Designs should be realised in performance to the full extent possible within any practical constraints.
Design students should have an awareness of how their design will impact on the live performance as a whole