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GCSE Drama AQA
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GCSE Drama AQA
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GCSE Drama AQA
– Topics
A Midsummer Night's Dream
A Midsummer Night's Dream: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
A Midsummer Night's Dream: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
A Midsummer Night's Dream: Sound design (direction, amplification, music, sound effects)
A Midsummer Night's Dream: Lighting design (direction, colour, intensity, special effects)
A Midsummer Night's Dream: Costume design (including hair and make-up)
A Midsummer Night's Dream: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
A Midsummer Night's Dream: Prop design
A Midsummer Night's Dream: relationships between performers and audience
A Midsummer Night's Dream: use of performance space
A Midsummer Night's Dream: performance conventions
A Midsummer Night's Dream: theatrical conventions of the period
A Midsummer Night's Dream: historical context
A Midsummer Night's Dream: cultural context
A Midsummer Night's Dream: social context
A Midsummer Night's Dream: stage directions
A Midsummer Night's Dream: dramatic climax
A Midsummer Night's Dream: development of pace and rhythm
A Midsummer Night's Dream: creation of mood and atmosphere
A Midsummer Night's Dream: character motivation and interaction
A Midsummer Night's Dream: sub-text
A Midsummer Night's Dream: language
A Midsummer Night's Dream: style
A Midsummer Night's Dream: form
A Midsummer Night's Dream: characters
A Midsummer Night's Dream: structure
A Midsummer Night's Dream: genre
A Taste of Honey
A Taste of Honey: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
A Taste of Honey: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
A Taste of Honey: Sound design (direction, amplification, music, sound effects)
A Taste of Honey: Lighting design (direction, colour, intensity, special effects)
A Taste of Honey: Costume design (including hair and make-up)
A Taste of Honey: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
A Taste of Honey: Prop design
A Taste of Honey: relationships between performers and audience
A Taste of Honey: use of performance space
A Taste of Honey: performance conventions
A Taste of Honey: theatrical conventions of the period
A Taste of Honey: historical context
A Taste of Honey: cultural context
A Taste of Honey: social context
A Taste of Honey: stage directions
A Taste of Honey: dramatic climax
A Taste of Honey: development of pace and rhythm
A Taste of Honey: creation of mood and atmosphere
A Taste of Honey: character motivation and interaction
A Taste of Honey: sub-text
A Taste of Honey: language
A Taste of Honey: style
A Taste of Honey: form
A Taste of Honey: characters
A Taste of Honey: structure
A Taste of Honey: genre
Around the World in 80 Days
Around the World in 80 Days: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
Around the World in 80 Days: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
Around the World in 80 Days: Sound design (direction, amplification, music, sound effects)
Around the World in 80 Days: Lighting design (direction, colour, intensity, special effects)
Around the World in 80 Days: Costume design (including hair and make-up)
Around the World in 80 Days: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
Around the World in 80 Days: Prop design
Around the World in 80 Days: relationships between performers and audience
Around the World in 80 Days: use of performance space
Around the World in 80 Days: performance conventions
Around the World in 80 Days: theatrical conventions of the period
Around the World in 80 Days: historical context
Around the World in 80 Days: cultural context
Around the World in 80 Days: social context
Around the World in 80 Days: stage directions
Around the World in 80 Days: dramatic climax
Around the World in 80 Days: development of pace and rhythm
Around the World in 80 Days: creation of mood and atmosphere
Around the World in 80 Days: character motivation and interaction
Around the World in 80 Days: sub-text
Around the World in 80 Days: language
Around the World in 80 Days: style
Around the World in 80 Days: form
Around the World in 80 Days: characters
Around the World in 80 Days: structure
Around the World in 80 Days: genre
Blood Brothers
Blood Brothers: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
Blood Brothers: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
Blood Brothers: Sound design (direction, amplification, music, sound effects)
Blood Brothers: Lighting design (direction, colour, intensity, special effects)
Blood Brothers: Costume design (including hair and make-up)
Blood Brothers: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
Blood Brothers: Prop design
Blood Brothers: relationships between performers and audience
Blood Brothers: use of performance space
Blood Brothers: performance conventions
Blood Brothers: theatrical conventions of the period
Blood Brothers: historical context
Blood Brothers: cultural context
Blood Brothers: social context
Blood Brothers: stage directions
Blood Brothers: dramatic climax
Blood Brothers: development of pace and rhythm
Blood Brothers: creation of mood and atmosphere
Blood Brothers: character motivation and interaction
Blood Brothers: sub-text
Blood Brothers: language
Blood Brothers: style
Blood Brothers: form
Blood Brothers: characters
Blood Brothers: structure
Blood Brothers:
Blood Brothers: genre
Characterisation and Performance
Performance: Vocal Performance Skills
Performance: Interactions and Spacing
Performance: Physical Performance Skills
Characterisation
Design Conventions
Design Conventions: Masks and Puppets
Design Conventions: Costume
Design Conventions: Sound
Design Conventions: Lighting
Design Conventions: Sets
Devising
Devising: Portfolio
Devising: Health and Safety
Devising: Taking a Design Role
Devising: Rehearsing and Refining
Devising: Developing Your Ideas
Devising from a Stimulus
Devising: What You Have To Do
Drama Terminology
Staging configuration: promenade.
Staging configuration: end on staging
Staging configuration: traverse
Staging configuration: thrust stage
Staging configuration: proscenium arch
Staging configuration: theatre in the round
Stage positioning: centre stage
Stage positioning: downstage (left, right, centre)
Stage positioning: upstage (left, right, centre)
Hansel and Gretel
Hansel and Gretel: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
Hansel and Gretel: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
Hansel and Gretel: Sound design (direction, amplification, music, sound effects)
Hansel and Gretel: Lighting design (direction, colour, intensity, special effects)
Hansel and Gretel: Costume design (including hair and make-up)
Hansel and Gretel: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
Hansel and Gretel: Prop design
Hansel and Gretel: relationships between performers and audience
Hansel and Gretel: use of performance space
Hansel and Gretel: theatrical conventions of the period
Hansel and Gretel: performance conventions
Hansel and Gretel: historical context
Hansel and Gretel: cultural context
Hansel and Gretel: social context
Hansel and Gretel: stage directions
Hansel and Gretel: dramatic climax
Hansel and Gretel: development of pace and rhythm
Hansel and Gretel: creation of mood and atmosphere
Hansel and Gretel: character motivation and interaction
Hansel and Gretel: sub-text
Hansel and Gretel: language
Hansel and Gretel: style
Hansel and Gretel: form
Hansel and Gretel: characters
Hansel and Gretel: structure
Hansel and Gretel: genre
Live Theatre Production
Live Theatre Production: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
Live Theatre Production: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
Live Theatre Production: Sound design (direction, amplification, music, sound effects)
Live Theatre Production: Lighting design (direction, colour, intensity, special effects)
Live Theatre Production: Costume design (including hair and make-up)
Live Theatre Production: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
Live Theatre Production: Prop design
Live Theatre Production: relationships between performers and audience
Live Theatre Production: use of performance space
Live Theatre Production: performance conventions
Live Theatre Production: theatrical conventions of the period
Live Theatre Production: historical context
Live Theatre Production: cultural context
Live Theatre Production: social context
Live Theatre Production: stage directions
Live Theatre Production: dramatic climax
Live Theatre Production: development of pace and rhythm
Live Theatre Production: creation of mood and atmosphere
Live Theatre Production: character motivation and interaction
Live Theatre Production: sub-text
Live Theatre Production: language
Live Theatre Production: style
Live Theatre Production: form
Live Theatre Production: characters
Live Theatre Production: structure
Live Theatre Production: genre
Noughts and Crosses
Noughts and Crosses: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
Noughts and Crosses: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
Noughts and Crosses: Sound design (direction, amplification, music, sound effects)
Noughts and Crosses: Lighting design (direction, colour, intensity, special effects)
Noughts and Crosses: Costume design (including hair and make-up)
Noughts and Crosses: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
Noughts and Crosses: Prop design
Noughts and Crosses: relationships between performers and audience
Noughts and Crosses: use of performance space
Noughts and Crosses: performance conventions
Noughts and Crosses: theatrical conventions of the period
Noughts and Crosses: historical context
Noughts and Crosses: cultural context
Noughts and Crosses: social context
Noughts and Crosses: stage directions
Noughts and Crosses: dramatic climax
Noughts and Crosses: development of pace and rhythm
Noughts and Crosses: creation of mood and atmosphere
Noughts and Crosses: character motivation and interaction
Noughts and Crosses: sub-text
Noughts and Crosses: language
Noughts and Crosses: style
Noughts and Crosses: form
Noughts and Crosses: characters
Noughts and Crosses: structure
Noughts and Crosses: genre
Performance from a Text
Performance from a Text: Design Skills
Performance from a Text: Performance Skills
Performing from a Text
Romeo and Juliet
Romeo and Juliet: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
Romeo and Juliet: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
Romeo and Juliet: Sound design (direction, amplification, music, sound effects)
Romeo and Juliet: Lighting design (direction, colour, intensity, special effects)
Romeo and Juliet: Costume design (including hair and make-up)
Romeo and Juliet: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
Romeo and Juliet: Prop design
Romeo and Juliet: relationships between performers and audience
Romeo and Juliet: use of performance space
Romeo and Juliet: performance conventions
Romeo and Juliet: theatrical conventions of the period
Romeo and Juliet: historical context
Romeo and Juliet: cultural context
Romeo and Juliet: social context
Romeo and Juliet: stage directions
Romeo and Juliet: dramatic climax
Romeo and Juliet: development of pace and rhythm
Romeo and Juliet: creation of mood and atmosphere
Romeo and Juliet: character motivation and interaction
Romeo and Juliet: sub-text
Romeo and Juliet: language
Romeo and Juliet: style
Romeo and Juliet: form
Romeo and Juliet: structure
Romeo and Juliet: characters
Romeo and Juliet: genre
The 39 Steps
The 39 Steps: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
The 39 Steps: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
The 39 Steps: Sound design (direction, amplification, music, sound effects)
The 39 Steps: Lighting design (direction, colour, intensity, special effects)
The 39 Steps: Costume design (including hair and make-up)
The 39 Steps: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
The 39 Steps: Prop design
The 39 Steps: relationships between performers and audience
The 39 Steps: use of performance space
The 39 Steps: performance conventions
The 39 Steps: theatrical conventions of the period
The 39 Steps: historical context
The 39 Steps: cultural context
The 39 Steps: social context
The 39 Steps: stage directions
The 39 Steps: dramatic climax
The 39 Steps: development of pace and rhythm
The 39 Steps: creation of mood and atmosphere
The 39 Steps: character motivation and interaction
The 39 Steps: sub-text
The 39 Steps: language
The 39 Steps: style
The 39 Steps: form
The 39 Steps: characters
The 39 Steps: structure
The 39 Steps: genre
The Crucible
The Crucible: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
The Crucible: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
The Crucible: Sound design (direction, amplification, music, sound effects)
The Crucible: Lighting design (direction, colour, intensity, special effects)
The Crucible: Costume design (including hair and make-up)
The Crucible: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
The Crucible: Prop design
The Crucible: relationships between performers and audience
The Crucible: use of performance space
The Crucible: performance conventions
The Crucible: theatrical conventions of the period
The Crucible: historical context
The Crucible: cultural context
The Crucible: social context
The Crucible: stage directions
The Crucible: dramatic climax
The Crucible: development of pace and rhythm
The Crucible: creation of mood and atmosphere
The Crucible: character motivation and interaction
The Crucible: sub-text
The Crucible: language
The Crucible: style
The Crucible: form
The Crucible: characters
The Crucible: structure
The Crucible: genre
The Written Exam
Written Exams: Live Theatre Evaluation
Written Exams: Set Text Question
Theatre Conventions
Theatre Conventions: Spaces on Stage
Theatre Conventions: Staging
Theatre Conventions: Style
Theatre Conventions: Conventions of Theatre
Theatre Conventions: Dramatic Structure
Theatre Conventions: Form and Genre
Theatre Conventions: Theatre in Context
Theatre Conventions: Roles of Theatre Makers
Theatre Roles and Responsibilities
Theatre manager: responsibilities within a performance
Theatre manager: daily activities
Stage manager: responsibilities within a performance
Stage manager: daily activities
Director: responsibilities within a performance
Director: daily activities
Technician: responsibilities within a performance
Technician: daily activities
Puppet designer: responsibilities within a performance
Puppet designer: daily activities
Costume designer: responsibilities within a performance
Costume Designer: Daily Activities
Set Designer: Responsibilities Within A Performance
Set Designer: Daily Activities
Sound Designer: Responsibilities Within A Performance
Sound Designer: Daily Activities
Lighting Designer: Responsibilities Within A Performance
Lighting Designer: Daily Activities
Understudy: responsibilities within a perfomance
Understudy: daily activities
Performer: responsibilities within a perfomance
Performer: daily activities
Playwright: responsibilities within a perfomance
Playwright: daily activities
Things I Know to be True
Things I Know to be True: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
Things I Know to be True: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
Things I Know to be True: Sound design (direction, amplification, music, sound effects)
Things I Know to be True: Lighting design (direction, colour, intensity, special effects)
Things I Know to be True: Costume design (including hair and make-up)
Things I Know to be True: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
Things I Know to be True: Prop design
Things I Know to be True: relationships between performers and audience
Things I Know to be True: use of performance space
Things I Know to be True: performance conventions
Things I Know to be True: theatrical conventions of the period
Things I Know to be True: historical context
Things I Know to be True: cultural context
Things I Know to be True: social context
Things I Know to be True: stage directions
Things I Know to be True: dramatic climax
Things I Know to be True: development of pace and rhythm
Things I Know to be True: creation of mood and atmosphere
Things I Know to be True: character motivation and interaction
Things I Know to be True: sub-text
Things I Know to be True: language
Things I Know to be True: style
Things I Know to be True: form
Things I Know to be True: characters
Things I Know to be True: structure
Things I Know to be True: genre