Gcse Teachers' Guide: Performing Arts

GCSE TEACHERS GUIDE
New Specifications:
for teaching from September 2009
Performing Arts
GCSE Performing Arts (Single and Double Award) Teachers' Guide 1
Contents
GCSE in Performing Arts (Single and Double Award)
Teachers Guide
Page
1. Introduction 1
1.1 - Rationale 3
1.2 - Overview of New Specification 4
2. Delivering the Specification 5

2.1 - Pathways through the Specification 5
2.2 - Examples of Approaches 5
2.3 - Explanation of Skills Required for each Discipline 15
3. Support for Teachers 20

3.1 - Generic Resources 20
3.2 - General Websites 20
4. Unit Guides 21
4.1 - PA1: Exploring Performing Arts and the Performing Arts
Industry 21
4.2 - PA2: Themed Showcase Performance 34
5. Assessment Guidance 45
5.1 - PA1: (Controlled Assessment) 45
5.2 - PA2: (External Assessment) 57
Contributors to the Teachers Guide 63

1. INTRODUCTION
This GCSE Single and Double Award in Performing Arts is one of WJECs new
specifications. The specification will be taught for the first time from September 2009.
The single award units will be available in 2010 and the first GCSE awards will be
made in summer 2011. The specification can be delivered and assessed in centres
throughout the UK.
This guide is one of a number of ways in which WJEC provides assistance to

teachers delivering the new specification. Also essential to its introduction are the
professional development (INSET) conferences.
Other provision which you will find useful includes:
1. Examiners reports on each examinations series

2. Easy access to specification and other key documents on main website
3. Regular INSET delivered by Chief Examiners
4. Easy access to both the Subject Officer and to administrative sections
Contact points for GCSE Single and Double Award Performing Arts are as follows:
Catherine Webster (Subject Officer)

catherine.webster@wjec.co.uk
Tel: (029) 2026 5316
Leah Crowley (Subject Support Officer) Catrin Budd (Subject Support Officer)
Tel: (029) 2026 5142 Tel: (029) 2026 5142
leah.crowley@wjec.co.uk catrin.budd@wjec.co.uk
Subject page www.wjec.co.uk/performingarts
INSET Section inset@wjec.co.uk

www.wjec.co.uk/professionaldevelopment
1.1 Rationale
This specification seeks to emphasise the unique qualities of Performing Arts.
Candidates will be given opportunities to evaluate significant features of their own
and others' performances including viewing and responding to live and recorded
performances.
This specification provides a balance of practical performing, creative group work and
work related research. It provides candidates with a performing options or
technical/design skills.
Candidates may complete the single award through the study of PA1 and PA2.
Having completed these, candidates may choose to continue with PA3 and PA4 to
achieve a double award. This can be taken over the course of one or two years.
.
The specification has been designed to encourage progressive development in
Performing Arts. The controlled tasks in PA1 include research on a range of
Performing Arts activities and preparation for the practical work carried out in PA2. It
is expected that research carried out during PA1 will lead to a better performance in
PA2. The same links apply to PA3 and PA4 for the double award. In PA4
candidates work will demonstrate knowledge of two Performing Arts Skills.
This specification and all units are available in both English and Welsh.
1.2 Overview of the Specification

This is a unitised specification. It is divided into a total of 4 units. Two units (PA1 and
PA2) constitute the Single Award. Candidates wishing to achieve the double award
must take two additional units (PA3 and PA4). Units may be re-taken once only (with
the better result counting) before aggregation for the subject award.
SINGLE AWARD
PA1 (120 marks) Controlled Assessment

60% (30% Double Award) Exploring Performing Arts and the Performing Arts Industry
Candidates will undertake three controlled assessment tasks relating to research carried out
on practical work and in an additional performing arts skills area.
Internally assessed and externally moderated in April/May

PA2 (80 marks) External Assessment
40% (20% Double Award) Themed Showcase Performance
Candidates will either create a performance or contribute their chosen technical production
skill to a performance in response to a theme set by the centre. Candidates may perform in
more than one discipline.
Externally Assessed between March and May
DOUBLE AWARD
To achieve the Double Award, candidates must successfully complete PA1 and PA2 as
outlined above, in addition to PA3 and PA4.
PA3 (120 marks) Controlled Assessment

30% Developing knowledge and understanding of Performing Arts and the Performing
Arts Industry
Candidates will prepare three controlled assessment tasks relating to a new performing arts
skill and of the requirements of working in the Performing Arts Industry. Candidates will also
carry out some research on practical work.
Internally assessed and externally moderated in April/May

PA4 (80 marks) External Assessment
20% Commissioned Performance
Candidates will either create a performance or contribute their chosen technical production
skill to a performance in response to a commission set by WJEC. Candidates will be
required to present work in two disciplines.
Externally Assessed between March and May

2. DELIVERING THE SPECIFICATION
2.1 Pathways through the specification

Each teacher will have their own individual approach to delivering this specification. It is
important that candidates are aware of the links between the work they complete in
PA1 and that in PA2.
2.2 Examples of approaches

PA1 & PA2 are integrated and should be taught holistically. Although both are
assessed at different times the skills needed are transferable from one unit to the
other.
There is more than one way of approaching the course. The notes in this guidance
can be used or adapted to suit the needs of individual students and teachers.
Below are two examples of how one could teach the Single Award specification,
mapped out in the number of lessons per term.
EXAMPLE 1
SINGLE AWARD STUDIED OVER 2 YEARS
YEAR 1
Weeks Activity
1-3 Introduction to the Performing Arts. Ask the pupils to brainstorm what
they think we mean by Performing Arts. Research of jobs and the
industry should give the pupils and understanding of various art skills
and the industry.
During the following weeks pupils can look at various performing arts
skills and experience them practically. Here are some ideas of
activities you could cover, but teachers are advised to use skills they
are familiar with.
4-6 ACTING a selection of improvisation tasks where pupils are given
various stimuli. Teachers need to pay close attention to the
Assessment criteria for PA2 and task 1 PA1 when giving feedback on
pupils' performances.
7-9 MUSIC a selection of music based tasks (singing, playing a musical
instrument), where pupils look at their own skills at present and how to
improve them. Teachers need to pay close attention to the
Assessment criteria for PA2 and task 1 PA1 when giving feedback on
pupils' performances
10 - 12 DANCE - a selection of movement / dance based projects where pupils
can express a theme or style of a given dance form. Teachers need to
pay close attention to the Assessment criteria for PA2 and task 1 PA1
when giving feedback on pupils' performances.
13 - 14 The pupils should now have an understanding of what performance or
technical skill they wish to develop through the two years. Ask the
pupils to make a practice skills audit and set targets for improving their
skills.
Term 2
Weeks Activity
1-2 Look back on the work they created at the end of last term.
The pupils should now have an understanding of what performance or

technical skill they wish to develop through the two years. Ask the
pupils to make a practice skills audit and set targets for improving their
skills.
3 -4 Creating a short showcase.
In the full PA2 showcase a time schedule of 5 minutes per candidate is

required but as this a trial run put the class into groups of no more than
5 and give them a time limit of 3 minutes per candidate.
Look at the list of possible showcase themes on page 37 and chose

one of the themes and ask the candidates individually to think of ways
of developing this theme. This task is similar to the written task needed
for PA1 - Task 3 Preparation for Performance
Ask the pupils to use the planning sheets in guidance for PA1 - Task 3
to plan their showcase. Give them as much advice as possible on how
to structure the piece and turn it into a full performance.
As your guide use the criteria for PA2 to help with your planning.
5 10 During these weeks the candidates will now create their chosen
showcase.
Remember candidates only need to show one skill. Working closely

with the teacher the groups can create and practice their showcase.
During the weeks ask the class to perform sections of the show case to
each other, using the criteria for PA2 set targets for improvement.
It would also be good practice at this time for the candidates to get into
the practice of keeping a project diary. Taking 5 10 minutes at the
end of the lesson to write down some feedback from their peers and
the teacher, which will help them with the evaluation at the end of this
term.
11 12 Performance and evaluation weeks
During these weeks candidates need to perform their short showcases

to the class and have a chance to gain some feedback on their
performances.
Use this time also to plan the notes needed for the examination paper
required following the full paper 2.
Ask the candidates to prepare their notes for a 1 hour try at the
examination paper. The question set for this is in the teacher guide for
PA2.
Term 3
Weeks Activity
1-3 Start to plan for next year!!
Following the showcase ask the pupils to create a short skills audit of
where they think their skills are at present. Use the information gained
from the start.
4-7 Preparation for PA1 Task 2 Knowledge of the Performing Arts Industry
Candidates will research the skills and qualifications needed for two
jobs within the Performing Arts Industry.
This will be carried out as a piece of research using the internet, the
library, an interview with an employer or employee, etc. All research
must be kept and submitted with the written coursework element.
See section on relevant job sites (page 28).
Some of the research needed for this task can be done over the
summer holidays but remind the candidates that all notes created or
information found on the internet must be retained as evidence.
8 - 10 Ask the pupils to create a project/presentation based on a performer or

technical skill that they wish to develop next year. They can work in
pairs if their skill is the same.
They need in their presentation to understand the skills that the

performer / technician has and how they hope to use this knowledge
for the assessments next year.
This should help them with the full skills audit required for PA1 task 1.
YEAR 2
PA1 Exploring Performing Arts and the Performing Arts Industry
PA1 is a unit in 3 parts
Term 1
PA1 Task 1 Developing Performing Arts Skills

Task 2 Knowledge of the Performing Arts Industry
Weeks Activity
1-3 General workshop going over performance techniques as a re-cap

from last year. See section on skills development for PA1 (page 21).
4-5 Create ACTION PLAN for skills audit.
Candidates will undertake an audit of one of their Performing Arts skills

at the beginning of the course and will subsequently develop an action
plan with clear targets and timescales for improvement. This plan
should be revisited and updated throughout the study of this task.
6-8 Pupils will now develop their chosen skills over the next few weeks.
Working with guidance from the teacher they will need to keep a log of
their chosen skills.
9-10 Performance and recording of skills development.
Following the work pupils need to create a detailed account of the

specific skills they aim to adopt/adapt in their own work, and analyse
and evaluate how successful they were in achieving their intentions.
What evidence do pupils need to submit for this task?

Audit of the skill to be developed.
Log of the process.
DVD or recording of final skill development session.
Evaluation of the process.
Final piece of coursework completed under controlled assessment

conditions.
11-13 PA1 Task 2 Knowledge of the Performing Arts Industry

Term 2
PA1 Task 2 Knowledge of the Performing Arts Industry

Task 3 (Linked to PA2) Preparation for Performance
PA2A Pro forma to be sent to WJEC
Weeks Activity
1-3 Candidates will complete a written report outlining the key

qualifications, professional skills, personal skills and employment
opportunities for each job.
They will also outline their suitability for one of the roles they have
researched.

conditions.
A report outlining the requirements of two jobs from different

disciplines in the performing arts industry. This will include a
section on the candidates suitability for one of the jobs.
A copy of the research materials used

conditions.
4-6 Task 3 (Linked to PA2) Preparation for Performance
Candidates will carry out research on the Themed Showcase

Performance they will produce in PA2.
This research will include:
the selection of suitable material, in keeping with the choice of

theme, for the candidate and for one other performing skill area
details of at least two venues (either locally or nationally) that
would be suitable for the performance
estimated costing of the venue and equipment
a brief report demonstrating an understanding of health and safety
implications in relation to the candidates role and the actual
performance space selected.
Although candidates will research venues and costing for the
performance there is no expectation that the performance in PA2
will take place in an external venue or that it will incur extra cost.
Weeks Activity
6-12 Preparation for PA2 performance.
Pupils under teacher guidance, will continue to develop the skills

needed to create the themed showcase.
The length of the performance will vary in accordance with the

candidates chosen disciplines and will be worked out according to the
formula of 5 minutes per candidate.
There will be no fewer than 2 and no more than 5 candidates

performing in each group.
Design and technical production candidates must demonstrate their

skill through the display of their designs on the day and operating any
equipment as necessary.
They will also discuss the planning process with the examiner in a
short presentation that will last no longer than 5 minutes. This will
include any research evidence of process and development of ideas
and cue sheets.
See additional notes and guidance on PA2 for structure and evaluation
elements.
Term 3
PA2: Themed Showcase Performance
Weeks Activity
1-3 Final planning for examination date. Paper work sent to visiting
examiner.
The performance will be assessed by a visiting examiner and will be

video recorded by the centre. The DVD/video and the evaluations will
be sent to WJEC by a specified date.
Following The evaluation element of PA2 will need to be completed the day
day of the following the examination.
exam
The examination paper will be given to the centre by the visiting
examiner on the day of the PA2 examination.
6 end of NO FINAL EXAMINATION PAPER.

term
If pupils are studying the double award during the following academic
year, pupils can consider their second performing arts skill.
It is important that teachers choose themes that will give students a broad scope to
develop varied showcases. See the additional section here on PA2 for some Themed
Showcase ideas.
EXAMPLE 2
SINGLE AWARD STUDIED OVER 1 YEAR
Term 1
PA1 Task 1 Developing Performing Arts Skills

Task 2 Knowledge of the Performing Arts Industry
Weeks Activity
1-3 General workshop going over performance techniques. See section on

skills development.
4-5 Create ACTION PLAN for skills audit.
Candidates will undertake an audit of one of their Performing Arts skills

at the beginning of the course and will subsequently develop an action
plan with clear targets and timescales for improvement. This plan
should be revisited and updated throughout the study of this task.
6-8 Pupils will now develop their chosen skills over the next few weeks.
Working with guidance from the teacher they will need to keep a log of
their chosen skills.
9-10 Performance and recording of skills development.
Following the work pupils need to create a detailed account of the

specific skills they aim to adopt/adapt in their own work, and analyse
and evaluate how successful they were in achieving their intentions.

Audit of the skill to be developed.
Log of the process.
DVD or recording of final skill development session.
Evaluation of the process.

conditions.
11-13 PA1 Task 2 Knowledge of the Performing Arts Industry

Term 2
PA1 Task 2 Knowledge of the Performing Arts Industry

Task 3 (Linked to PA2) Preparation for Performance
PA2A Pro forma to be sent to WJEC
Weeks Activity
1-3 Candidates will complete a written report outlining the key

qualifications, professional skills, personal skills and employment
opportunities for each job.
They will also outline their suitability for one of the roles they have
researched.

conditions
A report outlining the requirements of two jobs from different

disciplines in the performing arts industry. This will include a
section on the candidates suitability for one of the jobs.
A copy of the research materials used

conditions.
4-6 Task 3 (Linked to PA2) Preparation for Performance
Candidates will carry out research on the Themed Showcase

Performance they will produce in PA2.

the selection of suitable material, in keeping with the choice of
theme, for the candidate and for one other performing skill area
details of at least two venues (either locally or nationally) that
would be suitable for the performance
a brief report demonstrating an understanding of health and
safety implications in relation to the candidates role and the
actual performance space selected.
Although candidates will research venues and costing for the
performance there is no expectation that the performance in PA2
will take place in an external venue or that it will incur extra cost.
Weeks Activity
6-12 Preparation for PA2 performance.
Pupils under teacher guidance, will continue to develop the skills

needed to create the themed showcase.
The length of the performance will vary in accordance with the
candidates chosen disciplines and will be worked out according to
the formula of 5 minutes per candidate.
There will be no fewer than 2 and no more than 5 candidates

performing in each group.
Design and technical production candidates must demonstrate their

skill through the display of their designs on the day and operating
any equipment as necessary.
They will also discuss the planning process with the examiner in a
short presentation that will last no longer than 5 minutes. This will
include any research evidence of process and development of ideas
and cue sheets.
See additional notes and guidance on PA2 for structure and

evaluation elements.
Term 3
PA2: Themed Showcase Performance
Weeks Activity
1-3 Final planning for examination date. Paper work sent to visiting
examiner
The performance will be assessed by a visiting examiner and will be

video recorded by the centre. The DVD/video and the evaluations will
be sent to WJEC by a specified date.
Following The evaluation element of PA2 will need to be completed the day
day of the following the examination.
exam
The examination paper will be given to the centre by the visiting
examiner on the day of the PA2 examination
6 end of NO FINAL EXAMINATION PAPER.

term
If pupils are studying the double award during the following academic
year, pupils can consider their second performing arts skill.
It is important that teachers choose themes which will give students a broad scope to
develop varied showcases.
2.3 Explanation of skills required for each Performing Arts discipline
2.3.1 Acting
Movement and gesture: Use of movement and gesture should be appropriate to

the role being played. It should enhance characterisation and be applied consistently
from start to finish. Example: Movement may reflect the age of the part being played,
may be suitable to a realistic portrayal of character or the fitting with the style of the
piece, i.e. physical theatre, Brechtian theatre and so on Gesture must be
considered throughout. Intentional and appropriate use of gesture to the role.
Example: Students must realise that hands are an extension of the portrayal of a
character and must be used precisely and with purpose. Being unsure of what to do
with hands can have a negative impact on their overall performance.
Voice: The voice should be explored fully in characterisation and performance. A

student should be able to interact and react vocally. The voice should be able to
show emotion/age/status/personality/emphasis/given circumstances of character. A
student should explore and employ the following in order to be able to achieve the
above points: Clarity, projection, breath control, pitch, tone, pace, volume, pause and
impact. Monotonal reciting of lines should be avoided.
Communication of character: An audience should care about the character a

student portrays if they have communicated that character successfully. If a student
is to fully communicate ideas, thoughts and feelings in an interesting way then they
must have a consistent and committed approach throughout the performance.
Interaction: A student should interact with their fellow performers in a way

appropriate to their character. They should be aware of relationships with other
characters and the impact of their lines as well as their reaction to the lines of others.
Collaborative skills: Students should be part of the whole process and understand
the importance of their role in the bigger picture. They need to be able to work with
others, compromise and their performance should make a telling contribution to the
overall piece.
2.3.2 Circus Skills
Technical control: Students should execute their skill with ability, in a way that
demonstrates knowledge and understanding.
Accuracy: There should be a control over the skill that enables a precise and
accurate performance.
Interpretation: Students should present an original interpretation, showing an

understanding of how their skill can be used to create an entertaining performance.
Creativity: The skill should be explored as fully and creatively as possible with
consideration of its integration, impact and contribution to the performance overall.
overall piece.
2.3.3 Costume Design and Make-Up
Series of drawings/materials/measurements/inspiration/colour choices. Justification

of choices. This is really research towards final design that should contain as many
different elements of research as possible.
Minimum of two final designs (costume or make up) in performance. There should be
two actors (or two examples) wearing the costume or make-up design during
performance. Costume can be hand made by candidate or assembled. Make up
must be applied by candidate.
Creativity: Costume/make-up should be fully explored and final designs should be

part of a considered, thoughtful process with an understanding of how the design
impacts and contributes to the performance overall.
others, compromise and their performance / design should make a telling
contribution to the overall piece.
2.3.4 Dance
Technical skill: Students should show a control over movement, with a core
strength and technical ability. They should demonstrate a purposeful spatial
awareness of how they incorporate and cover the floor during performance.
Fluidity of line: Students should give a consistent and committed performance that
shows a good posture, line and flow of movement. There should be an element of
executed fluidity and grace within the chosen dance discipline.
Interpretation of music: The dance should reflect an interpretation of music,

demonstrating the relationship between the two.
Creativity in choreography: The performance should show an understanding of

how dance is another form of expression and communication, this should be
explored through the creativity employed in the routine.
overall piece.
2.3.5 DJ-ing
Research: students should show a technical knowledge of hardware that can be

used - this should be researched and an understanding of this reflected in their
performance.
Range of sounds: There should be a range of sounds explored and a minimum of

two demonstrated during performance.
Interpretation: There should be a thoughtful and considered interpretation of the

work performed with original elements.
Creativity: The work should have been fully explored and the final performance
should show creativity that communicates to the audience and adds to the overall
performance.
overall piece.
2.3.6 Lighting
Knowledge of lighting rig/plot: (by rigging we mean putting up the lighting and the
plot is the pattern of how and when the lights will be used throughout the piece)
students should in their research portfolio show a knowledge and understanding of
rigging and how to plot. They should also have a final plot and cued up script.
Use of colour and different lighting effects: Candidates should use a minimum of
four colours/effects and a minimum of eight lanterns to achieve this. They also need
to supervise the rigging of the lighting.
Accurate operation of lighting board during performance: students need to

operate the board live.
Creativity in design: candidates need to demonstrate an understanding of how the

lighting contributes to the overall performance, i.e: mood, time, place etc. being as
creative as possible in their design.
overall piece.
2.3.7 Music
Technical skills: Students should be able to have technical ability on their chosen
instrument/voice.
Accuracy in performance: Students need to accurately perform, with control and

attention to the score. i.e: timing, rhythms, notes, dynamics etc.
Interpretation of music: There should be an understanding of how music is

interpreted and communicated to the audience and the ways in which this can be
achieved and the story or emotions etc. that this can portray. There should be a
considered and committed performance.
Creativity in composition or performance: Music needs to be fully explored and

creatively composed and/or performed. Making a contribution to the overall group
piece.
overall piece.
2.3.8 Music Technology
Technical knowledge: Research in to the hardware/software that can be used.

There should be a thorough awareness of this. Students then need to show an
element of composition/arranging that represents the concept.
Balanced and varied sounds: Students need to demonstrate a minimum of three

different sounds. Music Tech needs to then be realised in live performance.
Interpretation of work: Candidates must use music technology in a way that

interprets the concept and contributes to the overall piece.
Creativity: Students must demonstrate a fully explored and best way to incorporate
and use music technology which benefits the performance and communicates with
the audience.
overall piece.
2.3.9 Set Design
Research: Containing a series of drawings, materials, measurements etc. leading to

the final design. This portfolio should show detailed research and wider
understanding.
A model of the set: This can be hand made or computer generated. The actual set
construction needs to be supervised by the candidate.
Interpretation: There needs to be evidence of how the candidate has used the set
to interpret the concept of the group.
Creativity: Students must acknowledge and consider how their set enhances and
contributes to performance and fully explore the best creative way in which to do
this.
overall piece.
2.3.10 Sound
Technical knowledge: In their portfolio of research there must be evidence of

technical equipment that can be used in producing sound for performance and how
to set this up.
Balance and sound effects (SFX): There needs to be a levels and cue sheet
drawn up. (by levels we mean the volume at which the sound will be relayed and a
cue sheet is a marked script that tells the candidate when to play and stop a sound.)
Interpretation: Candidates need to use sound to reflect and enhance the overall
piece appropriately. Interpreting the theme and creatively using sound to
communicate with the audience.
Accurate operation of sound: The sound design needs to be operated and

realised in performance with a mixture of live (e.g. banging a table for a slammed
door) and pre-recorded sounds and a minimum of eight cues.
overall piece.
2.3.11 Stage Management
Prompt script: Students need to have a final script with cuts to act as a prompt to
the cast if needed. There should also be copies of all cue sheets in the possession of
the stage manager with accordingly adjusted and personalised notes. They need to
be fully aware of everything that happens in the show.
Props List/Table: Any props used during the performance should be listed and
labelled on a table for actors to collect on their way to stage and return after use.
Running of performance: There should be realisation of Stage management

during the actual performance, with candidates running and calling the show.
overall piece.
3. SUPPORT FOR TEACHERS
The resources indicated below may assist you in teaching the GCSE Single and
Double Award Performing Arts specification. The resources are suggested and the
list is not definitive. If you wish to recommend some resources that you have found
useful, please inform the subject officer at WJEC and we will add them to this guide.
INSET courses will be organised periodically, usually in the autumn term, to support
teachers in delivering the specification and to provide feedback on the examination
process. The INSET course booklet will be available via your INSET coordinator in
school or you can access the list of courses via the Professional Development link on
www.wjec.co.uk/professionaldevelopment. You can also apply for courses using
the online form.
Further advice and support can be offered by the subject team at WJEC. Elaine
Carlile (Subject Officer: (029) 2026 5316, elaine.carlile@wjec.co.uk) and Leah
Crowley (Subject Support Officer: (029) 2026 5142, leah.crowley@wjec.co.uk)
3.1 Generic resources for the specification as a whole

Suggested textbooks include:
Essential Guide to Business in the Performing Arts (Essential Guides for GNVQ
Performing Arts) (Paperback): Viviene Freakly and Rachel Sutton. (Hodder &
Stoughton: ISBN 978-0340655252)
Getting Into Music, Drama & Dance. (Trotman) ISBN 0-85660-373-2
3.2 General websites

www.wjec.co.uk
WJECs website offers recent information on courses and INSET.
The following websites are a good source of resources for teachers:
http://www.ngfl-cymru.org.uk/
http://ahds.ac.uk/performingarts/index.htm
http://www.loc.gov/performingarts/
http://www.vts.intute.ac.uk/he/tutorial/perform
http://www.arts-info.co.uk/
http://www.bbc.co.uk/learning/subjects/performing_arts.shtml
http://ahds.ac.uk/performingarts/creating/index.htm
http://www.rhinegold.co.uk/magazines/magazines_catalogue.asp?m=1&id=94
4. UNIT GUIDES
4.1 PA1: Exploring Performing Arts and the Performing Arts Industry
This unit comprises of three controlled assessment tasks. The task setting, taking
and marking for each of the tasks has medium control. The pupil in consultation
with the teacher will select the areas they wish to explore in each task. The pupils
will carry out research work under limited supervision. The pupil will complete the
written tasks under the formal supervision of the teacher. The teacher will mark each
task and a sample will be sent to a moderator appointed by WJEC.
Every teacher will have their own individual approach to delivering this specification.
It is important that the three tasks set in PA1 are seen as progressive and that
candidates realise that each task is enhancing and developing the knowledge
already gained from the task before. Therefore the three tasks under the canopy of
PA1 should be seen as holistic with skills being transferable from one task to the
next.
Guidance notes on Task One: Developing Performing Arts Skills
The notes in this guidance can be used or adapted to suit the needs of students and
teachers.
For Task One the student must concentrate on the development of one performing
arts skill of their choice (see page 6 of specification for guidance).
The research and development done for the written work that is required for this first
task is an ongoing process throughout. However the actual process of writing the four
formal tasks must be done under controlled assessment conditions and must not
exceed six hours. The four pieces of recorded work required are as follows:
Skills Audit;
Improvement Log;
A recording of a set task demonstrating their skill (CD or DVD);
Self-Evaluation/Analysis.
As PA1 Task One provides students with their exploratory foundation in to the
course, it is suggested that Task One could stretch over the first term. It is certainly
recommended that at least 10 weeks are taken from introduction to completion of the
tasks requirements. Here is a model of how the first term could be structured:
Weeks 1-4: General introduction to performing arts with basic exploration in to the
skills (or selected cross-section) listed on page 6 of the specification. Workshops on
selected skills would be a good practical way in to giving the students tasters of
different disciplines, along with good examples of various skills via DVD / Audio or
Live Performance. If you know your group well you can tailor examples down to only
include those skills which you believe they will target for assessment. This would
allow students to get a feel for what area they have interest and strength in and
which skill they will choose to focus on. It will also provide them with a grounding for
their development and assist them when they come to write their skills audit.
Encourage them to informally write down their experiences and findings of the work
they undertake over this period.
In week four get each student to formally complete their skills audit and improvement
log. In this they need to record the skill they are going to be assessed in and their
current strengths they have in this area. This can be done in bullet point form. They
then need to list what they would like to improve.
Next, candidates need to draw up an action plan (see exemplar for format guidance)
which identifies clear targets for improvement, the action taken, the target date and
notes. This is the improvement log.
Weeks 5-6: Each candidate undertakes a task to work on during this time. For
example: an acting candidate may look at a monologue executed in different ways, a
singing candidate may examine a particular song, a dancer may choreograph a
routine in a specific style. All candidates need to work on their task in relation to the
improvements they need to make, recorded in their log. Research can be done in any
form to help them with this, activities, exercises, internet research, can all be
undertaken to aid them in their improvement. The activities executed to assist them
with each target need to be written down on their improvement log, so that the
candidate is constantly being seen to revise and update their work as they progress
through the task.
Weeks 7-10: While working on their task candidates need to research a professional
in the industry relevant to their skill and record how they will adapt / adopt the skills of
this professional in to their own work, to help them achieve their targets.
Candidates then need to make a formal recording of the task they have been working
on trying to incorporate all their improvements in to their performance or design
demonstration.
After completion of this candidates need to write up a self evaluation of this
recording, stating how successful they believe they were in achieving an overall
improvement in their skill and whether they achieved their targets for improvement.
Were their intentions realised?
It is important to remember that teachers are not expected to be specialists in

every skill that a candidate may wish to explore. They need to provide
guidance, advice and opportunities for their students own research and
performance and the knowledge and progression that they may gain from this.
An example of a completed PA1 task one can be found here.

Suggested resources include:
Many performances can be viewed on Youtube: http://uk.youtube.com/ (subject
to teacher guidance and home-related study)
Acting
The Complete About Acting by Peter Barkworth (Methuen Drama:
ISBN 978-0413661104)
Acting and Reacting: Tools for the Modern Actor by Nick Moseley (Nick Hern Books:
ISBN 978-1854598035)
The Vocal Arts Workbook and DVD: A Practical Course for Developing the
Expressive Range of Your Voice (Book and DVD) by David Carey and Rebecca
Clark Carey (Methuen Drama: ISBN 978-0713688245)
Circus Skills
Circus Techniques by Hovey Burgess
http://www.nofitstate.org/
http://www.circusarts.org.uk/i-want-to/learn-circus-skills/index.php
http://www.circus-skills.co.uk/
Dance
The Best Dance Moves in the World ... Ever!: 100 New and Classic Moves and How
to Bust Them by Matt Pagett (Simon & Schuster Ltd: ISBN 978-1847371966)
Essential Guide to Dance by Linda Ashley and Laura DeGrasse (Hodder Arnold:
ISBN 978-0340968383)
Dance Composition: A Practical Guide to Creative Success in Dance Making by

Jacueline M. Smith-Autard (A& C Black: ISBN 978-0713668247)
http://www.danceuk.org/metadot/index.pl
http://www.istd.org/dancestyles.html
DJ-ing
How to DJ (Properly): The Art and Science of Playing Records by Bill Brewster and
Frank Broughton (Bantam Press ISBN: 978-0593058114)
How to DJ Right: The Art and Science of Playing Records by Frank Broughton and
Bill Brewster (Grove/Atlantic: ISBN 978-0802139955)
DJ Techniques by Frederiks T (Sancruary Publishing Ltd.: ISBN 978-1844920273)
DJ Skills: The Essential Guide to Mixing and Scratching by S Webber (Focal Press:
ISBN 978-0240520698)
DJs Complete Guide (DVD 2002)
www.djpassion.co.uk/
Music performance
The Ultimate Practice Guide for Vocalists (DVD )
Developing your Voice for Performance (DVD)
http://www.abrsm.org/resources/theseMusicExams0607.pdf
http://www.abrsm.org/?page=students/advice/practiceTips.html
http://www.expertvillage.com/videos/voice-lessons-vocal-performance.htm
Music technology
Sound on Sound Book of Music Technology: A Survivors Guide by Paul White

(Music Sales: ISBN 978-1860742095)
Recording and Production Techniques by Paul White (Music Sales)
http://mustech.net/
http://createdigitalmusic.com/
http://www.podcomplex.com/blog/music-tech-links/
http://www.soundtree.com/
http://www.ti-me.org/
Technical Production Skills
Stage Design: A Practical Guide by Gary Thorne (ISBN: 978-0025473904)
Scenic Design and Lighting Techniques: A Basic Guide for Theatre by Rob Napoli
(ISBN: 978-0240808062)
Drawing and Rendering for Theatre: A Practical Course for Scenic, Costume, and
Lighting Designers by Clare P. Rowe (ISBN: 978-0240805542)
Sound and Music for the Theatre: The Art and Technique of Design by Deena Kaye
and James Le Brecht (ISBN: 978-0240803715)
Theatrical Design and Production: An Introduction to Scene Design and

Construction, Lighting, Sound, Costume and Make-up by Michael J. Gillette (ISBN:
978-0767411912)
Designing Stage Costumes: A Practical Guide by William Gaskill (ISBN: 978-

1861264169)
Costume and Make-up (Theatre Manual) by Michael Holt (ISBN: 978-0714825120)
Essential Guide to Stage Management (Essential Guides to the Performing Arts) by

Scott Palmer (Hodder and Stoughton: ISBN 978-0340721131)
Stage Management: The Essential Handbook by Gail Palin (Nick Hern Books: ISBN
978-1854597342)
Stage Management: A Practical Guide by Suzie Copley and Phillipa Kilner (The
Crowood Press Ltd: ISBN 978-1861264534)
http://www.scenography.co.uk/theatre-design-portfolios/view-all-designers/
http://nationaltheatre.org.uk/
Guidance notes on task two: Knowledge of the Performing Arts Industry
The aim of this task is to ensure that pupils have a realistic understanding of the
career opportunities that are available to them in the Performing Arts Industry. You
could start this topic by brainstorming with the class a list of generic skills that will
apply to all disciplines in the industry. An example is included on the following page.
Following on from this activity, pupils could then work in groups to brainstorm skills
required for their particular disciplines. For example, the technical production skills
(lighting, sound, costume, make-up, stage management, etc.) could work together.
The next suggestion would be for pupils to work together to consider the various
career opportunities available within each discipline. As a teacher, you should then
compile a list of jobs under each discipline, which can be a reference for all pupils in
the class. The list could be displayed to all during a plenary session with any other
suggestions added during the whole class discussion. (See list on the next page:
please note that this list is not exhaustive).
With access to these lists, pupils should then be in a position to complete research
on at least two careers. Each career should be from a different performing arts
discipline (as listed on page 6 of the specification). However, it is perfectly
reasonable for a pupil to consider jobs that are related to each other, even if they are
from different skills areas. For example, a pupil could carry out research on the job
of an actor and a dancer. Another pupil may wish to research the work of a sound
technician and a radio DJ.
At this stage pupils should be carrying out individual research. This can be done in
their own time. Pupils can access various websites as detailed at the end of this
section. However, wherever possible pupils should be encouraged to discuss career
opportunities with those already working in the industry. The research could take the
form of an interview with a professional in the industry. Pupils should be encouraged
to consider the following points to help them focus their research. As ever, this is not
an exhaustive list and the more inventive pupils will consider other areas.
1. Description of the work role
2. Usual hours worked
3. Types of contract available
4. Working conditions
5. Salary and benefits available
6. Skills and personal qualities needed
7. Qualifications or training needed/available
8. Experience needed to gain employment
9. How to find work
10. How to develop your career once established.

Creativity
Self-discipline
Stamina
Confidence
Open-mindedness
Awareness Communication
WHAT SKILLS DO I NEED TO SUCCEED IN
skills
THE PERFORMNG ARTS INDUSTRY ?
Teamwork and
collaboration Resilience
Self-
awareness Analytical and
Willingness to Time management research skills
experiment and organisational
skills
Technical
Acting Circus Skills Dance DJ-ing Music Performance Music technology
production skills
Theatre actor Touring circus Ballet dancer Club DJ Classical Acoustician Theatre /arts
(straight/comedy performer instrumentalist solo administrator
plays)
Theatre actor (musical Street theatre Contemporary Mobile DJ Classical Music composer Entertainment
theatre) performer dancer instrumentalist manager
(orchestra)
Film actor Stunt artist (theatre Ballroom dancer Radio DJ Solo Vocalist Recording studio Wardrobe assistant
or film/TV) (classical/opera) sound engineer
TV actor Childrens entertainer Work in a dance VJ Choral vocalist Sound technician Costume designer
company (classical/opera)
TIE actor/Drama Community Arts Work as a Popular music Freelance arranger Dresser
workshop leader worker session dancer instrumentalist (solo) for a recording
studio
TV/radio Musical theatre Popular music A & R work for Make-up artist
announcer/presenter dancer instrumentalist recording studios
(band)
Stand-up comic Film and TV Popular music singer Theatre sound
dancer (solo) engineer
Impressionist Dance in Popular music singer Sound technician
Education (band)
company
Model Choreographer Military musician Stage manger
Conductor Production manager
Session musician Assistant stage
manager
Musical Stagehand
director/performer
Rptiteur Properties maker
Stage/set designer
Theatre director
Once pupils have carried out their individual research they should discuss their
findings with you before the final write up. Pupils will also have to outline their
suitability for one of the jobs they have researched. This is just a question of
ensuring that they understand the requirements of the job and that they show how
their skills and experience so far matches the requirements of this position. For
example a pupil who has been involved in dancing, participating in school or
community productions, taking dance classes, displaying the ability to be self
motivated and resilient in other areas, etc. would easily demonstrate their ability to
become a professional dancer.
As this is a controlled assessment task, pupils will write their final report (maximum
1500 words) under the formal supervision of the teacher. The maximum time
allowance for this task is three hours. This does not have to be taken during the
same session. For example, it is perfectly acceptable for pupils to work on this task
over three, one hour sessions. However, pupils must not have access to their work
in between sessions. As a teacher you must not give specific advice to candidates
during the final write up. You can give general advice, such as a reminder of the
headings or general content that must be contained in the report. You must not re-
word or re-phrase pupils work. The work must not be re-drafted and then re-
submitted.
Pupils may choose to write in continuous prose or may use the headings they
have used in their research as detailed on page 25. They could write a report on
the first job under headings, the same procedure for the second job and finally a
section on their suitability for one position.
As a general rule, pupils should write approx 500 words on each section, i.e. Job
One = 500 words, Job Two = 500 words and Suitability = 500 words.
Pupils are allowed to use their research notes whilst completing their write-up.
These notes must be submitted to the moderator with the final piece of written
work.
An example of a completed PA1 task two can be found here.
Suggested resources include:
Performing Arts (Careers Uncovered) by Dee Pilgrim (Trotman Education: ISBN 978-
1844551316);
So You Want to be an Actor? By Timothy West and Prunella Scales (Nick Hern
Books: ISBN 978-1854598790);
Actor's Guide to Getting Work by Simon Dunmore (A&C Black: ISBN 978-
0713668223);
Make Acting Work: The Practical Path to a Successful Career by Chrys Salt
(Metheun Drama: ISBN 978-0413761408);
Working in the Music Industry: How to Find an Exciting and Varied Career in the
World of Music by Anna Britten (How To Books Ltd: ISBN 978-1845283575);
How to Make it in the Music Business by Sian Pattenden (Virgin Books: ISBN 978-
0753512432);
All You Need to Know About the Music Business by Donald S Passman (Penguin:
ISBN 978-0141031156);
Working in Music and Dance (My Future Career) by Margaret Mc Alpine (Gareth
Stevens Publishing: ISBN 978-0836847772);
High Kicks!: The Essential Guide to Working as a Dancer (Ballet, Dance, Opera and
Music) by Donna Ross (A& C Black: ISBN 978-0713651102);
A Dancer's Guide to Getting Work by Jenny Belingy and John Byrne (A&C Black:
ISBN 978-0713669466);
Careers in Technical Theatre by Mike Lawlor (Allworth Press: ISBN 978-

1581154856);
Careers in the Theatre by Jean Richardson (Kogan Page Ltd. : ISBN 978-
0749424206);
First Steps Towards an Acting Career (Stage & costume) by Nigel Rideout and
Prunella Scales (A&C Black: ISBN 978-0713641301);
Sound Engineer (Cool Careers in Science) by Patricia Hynes (Cherry Lake Pub:
ISBN 978-1602790544);
Careers in Audio by Jeff Touzeau (Delmar: ISBN 978-1598634600).
http://www.connexions-direct.com/jobs4u/index.cfm
http://www.careerswales.com/
http://careersadvice.direct.gov.uk/
http://www.circusarts.org.uk/i-want-to/get-work-in-circus/index.php
Guidance Notes on PA1 Task Three
This task is marked out of 30.
This work will be internally assessed by the teacher using the assessment criteria in
on pages 25 of the specification.
A sample of work will be sent to WJEC for external moderation. The work will be
submitted on a specified date in the summer term. The moderator will only need to
see the work completed by the candidates in the sample.
They will produce a report (maximum 1,500 words) providing a rationale for their
ideal venue for the performance, costings, health and safety implications for their
individual role, and details on suitable material to include in the performance for
their own individual performance skill and those of at least one other performance
skill outlined in the specification.
Each teacher will have their own individual approach to delivering this specification. It
is important that candidates realise the links between the PA1 & PA2.
The teacher must see the research work undertaken by the candidate at least twice
and no more than four times during the process. Teachers may suggest
improvements to work in general terms to candidates. The teacher must not give
specific advice to candidates on the content of the work.
The maximum time allocated to this task is 4 hours. This should be taken over a
series of lessons. This does not take into account individual research and teaching
and learning time undertaken.
Candidates' access to resources is determined by those available to the centre and

can include use of the internet, books, live theatrical performances, recorded (audio
or video)performances, etc.
the selection of suitable material keeping with the choice of theme.

one other performing skill area detailed in the specification.
details of at least two venues (either locally or nationally) that would be
suitable for the performance.
estimated costing of the venue and equipment.
Examples of Approaches
Preparation for Performance
Candidates will carry out research on the Themed Showcase Performance they will
produce in PA2. It is important to stress at this point that each candidate needs to
complete their own individual written task for this unit BUT not everyone's ideas will
be seen during the performance for PA2.
It is the centres responsibility to choose the theme for PA2 that will give the
candidates enough scope to complete this written task. A selection of ideas can be
seen in guidance for PA2.
The work of the individual may be informed by working with others but the work of
the individual will be assessed.
the selection of suitable material in keeping with the choice of theme.

Using the skills they have developed through the course candidates should have
an understanding of what skill they wish to present and how they can do this in
relation to the themed showcase.
material for one other performing skill area detailed in the specification.
This will give the candidate the opportunity to consider material for a different
performing discipline. This may be a performing skill with which they are familiar.
Equally, they may explore an unfamiliar performing discipline.
details of at least two venues (either locally or nationally) that would be

suitable for the performance.
The school hall would be an appropriate venue or the room where the
examination will take place. It is important that the candidate realises that these
venues come at a cost.

(a) Does it have a lighting rig?/Do you need one? Does the venue come with
a technician?
(b) Does it have a sound system?/Can it play CD, mp3s? Are there any
microphones?/Do they need any microphones? Are there any speakers?
If so, how powerful are they?
(c) Do they have any scenery etc. they might wish to use?
(d) Where can they get equipment?
The following website www.stagelightingservices.com (STAGE LIGHTING
SERVICES) has some excellent resources for this section of the task. There is a full
list of lanterns, lighting equipment and staging requirements, available with a facility
to download their full catalogue. A shopping basket facility will enable the
candidates to choose their desired lighting requirements and the cost will appear.
You can then decide whether the order is too expensive or not.
For further details and assistance the company details are
STAGE LIGHTING SERVICES
UNIT 3
FIELD WAY
MAESYCOED ROAD
HEATH
CARDIFF
CF14 4HY
(029) 2061 3577
During 2009, STAGE SOUND SERVICES will also have a similar site specifically for
sound equipment and audio visual hire.
a brief report demonstrating an understanding of health and safety
implications in relation to the candidates role and the actual performance
space selected.
(a) Any major venue and school hall should have a health & safety document
(b) Many sites on line giving health & safety advice in areas of performing
arts.
(c) candidates should relate the report to their own role and not to the entire
performance. For examples, a guitarist would need to consider the
safety of the electrical outputs in the venue. Consideration would also
need to be given to trailing leads, etc.
Although candidates will research venues and costing for the performance there is
no expectation that the performance in PA2 will take place in an external venue or
that it will incur extra cost.
An example of a completed PA1 task three can be found here.
The path from PA1 TASK 3 to PA2
A decision on the initial ideas of the showcases need to be sent to WJEC in January
of the year of examination (Pro-forma PA2A).
The groups can be arranged with up to 5 candidates performing and two doing
technical skills. Each group needs to devise its showcase. By using the grid below
it gives the group a chance to share ideas, pick out the best and start to structure the
showcase. Remember not every idea needs to be in the final PA2 showcase.
On the next page there is an example on the theme of GOOD & EVIL. By using
arrows you can connect similar ideas and create your final structure.
4.2 PA2: Themed Showcase Performance

4.2.1 Performance
Teachers are advised to adapt their ideas according to the ability of the
pupils. They should all be based in practical work.
The technical candidates will base their research on designers, lighting

designers, etc. They should be allowed to branch out and choose
contrasting lighting designers, staging designers, costume designers, etc.
There are a lot of reference books and web sites that can be of assistance.
The groups can be arranged with up to 5 candidates performing and two

doing technical skills. The specification has been written to allow for flexibility
and to take into account varying circumstances. However, it should be
noted that it is not a requirement for groups to include technical candidates.
All groups should identify themselves and their skill to the examiner and on
the DVD recording. An ideal position for the video camera would be behind
the examiner. The DVD and the examination papers should be sent to the
examiner within 7 working days.
Following the performance examination candidates are required to sit a 1

hour written examination. Candidates will asked to discuss 6 points relating
to their preparation and performance for PA2:
The preparation and rehearsal process;

The development of their won skills and those of others in their group;
The feedback they received during the rehearsal process
The effectiveness of the final performance
The audiences reaction to the final performance
Future targets
Candidates need to keep a diary or record of work for the first 3 points
during the preparation for the exam. Examples of how this evidence might
be collected can be found here (click to open the attachment window).
Following the performance pupils need an opportunity to prepare for the 3
final elements. Again they can use the template examples provided. It is a
good idea for the candidates to watch the DVD recording before writing their
exam paper as they may then comment on audience reaction and future
targets.
There is a minimum requirement that the performing candidates needs to consider

when performing in the showcase. Here is a guide that should aid your pupils to
develop their chosen skill.
Acting Circus skills Dance DJing Music
Appropriate use Technical Technical Technical Technical

of movement ability and ability and knowledge of ability
and gesture in understanding control in equipment demonstrated
relation to of chosen chosen dance in chosen
characterisation skill(s) style instrument
/voice
Use of voice A controlled A Range of A controlled

appropriate to and accurate demonstration sounds and and accurate
character performance of posture and techniques performance
fluidity of line used in
performance
Communication Interpretation of Interpretation of Interpretation of Interpretation of

of character to skill in music in their work in music
audience performance routine performance performed
Interaction with A creative use Creative Creative use of Creativity in

fellow of their skill choreography music/sounds composition/per
performers formance
Collaborative Collaborative Collaborative Collaborative Collaborative

skills skills skills skills skills
If candidates select the technical option it is important to note that there must be
enough equipment in the school to allow them to experiment and be bold with their
ideas.
Costume
Music Stage
design and Lighting Set design Sound
technology management
make-up
Portfolio of Portfolio of Portfolio of Portfolio of Portfolio of Portfolio of

research research research research research research
explaining explaining explaining explaining explaining explaining
their concept their concept their concept their concept their concept their concept
for the for the for the for the for the for the
showcase showcase showcase showcase showcase showcase
Research of a Operation of a An element of Series of Including Prompt script

minimum of 2 manual or composition/ar drawings of live & pre- for actual
costumes computer ranging that concept for recorded performance
board represents the showcase sound. including cue
concept Minimum of sheets for
8 cues lighting &
sound & call
sheet
Drawing of Supervise the Minimum of 3 Scale model Levels & Realisation of

final design rigging of the different of design. Cue sheet stage
lights sounds Real or management
computer during
generated performance
Realisation of Plot of lights. Realisation of Supervise the Operation of Props list/table

make-up & music creation of the sound showing use
costume in technology set used in equipment in
performance during performance during performance
performance performance
(this can be
recorded)
Costume may Minimum of 4

be made or colours/effects
assembled. using a
Make-up must minimum 8
be applied to lanterns/mixed
performer by
candidate
5 minute 5 minute 5 minute 5 minute 5 minute 5 minute

presentation presentation presentation presentation presentation presentation
to a visiting to a visiting to a visiting to a visiting to a visiting to a visiting
examiner examiner examiner examiner examiner examiner
During the whole process students should be assessing their own work, with the
help of the teacher. It is also important that teachers should intervene at an early
stage to sort out tensions or any problems.
It is essential that teachers complete and return the paper work on the PA2A pro
forma by January of the assessment year, and submit it to WJEC so that
examination visits can be organised in advance.
The PA2B (or centre designed programme) and PA2C pro-formas should be handed
to the examiner on the day of the examination before the exam commences.
The PA2 pro-forma should be written in candidate number order and handed to the
examiner, along with the centre approval form, on the day of the examination before
the exam commences.
Please note that this examination will take place between March & May of the
examination year.
Showcase ideas
For each of the following ideas here are a few suggestions on how to develop them
into showcases.
BEHIND CLOSE DOORS
1. Domestic abuse. A showcase using acting and dance scenes to develop this
theme. Audience KS4 & KS5 pupils
2. Narnia: - What is behind your wardrobe.? A selection of fairy tales for Year 3
pupils.
NEVER THERE
1. Homeless. Teenagers alone and vulnerable. A selection of acting scenes

using music technology as a background to the piece. Suitable for KS3 pupils
as part of their PSE course
2. A selection of magic tricks and magic songs to entertain an audience of over

60s in a day centre.
ONCE UPON A TIME
1. The truth behind the fairy tales. A whole piece based on dance to tell the
story of a well known fairy tale to year 2 pupils in a school hall.
2. A circus troop tells the story of the old clowns that used to entertain the
crowds. Using circus skills and drama to help tell the story to a selection of
peers and parents.
WHY ME?
Anti bullying project aimed at year 7 pupils

ALWAYS ON MY OWN
1. Anti bullying project aimed at year 7 pupils.
2. Songs from Les Miserable showing how each character feels alone at
some point in the show. Audience of parents and peers in the school hall.
SUMMER TIME
1. Remembering the holidays back in the 40s when everyone went to the
seaside. Look at the music of the time period and images to recreate the feel
of the era for a selection of OAPs.
2. Getting ready for big school a transition based project aimed at year 6
pupils about the myths surrounding secondary school.
3. Fiesta using dance, DJing and Music Technology re-create the feel of a
summer festival.
RAIN
1. A movement and drama based piece based on the theme of water.

Exploring how people react to the rain in different countries - for year 11
pupils.
2. Extracts from Singing in the Rain. Explain to a selection of teachers why

this musical would be suitable for a school production.
GOOD AND EVIL
1. Look at the song Good and Evil from Jekyll and Hyde, and act the story in
the song using the music as a backdrop. Convey the dark side of London in
the 19th century to an audience of peers and parents in an end of year
performance night.
2. Using the Wizard of Oz as the background to the exploration of what could

be over the rainbow. Suitable for KS2 pupils.
WAR
1. The forgotten heroes. A poem based piece looking at how different poets
have dealt the theme of lost heroes. Audience of year 10 year 13 pupils.
2. A project looking at the music and propaganda of WW1. Using the music
and acting talent in the group look at the different views conveyed in the
music of the time.
GAMES
Old games such as snakes and ladders where do they originate? Tell the story to
a selection of year 7 pupils in an assembly.
SHADOWS
Puppets and shadows. What hides in the shadows? Using music and visual images
create a scary story for year 4 pupils in a primary school.
TEACHER CHECK LIST
PA2A returned to WJEC in January of the examination year.
5 candidates per group. No more than 2 technical candidates in addition each

offering a different skill. (there is no requirement for groups to have technical
candidates). E.g. a group of 3 musicians working together to create a showcase
might each perform a solo piece and an ensemble piece together.
PA2B, PA2C & PA2 pro-forma presented to the examiner on the day of the
examination.
CENTRE APPROVAL FORM needs to be presented to the examiner on the day of

the exam.
EXAMINATION PAPER this must be completed under formal examination

conditions. Ideally the following day or as close as possible.
Candidates notes taken throughout the process to be sent to examiner with

papers.
4.2.2 Evaluation
It is important to build up pupils evaluation skills during their GCSE course. This assists
them in improving their own work, problem solving, decision making, etc. Developing pupils
evaluation skills should form part of every practical performing arts lesson and can be
developed through formative assessment, Assessment for Learning and critical thinking
techniques in the classroom.
The chart on the next page suggests a general approach to teaching evaluation:
Pupils usually
Work on Engage engage
engaging pupils Pupils carry out the task to be evaluated successfully in
to identify performing
criteria, analyse tasks
and judge
alongside the
practical task Work on
modelling
ways of
thinking and
Give enough time speaking
and emphasis in Model and Focus
about the
lessons to give Pupils become familiar with the language of evaluation
process of the
both individual and through its use by the teacher in instructions, explanations
task
group feedback and reviews of performance and by the teacher focusing on
using words and its key features in written evaluations
phrases like: You
are good when; Constantly
I think it works repeat words
when; That and phrases
looks better needed to
because make
Good now you judgements,
need to give reasons
and explain
how to
improve
Agree the criteria

Share Carefully consider the
for the task with
Whole group activities in which the individual pupils is way you question pupils.
the class. Observe
encouraged, in response to teacher questioning, to describe, Ensure that you lead
successful and
explain, identify criteria, analyse, judge and to contribute pupils through a
unsuccessful
ideas on how to structure written evaluations sequence to establish
attempts: Why is
understanding, challenge
this one better?
and further extend pupils
Ask open ended
thinking
questions: What
could he/she do to
improve that part?
Use open questions and
time limits for thinking and
responding
Support/Scaffold Give pupils opportunities

Use strategies A range of prompts/speaking frames are provided for pupils to make judgments
such as working individually/in pairs/in groups to engage in against criteria in pairs
matching; good describing, explaining, identifying criteria, analysing and and groups. Use peer
thing/bad thing judging and writing frames are provided to help pupils coaching methods
and other structure evaluations
paired/group
activities
Thinking and talking about what to say in
instructing others will promote analytical
thinking about the process that will help
pupils to improve their own performance
Get pupils to make
their own
checklists.
Alternatively, ask Give pupils written
Compose/construct
pupils to create a Pupils produce their own evaluations independently follow-up tasks to
mnemonic device some of the oral
to remember activities
important aspects
of a skill/task
Peer and self assessment
Give pupils plenty of opportunities to reflect on their own and others work. They
should work out how to improve it. Consider the following stages for developing peer
and self assessment skills in your pupils.
STEP THREE
Do pupils have the
language for evaluation?
Tip: Display useful words

and phrases in your
classroom. (see next
pages).
STEP TWO
Do pupils know how to
highlight two examples of
good work and one area of
improvement?
Tip: Use strategies such

as two stars and a wish.
STEP ONE
Do pupils know what a
good piece of work looks
like?
Tip: Use anonymous work

from the class, previous
pupils or make some
yourself
The simplest model for peer and self assessment is:
1. you model it for the pupils (think aloud while critiquing a piece of work);
2. the highlight two examples within their own and others work where they
have met the objectives;
3. they highlight one area in their own work where they could improve;
4. they make that improvement .
4.2.3 Creating an Evaluation
Pupils should be encouraged to talk about their work and then bit by bit, to write their
own evaluations.
To purpose of an evaluation is to reflect critically on an activity/process that has been

undertaken. It can be broken down into constituent parts, as demonstrated below.
STRUCTURE LANGUAGE FEATURES
Statement of what was to be Conditionals, e.g. could,

achieved (planning) should, would
Description of what was done Often in first person singular,
(action) e.g. I decided to
Explanation of why particular Clear sequential structure,
decisions were made, with from planning to
reference to identified criteria implementation to review, e.g.
(planning) firstly, then, finally
Description of changes that Casual connectives: This was
were made, and explanation of not a good idea because
why those changes were made
(review)
Analysis of and judgement
about what worked or was
good/what did not work
(review)
Many pupils need to progress through the various phases of evaluation which
include:
describing what they are doing and how they feel;
talk/write about what they and others have done and make simple suggestions to
improve;
improve through practising skills and describe what they and others have done in
order that it might be improved;
make simple judgements about their own and others work and use the
information to improve the quality of their work;
work reciprocally to analyse and improve the effectiveness and quality of their
own and others work.
Below is an example of a pupils written evaluation in performing music:
I decided to play Fur Elise by Beethoven. It fitted into our group presentation on
Romance. I learned the notes, both the pitch and the rhythm. I played it for my
teacher and I added dynamics. My friend danced to it. I made the music fit in
with the dance. I listened to a recording of the piece played by a professional
musician. I think I played the piece well for my final performance. My class
liked it and they all thought that I should play it in the next school concert.
This work relies purely on description.
The following example develops the work above and explains why things were done
(using words like although, because, so, realised which the pupil has been taught to
use) and relates decision to identified criteria.
When we were asked to select a solo piece to perform for our Themed Showcase
Performance as part of our GCSE PA2 performance I decided to play Fur Elise by
Beethoven. I chose that piece because it fitted in very well with the theme of
Romance that we decided to work on. Also the piece is of a good standard and
allows for plenty of expression when performed well. I realised that the piece
would work well to accompany a ballet dance and so this contributed to my
decision to play it. Also I had heard the piece several times, I had a copy of the
music and I already knew how a good performance of it should sound.
I started by learning the notes of the right hand so that I could perfect the
melody first. I had to get that bit right but then I realised that it was harder to
perform without the left hand notes slotting in, in the right place. I decided to
learn the piece in sections with both hands, taking it slowly to make sure that I
was playing the accurate pitch and rhythm.
Although at first I had intended to play the entire piece, I realised that there were
so many sections that there was no need to play it all. My teacher also
suggested that I play a shortened version to keep to the time limit for the
examination. My partner who was dancing also suggested that a shorter version
would suit her choreography. This was better because it left me to focus on
getting the actual piece I was going to play right rather than performing a
longer and more difficult version which would have taken much longer to
prepare. I probably wouldnt have been able to perform it all accurately
When I was satisfied that I knew the piece well, I played it for my teacher and she
suggested that I record myself. When I listened back to my recording I realised
that there were some problems with my performance. I didnt sound very
musical at all, not in keeping with the style of the music and didnt have much
in the way of contrast.
I tried to make it better by adding very clear dynamic contrasts but this still
didnt improve the overall musicality. Then I listened to several recordings of the
piece and tried alternative ways of performing it.
I then decided that it would be better if Iworked with the dancer to create a
performance that matched the choreography because this assessment is all about
collaborative work. I also released that this would help me with the musicality of
the performance. I enjoyed this because as a pianist you often just work on your
own. Working with a dancer made me think about the music more and how it
fitted in with the steps and so it provided me with greater opportunities to
interpret the music.
My performance was better as a result of this, as I started to add more rubato and
started to put across a story we had created in keeping with the dance.
When I performed my piece for the class, I was quite pleased although if I was
doing it again I would have tried to keep the pace more steady. Because I was
nervous, I started to slow down on the sections I was less secure with and I kept
speeding up when the main tune returned as I knew that part really well.
However, my performance was good on the whole as I played the notes accurately
and I had strong dynamic contrasts. The other pupils thought it was so good
that I should perform it in the next school concert.
4.2.4 Key words and speaking frames
As well as subject specific vocabulary, it is also helpful to display in the classroom

the vocabulary and structures mentioned earlier which will help pupils to make
evaluative comments.
Subject-specific
More general
but not
words which
uniquely (often Frames for evaluation
help evaluation
adjectives and
in all subjects
adverbs)
task accurate realised It would be better if
performance consistent decided You could improve by
interpretation controlled could If youyou would
section balanced should When youyou should
technique coordinated would It is better because
rehearsal considered frequently This means that
programme relevant usually In order to
plan contrasting because Changing thewould
5. ASSESSMENT GUIDANCE
5.1 PA1 (Controlled Assessment)

5.1.1 Task One: Developing Performing Arts Skills
The following pages provide a suggested layout of the type of documents a

candidate should submit for task one.
PA1 SKILLS AUDIT
Candidate Name: xxxxxxxxxxx Candidate number:

000222
Centre Name: WJEC High Centre Number:200000
Performing Arts Skill: Dance
My current strengths as a dancer include:
a good understanding of classical ballet technique, I have achieved Grade 6

ISTD with distinction and can now dance on point;
a knowledge of the expectations of a ballerina having been to watch many ballets

and having done three summer schools with the Royal Ballet School;
the ability to choreograph a classical ballet routines understanding style, timing,

combinations of moves and the importance of the piece of music used;
a basic knowledge of partner work in ballet dance and simple lifts that can be
performed with a male dance partner;
a basic knowledge of modern jazz having started lessons in this a year ago and
identify the physical differences in this style of dance to those in ballet.
I would like to improve the following aspects of my dance:
a more thorough knowledge of jazz dance;
develop three jazz dance techniques namely, spotting, catch step and straddle
split leap.
The following pages include my action plan outlining how I intend to develop the
skills I have outlined above.
PA1 Improvement Log
Area for Action Target Notes

Development Date(s)
Knowledge internet research on jazz dance Week 1 Lots of very useful material but I need to filter it down
of jazz dance view some work of others via YouTube and other to look at material that focuses just on skills. Great
DVDs/videos Week 3/4 video footage on the internet. Also found a good DVD
see some live performances of jazz dance demonstrating jazz dance techniques which I will
investigate where I can take some jazz dance classes in my Week 1 watch. Found a performance which is taking place in
area Chapter Arts Centre at a reasonable cost which I am
going to see in two weeks time. Didnt find a jazz
dance class I can drop into for a few lessons. Would
have to go for a full term and have no time for that.
Will ask advice from my own dance teacher who knows
some basics on jazz dance.
Spotting work on the technique of spotting as I do in classical ballet Week 1 I found the technique of spotting quite easy as I have
video myself doing some spotting whilst turning already done that. It was just that I noticed the way of
analyse the video and work on improving technique turning was different, so I worked on that as well. I
show my work to my dance teacher and ask advice Week 2 found that I was way too classical in my approach and
work on the advice given Week 3 I compared my video with the one I saw on You Tube.
Week 4 I worked on the new style and my teacher gave me
some good tips too about my arms. I continue to work
on this.
Catch step watch videos of the basic catch step Week 1 The catch step wasnt too hard to learn. I just found
practise the basic step that the style of dance was the hardest bit. As with the
video myself doing the step spotting I compared my performance with the one I
analyse the video and work on improving my performance of Week 2 saw on You Tube. I also worked on the advice my
the step Week 3 teacher gave me to loosen the step a bit. I also went
show my work to my dance teacher and ask advice Week 4 to see a live performance in October and I saw them
work on the advice given using the step in some creative ways in the
performance. The catch step can be used in a variety
of ways, front, side, cross-over, etc. I might use some
of those ideas in my final performance.
Area for Action Target Notes

Development Date(s)
Straddle watch videos of the straddle split leap Week 1 I found this the hardest of all the targets I set myself.
split leap break down the various components The breakdown of the bits was the best approach but I
work on each aspect individually found it hard to put them all together. I found the step
put all of it together Week 2/3 hard enough, but then to put it into the jazz style was
video myself doing the leap even harder. It did help to view it done so well when I
analyse it and work on improving it Week 3 say the live performance and that did give me more of
a boost and made me want to improve. My dance
do it for my dance teacher and ask advice
Week 4 teacher gave me some good advice on how to
work on the advice given
strengthen the muscles I needed to perform this step.
Create final put together a final piece that will show these three I actually spoke to my dance teacher about this first of
piece techniques in a jazz style Week 4 all and she gave me some advice. I then watched a
select appropriate music few dance videos and looked at other bits on the
work on the routine internet before I choreographed my routine. The music
ensure each element is well performed I chose was Shes Like the Wind from the musical
work on putting them together into a performance rather than Dirty Dancing. I worked on the various moves and
a technical exercise changed my routine as I went along as I found that I
work on interpreting the music couldnt quite get in all of the things I wanted in time.
Week 5 Again I found videoing myself was good to see what I
video my performance
was doing wrong and I worked to improve it. I found it
analyse it and work on improving it
hard to combine the straddle split leap with the moves
video it again and see if the improvements have worked
before and after it and so I changed that part of the
show it to others including teachers for feedback and work on routine completely. I showed it to others in my group
the advice received and they gave me some advice, even though they
werent dancers. It was useful to have someone elses
opinion.
Analysis and Evaluation of PA1 Task One: Developing Performing Arts Skills
On the whole I was pleased with my development during this task. I found it hard
considering a different style of dance to the classical style I have generally
worked on up to now. I found that to be the biggest challenge of all.
To some extent I found the spotting section worked well, as it was just a
development from the type of work I had done before. This was the easiest aspect of
the work that I did and perhaps I should have spent less time on this and focused
on the points that I had less experience of.
I found the basic catch step easy to begin with. The footwork was very similar to
other classical ballet steps that I learned, but then I noticed that the step could be
used in a variety of ways. I experimented with the front and side catch steps. I
then went on to include the cross over method. This wasnt hard. What I found
most difficult was adding the arm movements. As I was trained in a classical
way, I found that the arm movements I was using with the step were wrong. I
noticed this on the videos I took and from the feedback given to me by my teacher.
I began to work a catch step routine out and worked hard on the hands on this. Bit
by bit I found that I was beginning to adapt my style.
The most difficult step I tried was the straddle split leap. I was able to do the splits
on the floor and worked on the muscles to try to do this in the air. I also did a lot
of work on elevation as part of my classical training and doing moves like jetes
and petite jetes. However, I did find it hard to do the straddle split leap well and to
move my hands in the right direction and to keep my head in the right place. The
move felt more like a gymnastic move. I did a lot work on this to get the move
right and I knew that it would be hard to put into a routine.
As part of my research for this task, I went to see a dance company perform in
Chapter Arts Centre on 1/10/09. I noticed how they used some of the steps that I
had identified in my audit, and I saw how they seemed to use them in
combination with many dance movements. They also showed very fluid
movements and they interpreted the various pieces of music they danced to very
effectively. I also saw how the dancers movements shifted between still and
sudden, short bursts of activity. I tried to incorporate some of this into my routine.
I also watched several video clips on You Tube, to look at the style of jazz dance
and how the dancers used the steps I had chosen to develop. I looked at their arm
movements and tried to copy some of their techniques as I seem to use a lot of
classical ballet style arm and hand movements when I dance.
I watched a DVD called Dance New York Lyrical by Ray Leeper. I watched all
three of the dance routines, but found the beginner and intermediate routines to be
of most use to me. I used some of the ideas on how to make a soft, flowing routine
and also used some ideas on adding floor work and expression to interpret the
music.
I chose the music Shes Like the Wind from Dirty Dancing for my jazz dance
routine. I thought that this music was a good choice because it had a slow tempo
and would allow me to put in my new steps without having to dance too quickly.
It also gave me an opportunity to work in some of the slow fluid movements I
watched. As I like the film and stage musical, I found that I would enjoy
interpreting the music with my dance.
I began with classical ballet moves, as that is where I am most comfortable, for the
first verse and then I began to move into a more contemporary style. I then added
the catch step in various ways, and also tried several turns that showed my
spotting technique. At the climax of the song I put in a straddle split leap and
made sure that I had some easy steps before this to prepare myself and after it to
cool down after the hard step. I think that the routine worked well.
The spotting and front and side catch steps worked well. I could have been a bit
more confident and used the space more in the cross catch step. I wasnt very
happy with my hand movements at all during the performance. I got a bit
nervous and started to go back to using more classical hand movements. I did
think that my movements were quite fluid and in keeping with the music.
I made a wrong move before I did the straddle split leap. I wasnt as confident
performing this and my legs were not stretched enough. The reason for this was
that my preparation for the leap wasnt very good and I didnt get enough
elevation in. This then meant that I didnt have enough momentum to stretch into
the splits. My hands were awkward and you could see on my face that it didnt
go well. This was quite a poor part of my presentation and I seemed to lose focus.
The good thing was that I got it back after my mistake and I finished my routine
quite well.
I think that in this task I was a bit ambitious. If I was doing this again, I would
not have chosen a style of dance that I am not familiar with but would have tried
to develop some more advanced classical dance techniques. However, its also
important to look at other types of dance, because as a professional dancer you
would have to be versatile if you wanted to work regularly. It may not be possible
to work in a ballet company and you might have to do jazz or street dancing.
5.1.2 Task Two: Knowledge of the Performing Arts Industry
The following pages provide an example of the type of documents a candidate

should submit for task two. In addition to the written task demonstrated below, which
will be carried out under the formal supervision of the teacher, candidates should
also submit their research resources. This research can be carried out in the
candidates own time.
PA1, Task Two: Knowledge of the Performing Arts Industry
Candidate Name: xxxxxxxxxxx Candidate number: 000222

Centre Name: WJEC High Centre Number:200000
The first job in the performing arts industry that I have researched is that of
a DJ.
A DJ plays recorded music for audiences either on the radio or at live venues.
There are three main types of DJ. The first category are those that work in
clubs. They either MC themselves or they support someone who MCs. The other
type is a radio DJ who presents radio programmes, from community or hospital
stations to commercial radio stations. The final type is a mobile DJ. A mobile
DJ works at special events, such as weddings and birthdays.
In order to become a successful DJ, you would need to be familiar with various
types of music and recording equipment. DJs use lots of equipment which could
include turntables, mixers, microphones, amplifiers and headphones. They are
expected to use the latest technology, including lighting and image projection.
Some DJs use digitally stored music, such as MP3s, from a laptop or MP3 player,
whereas others use vinyl records or CDs.
DJs usually work irregular and unsocial hours, including evenings and weekends.
Mobile and club DJs may work until the early hours of the morning, while some
radio DJs start work at this time for an early show. The work can involve sitting
or standing in one place for a long time. Mobile DJs, in particular, need to lift
and carry equipment. Some travel over short or long distances and so a driving
license would be useful. Club DJs may need to travel abroad.
To become a DJ you would need to be passionate about music and know a lot
about music technology. You would have to be a good communicator and have a
lot of self-confidence.
You dont have to have any formal qualifications to become a DJ but there are
various full time and specialist courses available. This is a highly competitive
and popular career area where talent and luck are all-important. Most DJs are
self-employed, except those working for large broadcasting organisations.
The rates paid to a DJ can vary, depending on the employer and where people
live. With some experience, income is likely to be around 50 to 300 a session.
Very experienced DJs may earn 1,000 or more per session. A few top DJs
may earn around 100,000 or more a year.
Many DJs, especially when starting out, have another job, which is usually full
time, to supplement their earnings.
The second job I have researched in the performing arts industry is the work
of a pop singer.
To become a pop singer you will need to be able to sing very well and it would
help if you could compose some of your own songs. It also might help if you
could play an instrument and read music. It also helps if you have a unique style
in your singing.
You have to work very hard to develop your singing voice and to practise various
techniques. You will also need to attend regular rehearsals. As well as being
able to play an instrument and compose, it might also help if you could dance or
move well in order to make your performance more entertaining.
You need to be very determined to succeed and be able to cope with rejection
and criticism as it is a very competitive business. You have to be prepared to
work long hours, usually involving night time and weekend work, and you have to
spend a lot of time rehearsing and practising. You need to be very confident and
know how to perform to an audience. It also helps if you have some
understanding of music technology, as most of the time you can promote your
work through recording studios, etc.
Very few people are employed as full-time singers. Most of those working in the
UK, work in other jobs too.
There are many courses and qualifications in popular music, but you dont have to
have any formal qualifications in order to work in the industry. Most singers
have achieved success by the age of 35. You could work in an arts centre, pubs
and clubs, restaurants, cruise ships, theatres and outdoor festivals.
If you perform a one off gig, the least you can expect for two hours is 59. If
you appear on a regular stage or television production, Equity (the performers
union) sets the minimum rate. An example would be around 650 a week for
eight shows.
The job Im most suited for is a pop singer. I believe that I could be a
successful pop singer as I have trained my voice for six years now. I began as a
singer in my primary school choir and then I began to become more confident. I
entered various singing competitions, being accompanied on the piano and using
backing tracks. I won prizes in most of the competitions I entered. I then
decided to get some singing lessons and learn some techniques. I have now
mastered breath control and the placement of my voice in the chest and head
register. I have continued to sing in various choirs at school and outside school.
I have performed leading roles in three school musicals and have also performed
in pantomimes produced by our local community group. I have quite a unique
voice. The style of music I prefer is a folk-rock style and my voice displays the
qualities required of this style.
For the past three years I have taken up keyboard and guitar lessons and I have
learned how to read music. Last year I formed a band with three pupils from
my school. I sing lead and play the rhythm guitar, one of the other girls plays
bass guitar and sings backing vocals, the other one plays drums and the last one
plays lead guitar and does some backing vocals.
We began with mixing some of the folk songs we knew with a heavy rocky back
beat and we enjoyed the sound we made. During the last four months I have
begun writing my own material and I hope to record a song with my band soon,
using the recording studio in our school.
Because I have been involved with singing for so long, I am used to the long
hours it takes. I have been going to school regularly; I rarely have time off for
illness. On top of doing my homework for school, I go to the county choir
practise once night a week for two hours. We also perform at least four
concerts during the year with this. In school I attend the senior choir practise
every lunch-time and I go to the after school practices for the show. This
usually means at least two after-school sessions and then leading up to the show
I am involved every evening and some weekends. I practise with my band two
evenings a week and I also have an hour singing lesson, a half hour keyboard
lesson and a half- hour guitar lesson during the weekend. I think that this
shows that I am not shy of hard work and know the amount of time I have to
put into things in order to be good at what I do. I also have to practise my
singing and keyboard and guitar playing in any spare time I have.
I know that it is not easy to break into the music industry and was recently
disappointed when I didnt get the major leading part in our school musical, when
I auditioned. I got a smaller part, and I listened carefully to what my teacher
said and hope that maybe the next time I will work harder and get the lead role.
I know that as a pop singer, you dont have a full-time job and that it might be
possible to work as something else while you are waiting for your big break. I
have an interest in cooking and would be happy to work in a restaurant to fund
my love for music, until I can make it in the industry.
I think that I have a good musical talent and an individual style. I believe that I
am very resourceful and determined and that I have quite a lively personality. I
am prepared to work long hours developing my talent and I just love singing and
creating my own unique sounds. For those reasons, I hope that I will be a
successful pop singer one day.
Word count 1, 403

5.1.3 Task Three: Preparation for Performance
The following is an example of a completed written report for PA1 task three. The
report will be completed under the formal supervision of the teacher. The research
should be carried out by the candidate in their own time.
PA1, Task Three: Preparation for Performance
Candidate Name: xxxxxxxxxxx Candidate number: 000222

Centre Name: WJEC High Centre Number: 200000
The theme set by my centre for our PA2 performance is Good and Evil. So far in
my studies I have explored the performance skills of acting, singing and dance.
The individual skill that I wish to concentrate on and the one in which I have
improved the most is Acting. This is the skill I examined in Task One. Taking
this in to consideration alongside my exploration of Singing and Dance I have
decided that the best way for me to examine this theme while showcasing these
disciplines would be to look at a piece of Musical Theatre. This genre is the perfect
vehicle to demonstrate the integration of my chosen disciplines within the
performing arts industry.
My group and I after much research settled on the musical Wicked which is the
story that precedes The Wizard of Oz and tells how the wicked witch came to be
wicked. We felt this would be a blatant demonstration of the theme while allowing
exploration on other levels within the story. For example the way people treat
Elphaba for being Green can be seen as evil.
The strength of the story along with the musical score will also allow the group to
equally present their chosen individual skills as we have both male and females
who are singers and actors. The selection of material is important to ensure these
skills are displayed. We have about 25minutes to fill and have decided to perform
a concise, heavily edited version of the show from start to finish focusing on the
main characters of Elphaba, Nesa, Fiyero and Glinda.
It has been decided that I will play Elphaba as she presents the biggest acting
challenges with many different colours to her character. (Plus Glinda is a soprano
voice, which suits one of the girls in my group who has chosen singing as her
focused skill.)
In Task One I learnt that musical theatre is a particular style of theatre on its
own. It requires versatility in its actors, with the demands of comedy, timing,
pathos, drama and confidence of delivery all in one package while simultaneously
asking them to burst in to song or dance or often both. This needs to be done
without breaking out of character or story but actually while trying to enhance
both these things using a different form of communication with the audience that
offers them a heightened emotional message. All these skills are required to play
Elphaba. I will need to make her likeable and get the audience to feel empathy for
her even though she is not necessarily that easy a person to understand. I intend
to try and make her real. Her character in the Wizard of Oz is pantomime like in
comparison to Elphaba. In rehearsal I am going to try opposing styles of delivery
to try and find a good interpretation and presentation of her character. By

playing her very over the top and then very seriously I will hopefully find where
the light and shade of her character is. Where she needs to be funny and where she
needs more genuine emotion, this way I hope to make her more three dimensional.
Elphaba needs to portray comedy, sincerity, sadness, happiness as well as showing
that she is an outsider, she feels
like one and is treated like one. She is a sister, a daughter, and a girlfriend. While
she is essentially good or at least wants to be, Elphaba becomes evil due to the
treatment she receives from those around her. In my gesture, in my movement, but
expression and my interaction with the rest of the cast I have to portray this. I have
to communicate the unsaid, the emotional story.
Although acting is my primary skill, I will be considering the skill of singing

and how it will affect my performance. In Task 2 I researched the role of a vocal
coach and learnt how important the interpretation of a song is. How a song is an
extension of the story and character and both these things continue to develop
through the music and lyrics. You can use your breath, intonation, dynamic, face
and body all during a song to support and enhance your voice and to convey to
the audience far more than just a tune. In musical theatre especially, singing is a
whole physical experience and it has a way of communicating so much about a
character in such a short space of time. If anything the job of acting is more
demanding in song delivery and particularly in transition from scene to song
and song to scene.
Movement will also need to still convey Elphaba dramatically and as an outsider
she will not enjoy interacting in this way with others. In task 2 I also looked at the
job of a choreographer and how the movement they create is sourced from the plot
and motivated by character and these things are reflected in timing and gesture
and expression. This will be a consideration for me in my overall performance.
We thought that focusing on the contrast between Elphaba and Glinda would be
another way of highlighting the good and evil theme. Elphaba is green, dressed in
black including pointy hat, studious, intellectual, unpopular, and different.
Glinda is girly, pretty, blonde, ditsy, happy, sweet, girly and every other opposite
you can think of. I think a contrast vocally is required. Elphabas voice needs to be
flatter and deeper in tone, far more serious than Glindas high-pitched voice. These
contrasts will help in identifying more of the layers in the story that we talked
about, they will underline the irony when Elphaba does something good. That is
that good and evil isnt skin deep, isnt black and white, that a book should not be
judged by its cover and that Elphie eventually succumbs to what others expect of
her rather than perhaps who she couldve been or wanted to be.
As a group we have researched many different potential venues to stage this

production. Due to budget our actual venue will be the school hall which has a
proscenium arch stage, limited wing space and a decent amount of lighting and
we will use backing tracks. However, our ideal venue would be the New Theatre in
Cardiff. We looked at other professional venues before reaching this decision. We
knew that for the type of show this is, we needed wing space, depth and fly space to
accommodate various set changes, various gauzes and the potential for Elphaba to
be flown. Therefore our options were narrowed down to The Wales Millenium Centre
main stage and the New Theatre. The WMC main stage we found out is 10,000
to hire for a week. This is a huge amount of money by time you add costume hire,
technicians, sound and lighting, marketing, box office and an orchestra. We also
decided that ultimately the auditorium was too large; although we need a large
stage space we wanted it to still feel as intimate as possible. This left us with the
New Theatre. The pros arch of this theatre suits the musical theatre show genre well
and there is a sunken pit for the orchestra and Musical Director. The researched
costs for this production in this theatre are as follows:
Hire of theatre is done on a box office split. This depends on what company you
are. As we would be classed as an amateur company our split would be in
favour of the theatre and final figure dependent on ticket sales.
Marketing @ 600 for 100 A2 posters/1000 A3 posters/15,000 A5 leaflets.
Director: @1000
Musical Director @1000
Choreographer @500
Orchestra: 300 per musician, per performance. One performance with 10

musicians = 3,000
Costumes: 20 per head = 100
Radio Mics: 400 including technician
Lighting technician: 200
Hire of set: 500
Rights to show: 400 deposit plus 250 hire of rehearsal materials plus 15%
box office.
In total along with box office the budget for this show would be in excess of 7000
if we were staging a full production for one night.
There will be health and safety implications in performance at the New Theatre for
my character. Firstly I am green throughout and wear a long gown, which needs
to be considered in movement to avoid tripping. I also need to be aware of where the
front of the stage and pit is and the exits on and off the stage. I need to bear in
mind the rake of the stage, which can affect balance, and be aware of set changes
and wing space and cloths being flown in and out when I am onstage and
entering or exiting. I also need to know where the fire exits in the theatre are and
the procedure to follow if there is an emergency. I should be aware that there is a
fireman stage left at all times during performances. Any props I have need to be
returned to props table and not left on floor or on set in the wings where they could
end up back onstage. I need to make sure my mic elastic is comfortable and not
too tight to cause headaches etc. If I am flown I need to be shown the proper way to
be fitted in my harness and how to manoeuvre in it, I also need to feel safe in the
hands of those flying me and I need to know how to detach quickly from the wires
if needs be. There needs to be adequate rehearsal time for flying with the instructor
that we discovered travels around with the equipment showing all companies how
to use it safely and effectively. Any accidents would need to be logged in an
accident book and I would need a copy. All theatres are insured but companies are
meant to also have their own insurance to cover their cast and crew during
rehearsal and onstage.
5.2 PA2: Themed Showcase Performance (External Assessment).

A DVD exemplifying standards for the performance will soon be available.
Candidates will complete an evaluation of their performance, ideally the day after the
external examination. The visiting examiner will provide a question paper for the
candidates to use when writing their evaluation. This evaluation should take place
under formal examination conditions. Candidates should write their evaluation in an
examination answer booklet. You will find an example of the paper on the next page.
This is followed by an example of a candidates response. The example provided is
written in continuous prose. Candidates may wish to write under headings if they so
wish.
GCSE SINGLE AND DOUBLE AWARD
PERFORMING ARTS
SPECIMEN PA2 PAPER SUMMER 2011
1 hour
ADDITIONAL MATERIALS
You may refer to the notes you have taken during your preparation for the PA2 performance.
INSTRUCTIONS TO CANDIDATES
You may wish to include diagrams where necessary. If drawn on separate paper, please
insert in your script booklet to be collected.
.
INFORMATION FOR CANDIDATES
The number of marks is given in brackets at the end of the question.
You are reminded that assessment will take into account the quality of written
communication used in your answers.
If you need additional paper, please ask your invigilator and attach the sheets securely to
your answer booklet.
Analyse and evaluate the work that you and your group presented in PA2 (themed
showcase performance). In your answer you should include details of how you and members
of your group prepared and performed, focusing on your strengths and areas for
development. In your answer you should refer to:
the preparation and rehearsal process;

the development of your own skills and those of others in your group;
the feedback you received during the rehearsal process;
the effectiveness of the final performance;
the audiences reaction to the final performance
future targets
PA2 Evaluation Example
My groups performance was called Good versus Evil. I performed the part of Fiyero. My
group had a lot of discussion about the pieces that we would put into our final
performance. In the end we decided to base our full performance on the Broadway Musical
Wicked. We put together some of the key scenes and songs to cover the main part of the
show, which really shows that life is not as black and white as we tend to think.
Sometimes our impressions of what is good and what is evil might be mistaken. Often
people who are different are victimised and that can make them evil.
Our teacher helped us to select the correct material that would suit us. As well as playing
the part of Fiyero, I also played a part in the chorus and was the wizard in the opening
section.
After we had decided on the general structure of our piece and which songs to include, we
started to rehearse. To begin with it was quite hard, as we needed to learn the music and
then try to interpret in keeping with the character we were playing. To begin with, the
piece was longer but we cut it down to make it more relevant. When we were happy with
the material we started blocking it out. This was quite hard and we had to ask our teacher
for some help. She gave us some ideas, and we tried them out. Some of them worked very
well, others we adapted ourselves. When we had put the whole piece together we then
performed it for our teacher and a few of our friends. They gave us some for very good
points. First of all our friends didnt really understand our characters or the storyline.
We all did some research on the characters to find out a little more about them. We did
some hot seating, conscience alley and thought tracking exercises to help us understand
our characters a little more. We then put more of the character into our performances to
try to make it clearer for the audience. We didnt have any costumes at this stage, and
we started discussing how the costumes would help us and the audience with character
identification/interpretation.
As a group we had a mixture of skills to begin with. We all enjoyed performing, but some
of us were better as actors than singers. Although I was acting in this performance, I also
worked on developing my singing. I developed an understanding of the characters I
played through the exercises I mentioned earlier. Most of the preparatory work I did on
this was based on Stanislavskys theories. With both of my characters I tried to do
emotion memory to make them more believable and thought about their motives and goals
to make more complete characters. I tried to portray my character of the wizard by using
my body in a fluid way and by invading Elphabas space as I try to persuade her to join
me. I also worked on making my fingers pointy and my eyes a little slanted with a
smirk on my face to bring across the characters dishonest nature. For this character I
tried to work on a more nasal style of voice, in keeping with the song-and-dance man
style of his character. For Fieyro, I worked on opening up my body to show the characters
arrogance and confidence and also his social status. I based my character on someone I
knew, who I felt displayed the same characteristics. I observed this persons movements
and voice and tried to incorporate his actions into my work on the stage. I worked on
vocal projection, trying to develop a round, resounding timbre. I aimed to make my
movements clear and precise to show how self- assured he his. I worked on softening his
movements during the more romantic scenes with Elphaba.
During the whole rehearsal process we all helped each other with our characters, as we found
changes that one was making to their own character helped with the development of others
whether vocally or physically. I worked a lot with Elphaba, trying to create some more
tender moments. I felt that the work we did together helped us both understand how to put
those moments across to the audience.
When we had practised for a few weeks, we asked some different friends and our teacher to
look at our work again. This time the audience understood the characters better, so that
showed that the work we had done on this was good. Our teacher gave us some very good
notes about the blocking of the piece. There were times when our sight lines were not very
good and some of us were turning the wrong way on the stage and masking others. Our
friends said that they didnt like the ending of the piece, so we put in some changes to
that. We also changed around some of the chorus characters in the opening section, due to
the feedback that we were given. Our teacher also said that we needed to be more involved
in the action when we were not actually performing. When we were watching the sections
that we were not performing in, we still needed to be part of the action. We all worked on
this, and try to imagine how our characters would react to what was happening in the
performance space. This helped us with the collaborative work.
A week before the actual performance, we videoed our work and watched the DVD. I realised
that my voice was not very clear, and that my diction could be better. I went to see the
singing teacher at school and she gave me some very good exercises to help me place my
voice correctly and to bring the words forward to the front of my mouth. I worked on this
at home and I think it improved my overall performance.
I think that my individual performance seemed to go quite well, however, I still could have
improved in a number of ways. In the final performance I tried to use the performance
space well and to make sure that I reacted to all that was going on, even when I was not the
focus of attention. I came in correctly on all of my cues, with the exception of one. I need
to listen more carefully to the backing track in the live performance. It can be difficult to
do this when you are a bit nervous. However, even though I made a mistake I didnt let on
to the audience and I carried on as normal, picking up the correct time as soon as I could.
I think that I could have improved on my projection overall and I could have created a
bigger contrast between the two characters I was playing. Some members of the audience
told me that they didnt get the fact that I was playing a different part at the beginning.
I need to go back to the techniques I identified at the beginning and work at that again.
Also, I think that I could have played the romantic sections of Fiyeros character more
effectively. At one stage some members of the audience sniggered at this bit, and that
shows that I wasnt believable enough in the role.
As a group I think that we worked very well together and we were able to help each other
out and contribute positively towards the final performance. I think that many of us
could have projected our voices a little louder. I also thought that two of the singers could
have worked on their tuning more as the pitch was not right for some of the songs during
the final performance. Most of us were quite nervous, as it was the first time that some of
us did anything like this. In future, I think that we need to get up and perform more so
that we get used to it and are not too nervous in situations like that again.
I felt that the audience reacted well, they listened and were very quiet during the
performance suggesting that they were interested in the performance. It was good to hear
them laugh at the few funny moments and they gave us very good applause at the end.
From this performance I have learnt a lot. I feel that you have to be committed to your
work and not just work on your performance when you are in class. You have to prepare a
lot outside of the classroom too. In future, I think that I could rehearse more on my own,
video my work and try to improve on a few things. I need to get my nerves in hand and
so I intend to participate in more performances so that I gain more experience. I need to
work hard on my cues and lines to make sure that I know them all so well that I dont
make a mistake like the one I did in the final performance. I intend to work on my
projection and diction, using some of the exercises that the singing teacher gave me. I can
use these exercises to help me as an actor and not just as a singer. I would like to do
further work on character development, so that I am not just playing myself each time,
but can really create a good believable range of characters.
Contributors to the Teachers Guide

Nicola Smith-Davies, Chief Examiner GCSE Single and Double Award Performing Arts
Michelle Richards, Examiner, GCSE Single and Double Award Performing Arts
Elaine Carlile, Subject Officer Music, Drama and Performing Arts
GCSE Performing Arts (Single and Double Award) Teachers' Guide/HW

23 April 2009
WJEC
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Tel: (029)2026 5000
Fax: (029) 2057 5994
www.wjec.co.uk
WJEC CBAC Ltd is registered in the UK at the above address as a company limited by guarantee (no 3150875) and a charity (no 1073332).

Gcse Teachers' Guide: Performing Arts

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GCSE TEACHERS GUIDE

2. Delivering the Specification 5

3. Support for Teachers 20

Contributors to the Teachers Guide 63

This guide is one of a number of ways in which WJEC provides assistance to

Other provision which you will find useful includes:

1. Examiners reports on each examinations series

Catherine Webster (Subject Officer)

Subject page www.wjec.co.uk/performingarts

INSET Section inset@wjec.co.uk

1.2 Overview of the Specification

PA1 (120 marks) Controlled Assessment

Internally assessed and externally moderated in April/May

Externally Assessed between March and May

PA3 (120 marks) Controlled Assessment

Internally assessed and externally moderated in April/May

Externally Assessed between March and May

2. DELIVERING THE SPECIFICATION

2.1 Pathways through the specification

2.2 Examples of approaches

The pupils should now have an understanding of what performance or

3 -4 Creating a short showcase.

In the full PA2 showcase a time schedule of 5 minutes per candidate is

Look at the list of possible showcase themes on page 37 and chose

Remember candidates only need to show one skill. Working closely

11 12 Performance and evaluation weeks

During these weeks candidates need to perform their short showcases

1-3 Start to plan for next year!!

See section on relevant job sites (page 28).

8 - 10 Ask the pupils to create a project/presentation based on a performer or

They need in their presentation to understand the skills that the

PA1 Exploring Performing Arts and the Performing Arts Industry

PA1 is a unit in 3 parts

PA1 Task 1 Developing Performing Arts Skills

1-3 General workshop going over performance techniques as a re-cap

4-5 Create ACTION PLAN for skills audit.

Candidates will undertake an audit of one of their Performing Arts skills

9-10 Performance and recording of skills development.

Following the work pupils need to create a detailed account of the

What evidence do pupils need to submit for this task?

Final piece of coursework completed under controlled assessment

11-13 PA1 Task 2 Knowledge of the Performing Arts Industry

See section on relevant job sites (page 28).

PA1 Task 2 Knowledge of the Performing Arts Industry

PA2A Pro forma to be sent to WJEC

1-3 Candidates will complete a written report outlining the key

Final piece of coursework completed under controlled assessment

What evidence do pupils need to submit for this task?

A report outlining the requirements of two jobs from different

Final piece of coursework completed under controlled assessment

4-6 Task 3 (Linked to PA2) Preparation for Performance

Candidates will carry out research on the Themed Showcase

This research will include:

the selection of suitable material, in keeping with the choice of

6-12 Preparation for PA2 performance.

Pupils under teacher guidance, will continue to develop the skills

The length of the performance will vary in accordance with the

There will be no fewer than 2 and no more than 5 candidates

Design and technical production candidates must demonstrate their

PA2: Themed Showcase Performance

The performance will be assessed by a visiting examiner and will be

6 end of NO FINAL EXAMINATION PAPER.

SINGLE AWARD STUDIED OVER 1 YEAR