A Level Drama and Theatre AQA

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Content Overview

397 topics in 16 modules

☑️ Accidental Death of an Anarchist 26 topics
- Accidental Death of an Anarchist: genre
- Accidental Death of an Anarchist: structure
- Accidental Death of an Anarchist: characters
- Accidental Death of an Anarchist: form
- Accidental Death of an Anarchist: style
- Accidental Death of an Anarchist: language
- Accidental Death of an Anarchist: sub-text
- Accidental Death of an Anarchist: character motivation and interaction
- Accidental Death of an Anarchist: creation of mood and atmosphere
- Accidental Death of an Anarchist: development of pace and rhythm
- Accidental Death of an Anarchist: dramatic climax
- Accidental Death of an Anarchist: stage directions
- Accidental Death of an Anarchist: social context
- Accidental Death of an Anarchist: cultural context
- Accidental Death of an Anarchist: historical context
- Accidental Death of an Anarchist: theatrical conventions of the period
- Accidental Death of an Anarchist: performance conventions
- Accidental Death of an Anarchist: use of performance space
- Accidental Death of an Anarchist: relationships between performers and audience
- Accidental Death of an Anarchist: Prop design
- Accidental Death of an Anarchist: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Accidental Death of an Anarchist: Costume design (including hair and make-up)
- Accidental Death of an Anarchist: Lighting design (direction, colour, intensity, special effects)
- Accidental Death of an Anarchist: Sound design (direction, amplification, music, sound effects)
- Accidental Death of an Anarchist: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Accidental Death of an Anarchist: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Antigone 26 topics
- Antigone: genre
- Antigone: structure
- Antigone: characters
- Antigone: form
- Antigone: style
- Antigone: language
- Antigone: sub-text
- Antigone: character motivation and interaction
- Antigone: creation of mood and atmosphere
- Antigone: development of pace and rhythm
- Antigone: dramatic climax
- Antigone: stage directions
- Antigone: social context
- Antigone: cultural context
- Antigone: historical context
- Antigone: theatrical conventions of the period
- Antigone: performance conventions
- Antigone: use of performance space
- Antigone: relationships between performers and audience
- Antigone: Prop design
- Antigone: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Antigone: Costume design (including hair and make-up)
- Antigone: Lighting design (direction, colour, intensity, special effects)
- Antigone: Sound design (direction, amplification, music, sound effects)
- Antigone: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Antigone: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ A Servant to Two Masters 26 topics
- A Servant to Two Masters: genre
- A Servant to Two Masters: structure
- A Servant to Two Masters: characters
- A Servant to Two Masters: form
- A Servant to Two Masters: style
- A Servant to Two Masters: language
- A Servant to Two Masters: sub-text
- A Servant to Two Masters: character motivation and interaction
- A Servant to Two Masters: creation of mood and atmosphere
- A Servant to Two Masters: development of pace and rhythm
- A Servant to Two Masters: dramatic climax
- A Servant to Two Masters: stage directions
- A Servant to Two Masters: social context
- A Servant to Two Masters: cultural context
- A Servant to Two Masters: historical context
- A Servant to Two Masters: theatrical conventions of the period
- A Servant to Two Masters: performance conventions
- A Servant to Two Masters: use of performance space
- A Servant to Two Masters: relationships between performers and audience
- A Servant to Two Masters: Prop design
- A Servant to Two Masters: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- A Servant to Two Masters: Costume design (including hair and make-up)
- A Servant to Two Masters: Lighting design (direction, colour, intensity, special effects)
- A Servant to Two Masters: Sound design (direction, amplification, music, sound effects)
- A Servant to Two Masters: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- A Servant to Two Masters: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Bronte 26 topics
- Bronte: genre
- Bronte: structure
- Bronte: characters
- Bronte: form
- Bronte: style
- Bronte: language
- Bronte: sub-text
- Bronte: character motivation and interaction
- Bronte: creation of mood and atmosphere
- Bronte: development of pace and rhythm
- Bronte: dramatic climax
- Bronte: stage directions
- Bronte: social context
- Bronte: cultural context
- Bronte: historical context
- Bronte: theatrical conventions of the period
- Bronte: performance conventions
- Bronte: use of performance space
- Bronte: relationships between performers and audience
- Bronte: Prop design
- Bronte: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Bronte: Costume design (including hair and make-up)
- Bronte: Lighting design (direction, colour, intensity, special effects)
- Bronte: Sound design (direction, amplification, music, sound effects)
- Bronte: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Bronte: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Cloud Nine 26 topics
- Cloud Nine: genre
- Cloud Nine: structure
- Cloud Nine: characters
- Cloud Nine: form
- Cloud Nine: style
- Cloud Nine: language
- Cloud Nine: sub-text
- Cloud Nine: character motivation and interaction
- Cloud Nine: creation of mood and atmosphere
- Cloud Nine: development of pace and rhythm
- Cloud Nine: dramatic climax
- Cloud Nine: stage directions
- Cloud Nine: social context
- Cloud Nine: cultural context
- Cloud Nine: historical context
- Cloud Nine: theatrical conventions of the period
- Cloud Nine: performance conventions
- Cloud Nine: use of performance space
- Cloud Nine: relationships between performers and audience
- Cloud Nine: Prop design
- Cloud Nine: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Cloud Nine: Costume design (including hair and make-up)
- Cloud Nine: Lighting design (direction, colour, intensity, special effects)
- Cloud Nine: Sound design (direction, amplification, music, sound effects)
- Cloud Nine: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Cloud Nine: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Drama Terminology 9 topics
- Stage positioning: upstage (left, right, centre)
- Stage positioning: downstage (left, right, centre)
- Stage positioning: centre stage
- Staging configuration: theatre in the round
- Staging configuration: proscenium arch
- Staging configuration: thrust stage
- Staging configuration: traverse
- Staging configuration: end on staging
- Staging configuration: promenade.
☑️ Hedda Gabler 26 topics
- Hedda Gabler: genre
- Hedda Gabler: structure
- Hedda Gabler: characters
- Hedda Gabler: form
- Hedda Gabler: style
- Hedda Gabler: language
- Hedda Gabler: sub-text
- Hedda Gabler: character motivation and interaction
- Hedda Gabler: creation of mood and atmosphere
- Hedda Gabler: development of pace and rhythm
- Hedda Gabler: dramatic climax
- Hedda Gabler: stage directions
- Hedda Gabler: social context
- Hedda Gabler: cultural context
- Hedda Gabler: historical context
- Hedda Gabler: theatrical conventions of the period
- Hedda Gabler: performance conventions
- Hedda Gabler: use of performance space
- Hedda Gabler: relationships between performers and audience
- Hedda Gabler: Prop design
- Hedda Gabler: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Hedda Gabler: Costume design (including hair and make-up)
- Hedda Gabler: Lighting design (direction, colour, intensity, special effects)
- Hedda Gabler: Sound design (direction, amplification, music, sound effects)
- Hedda Gabler: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Hedda Gabler: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Jerusalem 26 topics
- Jerusalem: genre
- Jerusalem: structure
- Jerusalem: characters
- Jerusalem: form
- Jerusalem: style
- Jerusalem: language
- Jerusalem: sub-text
- Jerusalem: character motivation and interaction
- Jerusalem: creation of mood and atmosphere
- Jerusalem: development of pace and rhythm
- Jerusalem: dramatic climax
- Jerusalem: stage directions
- Jerusalem: social context
- Jerusalem: cultural context
- Jerusalem: historical context
- Jerusalem: theatrical conventions of the period
- Jerusalem: performance conventions
- Jerusalem: use of performance space
- Jerusalem: relationships between performers and audience
- Jerusalem: Prop design
- Jerusalem: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Jerusalem: Costume design (including hair and make-up)
- Jerusalem: Lighting design (direction, colour, intensity, special effects)
- Jerusalem: Sound design (direction, amplification, music, sound effects)
- Jerusalem: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Jerusalem: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Live Theatre Production 26 topics
- Live Theatre Production: genre
- Live Theatre Production: structure
- Live Theatre Production: characters
- Live Theatre Production: form
- Live Theatre Production: style
- Live Theatre Production: language
- Live Theatre Production: sub-text
- Live Theatre Production: character motivation and interaction
- Live Theatre Production: creation of mood and atmosphere
- Live Theatre Production: development of pace and rhythm
- Live Theatre Production: dramatic climax
- Live Theatre Production: stage directions
- Live Theatre Production: social context
- Live Theatre Production: cultural context
- Live Theatre Production: historical context
- Live Theatre Production: theatrical conventions of the period
- Live Theatre Production: performance conventions
- Live Theatre Production: use of performance space
- Live Theatre Production: relationships between performers and audience
- Live Theatre Production: Prop design
- Live Theatre Production: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Live Theatre Production: Costume design (including hair and make-up)
- Live Theatre Production: Lighting design (direction, colour, intensity, special effects)
- Live Theatre Production: Sound design (direction, amplification, music, sound effects)
- Live Theatre Production: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Live Theatre Production: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Metamorphosis 26 topics
- Metamorphosis: genre
- Metamorphosis: structure
- Metamorphosis: characters
- Metamorphosis: form
- Metamorphosis: style
- Metamorphosis: language
- Metamorphosis: sub-text
- Metamorphosis: character motivation and interaction
- Metamorphosis: creation of mood and atmosphere
- Metamorphosis: development of pace and rhythm
- Metamorphosis: dramatic climax
- Metamorphosis: stage directions
- Metamorphosis: social context
- Metamorphosis: cultural context
- Metamorphosis: historical context
- Metamorphosis: theatrical conventions of the period
- Metamorphosis: performance conventions
- Metamorphosis: use of performance space
- Metamorphosis: relationships between performers and audience
- Metamorphosis: Prop design
- Metamorphosis: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Metamorphosis: Costume design (including hair and make-up)
- Metamorphosis: Lighting design (direction, colour, intensity, special effects)
- Metamorphosis: Sound design (direction, amplification, music, sound effects)
- Metamorphosis: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Metamorphosis: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Much Ado About Nothing 26 topics
- Much Ado About Nothing: genre
- Much Ado About Nothing: structure
- Much Ado About Nothing: characters
- Much Ado About Nothing: form
- Much Ado About Nothing: style
- Much Ado About Nothing: language
- Much Ado About Nothing: sub-text
- Much Ado About Nothing: character motivation and interaction
- Much Ado About Nothing: creation of mood and atmosphere
- Much Ado About Nothing: development of pace and rhythm
- Much Ado About Nothing: dramatic climax
- Much Ado About Nothing: stage directions
- Much Ado About Nothing: social context
- Much Ado About Nothing: cultural context
- Much Ado About Nothing: historical context
- Much Ado About Nothing: theatrical conventions of the period
- Much Ado About Nothing: performance conventions
- Much Ado About Nothing: use of performance space
- Much Ado About Nothing: relationships between performers and audience
- Much Ado About Nothing: Prop design
- Much Ado About Nothing: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Much Ado About Nothing: Costume design (including hair and make-up)
- Much Ado About Nothing: Lighting design (direction, colour, intensity, special effects)
- Much Ado About Nothing: Sound design (direction, amplification, music, sound effects)
- Much Ado About Nothing: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Much Ado About Nothing: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Our Country's Good 26 topics
- Our Country's Good: genre
- Our Country's Good: structure
- Our Country's Good: characters
- Our Country's Good: form
- Our Country's Good: style
- Our Country's Good: language
- Our Country's Good: sub-text
- Our Country's Good: character motivation and interaction
- Our Country's Good: creation of mood and atmosphere
- Our Country's Good: development of pace and rhythm
- Our Country's Good: dramatic climax
- Our Country's Good: stage directions
- Our Country's Good: social context
- Our Country's Good: cultural context
- Our Country's Good: historical context
- Our Country's Good: theatrical conventions of the period
- Our Country's Good: performance conventions
- Our Country's Good: use of performance space
- Our Country's Good: relationships between performers and audience
- Our Country's Good: Prop design
- Our Country's Good: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Our Country's Good: Costume design (including hair and make-up)
- Our Country's Good: Lighting design (direction, colour, intensity, special effects)
- Our Country's Good: Sound design (direction, amplification, music, sound effects)
- Our Country's Good: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Our Country's Good: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Theatre Roles and Responsibilities 24 topics
- Playwright: daily activities
- Playwright: responsibilities within a perfomance
- Performer: daily activities
- Performer: responsibilities within a perfomance
- Understudy: daily activities
- Understudy: responsibilities within a perfomance
- Lighting Designer: Daily Activities
- Lighting Designer: Responsibilities Within A Performance
- Sound Designer: Daily Activities
- Sound Designer: Responsibilities Within A Performance
- Set Designer: Daily Activities
- Set Designer: Responsibilities Within A Performance
- Costume Designer: Daily Activities
- Costume designer: responsibilities within a performance
- Puppet designer: daily activities
- Puppet designer: responsibilities within a performance
- Technician: daily activities
- Technician: responsibilities within a performance
- Director: daily activities
- Director: responsibilities within a performance
- Stage manager: daily activities
- Stage manager: responsibilities within a performance
- Theatre manager: daily activities
- Theatre manager: responsibilities within a performance
☑️ The Caucasian Chalk Circle 26 topics
- The Caucasian Chalk Circle: genre
- The Caucasian Chalk Circle: structure
- The Caucasian Chalk Circle: characters
- The Caucasian Chalk Circle: form
- The Caucasian Chalk Circle: style
- The Caucasian Chalk Circle: language
- The Caucasian Chalk Circle: sub-text
- The Caucasian Chalk Circle: character motivation and interaction
- The Caucasian Chalk Circle: creation of mood and atmosphere
- The Caucasian Chalk Circle: development of pace and rhythm
- The Caucasian Chalk Circle: dramatic climax
- The Caucasian Chalk Circle: stage directions
- The Caucasian Chalk Circle: social context
- The Caucasian Chalk Circle: cultural context
- The Caucasian Chalk Circle: historical context
- The Caucasian Chalk Circle: theatrical conventions of the period
- The Caucasian Chalk Circle: performance conventions
- The Caucasian Chalk Circle: use of performance space
- The Caucasian Chalk Circle: relationships between performers and audience
- The Caucasian Chalk Circle: Prop design
- The Caucasian Chalk Circle: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- The Caucasian Chalk Circle: Costume design (including hair and make-up)
- The Caucasian Chalk Circle: Lighting design (direction, colour, intensity, special effects)
- The Caucasian Chalk Circle: Sound design (direction, amplification, music, sound effects)
- The Caucasian Chalk Circle: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- The Caucasian Chalk Circle: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ The Glass Menagerie 26 topics
- The Glass Menagerie: genre
- The Glass Menagerie: structure
- The Glass Menagerie: characters
- The Glass Menagerie: form
- The Glass Menagerie: style
- The Glass Menagerie: language
- The Glass Menagerie: sub-text
- The Glass Menagerie: character motivation and interaction
- The Glass Menagerie: creation of mood and atmosphere
- The Glass Menagerie: development of pace and rhythm
- The Glass Menagerie: dramatic climax
- The Glass Menagerie: stage directions
- The Glass Menagerie: social context
- The Glass Menagerie: cultural context
- The Glass Menagerie: historical context
- The Glass Menagerie: theatrical conventions of the period
- The Glass Menagerie: performance conventions
- The Glass Menagerie: use of performance space
- The Glass Menagerie: relationships between performers and audience
- The Glass Menagerie: Prop design
- The Glass Menagerie: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- The Glass Menagerie: Costume design (including hair and make-up)
- The Glass Menagerie: Lighting design (direction, colour, intensity, special effects)
- The Glass Menagerie: Sound design (direction, amplification, music, sound effects)
- The Glass Menagerie: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- The Glass Menagerie: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Yerma 26 topics
- Yerma: genre
- Yerma: structure
- Yerma: characters
- Yerma: form
- Yerma: style
- Yerma: language
- Yerma: sub-text
- Yerma: character motivation and interaction
- Yerma: creation of mood and atmosphere
- Yerma: development of pace and rhythm
- Yerma: dramatic climax
- Yerma: stage directions
- Yerma: social context
- Yerma: cultural context
- Yerma: historical context
- Yerma: theatrical conventions of the period
- Yerma: performance conventions
- Yerma: use of performance space
- Yerma: relationships between performers and audience
- Yerma: Prop design
- Yerma: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Yerma: Costume design (including hair and make-up)
- Yerma: Lighting design (direction, colour, intensity, special effects)
- Yerma: Sound design (direction, amplification, music, sound effects)
- Yerma: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Yerma: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)

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A Level Drama and Theatre AQA - Accidental Death of an Anarchist - Accidental Death of an Anarchist: genre Content Preview

Accidental Death of an Anarchist

Revision ContentExam Question

Accidental Death of an Anarchist: genre

Genre Analysis: Accidental Death of an Anarchist

The Commedia dell'Arte Tradition

Accidental Death of an Anarchist uses the conventions of the Commedia dell'Arte, a form of Italian street theatre.
The classic characters and scenarios from this style are reimaged in a contemporary (1960s) setting.
Look at the ways in which the characters reflect traditional Commedia archetypes - notably the Maniac as the 'Zanni' or the comic servant.

Political Satire

The play is a clear example of political satire. Its humour derives from the corruption demonstrated by those in positions of authority.
Fo discusses serious political issues, such as police corruption and the abuse of power, using comedy and absurdity.
Throughout, there are numerous irreverent references to government figures, which serves as a form of political commentary.

Farce and Slapstick

Slapstick humour features heavily in the play, drawing once again from traditional Commedia dell'Arte techniques.
There are many comic misunderstandings, characters in disguise, and physical comedy with exaggerated, unlikely or improbable situations.
Dario Fo, the play's author, was heavily influenced by Laurel and Hardy - physical comedy can exhibit this influence.

Tragicomic Elements

Despite its comedic form, the play also delivers a serious message about the nature of power and corruption. This gives the piece its tragicomic quality.
While many events in the play are riotously funny, there is always a shadow of true events (the anarchist’s death) present.
Explore this dichotomy - how does Fo balance these elements and what impact does it have on the audience?

Socio-political Drama

The play can also be considered a form of socio-political drama, given its direct commentary and critique of specific socio-political events and systems.
The death in police custody of the anarchist Giuseppe Pinelli and subsequent police cover-up form the basis for the plot.
Fo's play challenges the 'official' narrative of these events, suggesting a broader critique of the mechanisms of power and state control.

Understanding how 'Accidental Death of an Anarchist' utilises genre conventions can inform a broader analysis of how the play communicates its themes and messages.

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