A Level Drama and Theatre WJEC
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338 topics in 13 modules
☑️ A Day in the Death of Joe Egg 26 topics
- A Day in the Death of Joe Egg: genre
- A Day in the Death of Joe Egg: structure
- A Day in the Death of Joe Egg: characters
- A Day in the Death of Joe Egg: form
- A Day in the Death of Joe Egg: style
- A Day in the Death of Joe Egg: language
- A Day in the Death of Joe Egg: sub-text
- A Day in the Death of Joe Egg: character motivation and interaction
- A Day in the Death of Joe Egg: creation of mood and atmosphere
- A Day in the Death of Joe Egg: development of pace and rhythm
- A Day in the Death of Joe Egg: dramatic climax
- A Day in the Death of Joe Egg: stage directions
- A Day in the Death of Joe Egg: social context
- A Day in the Death of Joe Egg: cultural context
- A Day in the Death of Joe Egg: historical context
- A Day in the Death of Joe Egg: theatrical conventions of the period
- A Day in the Death of Joe Egg: performance conventions
- A Day in the Death of Joe Egg: use of performance space
- A Day in the Death of Joe Egg: relationships between performers and audience
- A Day in the Death of Joe Egg: Prop design
- A Day in the Death of Joe Egg: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- A Day in the Death of Joe Egg: Costume design (including hair and make-up)
- A Day in the Death of Joe Egg: Lighting design (direction, colour, intensity, special effects)
- A Day in the Death of Joe Egg: Sound design (direction, amplification, music, sound effects)
- A Day in the Death of Joe Egg: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- A Day in the Death of Joe Egg: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ An Enemy of the People 26 topics
- An Enemy of the People: genre
- An Enemy of the People: structure
- An Enemy of the People: characters
- An Enemy of the People: form
- An Enemy of the People: style
- An Enemy of the People: language
- An Enemy of the People: sub-text
- An Enemy of the People: character motivation and interaction
- An Enemy of the People: creation of mood and atmosphere
- An Enemy of the People: development of pace and rhythm
- An Enemy of the People: dramatic climax
- An Enemy of the People: stage directions
- An Enemy of the People: social context
- An Enemy of the People: cultural context
- An Enemy of the People: historical context
- An Enemy of the People: theatrical conventions of the period
- An Enemy of the People: performance conventions
- An Enemy of the People: use of performance space
- An Enemy of the People: relationships between performers and audience
- An Enemy of the People: Prop design
- An Enemy of the People: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- An Enemy of the People: Costume design (including hair and make-up)
- An Enemy of the People: Lighting design (direction, colour, intensity, special effects)
- An Enemy of the People: Sound design (direction, amplification, music, sound effects)
- An Enemy of the People: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- An Enemy of the People: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ A View from the Bridge 26 topics
- A View from the Bridge: genre
- A View from the Bridge: structure
- A View from the Bridge: characters
- A View from the Bridge: form
- A View from the Bridge: style
- A View from the Bridge: language
- A View from the Bridge: sub-text
- A View from the Bridge: character motivation and interaction
- A View from the Bridge: creation of mood and atmosphere
- A View from the Bridge: development of pace and rhythm
- A View from the Bridge: dramatic climax
- A View from the Bridge: stage directions
- A View from the Bridge: social context
- A View from the Bridge: cultural context
- A View from the Bridge: historical context
- A View from the Bridge: theatrical conventions of the period
- A View from the Bridge: performance conventions
- A View from the Bridge: use of performance space
- A View from the Bridge: relationships between performers and audience
- A View from the Bridge: Prop design
- A View from the Bridge: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- A View from the Bridge: Costume design (including hair and make-up)
- A View from the Bridge: Lighting design (direction, colour, intensity, special effects)
- A View from the Bridge: Sound design (direction, amplification, music, sound effects)
- A View from the Bridge: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- A View from the Bridge: 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)
☑️ Mametz 26 topics
- Mametz: genre
- Mametz: structure
- Mametz: characters
- Mametz: form
- Mametz: style
- Mametz: language
- Mametz: sub-text
- Mametz: character motivation and interaction
- Mametz: creation of mood and atmosphere
- Mametz: development of pace and rhythm
- Mametz: dramatic climax
- Mametz: stage directions
- Mametz: social context
- Mametz: cultural context
- Mametz: historical context
- Mametz: theatrical conventions of the period
- Mametz: performance conventions
- Mametz: use of performance space
- Mametz: relationships between performers and audience
- Mametz: Prop design
- Mametz: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Mametz: Costume design (including hair and make-up)
- Mametz: Lighting design (direction, colour, intensity, special effects)
- Mametz: Sound design (direction, amplification, music, sound effects)
- Mametz: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Mametz: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Medea 26 topics
- Medea: genre
- Medea: structure
- Medea: characters
- Medea: form
- Medea: style
- Medea: language
- Medea: sub-text
- Medea: character motivation and interaction
- Medea: creation of mood and atmosphere
- Medea: development of pace and rhythm
- Medea: dramatic climax
- Medea: stage directions
- Medea: social context
- Medea: cultural context
- Medea: historical context
- Medea: theatrical conventions of the period
- Medea: performance conventions
- Medea: use of performance space
- Medea: relationships between performers and audience
- Medea: Prop design
- Medea: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Medea: Costume design (including hair and make-up)
- Medea: Lighting design (direction, colour, intensity, special effects)
- Medea: Sound design (direction, amplification, music, sound effects)
- Medea: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Medea: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ One Moonlit Night 26 topics
- One Moonlit Night: genre
- One Moonlit Night: structure
- One Moonlit Night: characters
- One Moonlit Night: form
- One Moonlit Night: style
- One Moonlit Night: language
- One Moonlit Night: sub-text
- One Moonlit Night: character motivation and interaction
- One Moonlit Night: creation of mood and atmosphere
- One Moonlit Night: development of pace and rhythm
- One Moonlit Night: dramatic climax
- One Moonlit Night: stage directions
- One Moonlit Night: social context
- One Moonlit Night: cultural context
- One Moonlit Night: historical context
- One Moonlit Night: theatrical conventions of the period
- One Moonlit Night: performance conventions
- One Moonlit Night: use of performance space
- One Moonlit Night: relationships between performers and audience
- One Moonlit Night: Prop design
- One Moonlit Night: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- One Moonlit Night: Costume design (including hair and make-up)
- One Moonlit Night: Lighting design (direction, colour, intensity, special effects)
- One Moonlit Night: Sound design (direction, amplification, music, sound effects)
- One Moonlit Night: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- One Moonlit Night: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Sweeney Todd 26 topics
- Sweeney Todd: genre
- Sweeney Todd: structure
- Sweeney Todd: characters
- Sweeney Todd: form
- Sweeney Todd: style
- Sweeney Todd: language
- Sweeney Todd: sub-text
- Sweeney Todd: character motivation and interaction
- Sweeney Todd: creation of mood and atmosphere
- Sweeney Todd: development of pace and rhythm
- Sweeney Todd: dramatic climax
- Sweeney Todd: stage directions
- Sweeney Todd: social context
- Sweeney Todd: cultural context
- Sweeney Todd: historical context
- Sweeney Todd: theatrical conventions of the period
- Sweeney Todd: performance conventions
- Sweeney Todd: use of performance space
- Sweeney Todd: relationships between performers and audience
- Sweeney Todd: Prop design
- Sweeney Todd: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Sweeney Todd: Costume design (including hair and make-up)
- Sweeney Todd: Lighting design (direction, colour, intensity, special effects)
- Sweeney Todd: Sound design (direction, amplification, music, sound effects)
- Sweeney Todd: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Sweeney Todd: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ The Absence of War 26 topics
- The Absence of War: genre
- The Absence of War: structure
- The Absence of War: characters
- The Absence of War: form
- The Absence of War: style
- The Absence of War: language
- The Absence of War: sub-text
- The Absence of War: character motivation and interaction
- The Absence of War: creation of mood and atmosphere
- The Absence of War: development of pace and rhythm
- The Absence of War: dramatic climax
- The Absence of War: stage directions
- The Absence of War: social context
- The Absence of War: cultural context
- The Absence of War: historical context
- The Absence of War: theatrical conventions of the period
- The Absence of War: performance conventions
- The Absence of War: use of performance space
- The Absence of War: relationships between performers and audience
- The Absence of War: Prop design
- The Absence of War: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- The Absence of War: Costume design (including hair and make-up)
- The Absence of War: Lighting design (direction, colour, intensity, special effects)
- The Absence of War: Sound design (direction, amplification, music, sound effects)
- The Absence of War: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- The Absence of War: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ The Comedy of Errors 26 topics
- The Comedy of Errors: genre
- The Comedy of Errors: structure
- The Comedy of Errors: characters
- The Comedy of Errors: form
- The Comedy of Errors: style
- The Comedy of Errors: language
- The Comedy of Errors: sub-text
- The Comedy of Errors: character motivation and interaction
- The Comedy of Errors: creation of mood and atmosphere
- The Comedy of Errors: development of pace and rhythm
- The Comedy of Errors: dramatic climax
- The Comedy of Errors: stage directions
- The Comedy of Errors: social context
- The Comedy of Errors: cultural context
- The Comedy of Errors: historical context
- The Comedy of Errors: theatrical conventions of the period
- The Comedy of Errors: performance conventions
- The Comedy of Errors: use of performance space
- The Comedy of Errors: relationships between performers and audience
- The Comedy of Errors: Prop design
- The Comedy of Errors: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- The Comedy of Errors: Costume design (including hair and make-up)
- The Comedy of Errors: Lighting design (direction, colour, intensity, special effects)
- The Comedy of Errors: Sound design (direction, amplification, music, sound effects)
- The Comedy of Errors: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- The Comedy of Errors: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ The Radicalisation of Bradley Manning 26 topics
- The Radicalisation of Bradley Manning: genre
- The Radicalisation of Bradley Manning: structure
- The Radicalisation of Bradley Manning: characters
- The Radicalisation of Bradley Manning: form
- The Radicalisation of Bradley Manning: style
- The Radicalisation of Bradley Manning: language
- The Radicalisation of Bradley Manning: sub-text
- The Radicalisation of Bradley Manning: character motivation and interaction
- The Radicalisation of Bradley Manning: creation of mood and atmosphere
- The Radicalisation of Bradley Manning: development of pace and rhythm
- The Radicalisation of Bradley Manning: dramatic climax
- The Radicalisation of Bradley Manning: stage directions
- The Radicalisation of Bradley Manning: social context
- The Radicalisation of Bradley Manning: cultural context
- The Radicalisation of Bradley Manning: historical context
- The Radicalisation of Bradley Manning: theatrical conventions of the period
- The Radicalisation of Bradley Manning: performance conventions
- The Radicalisation of Bradley Manning: use of performance space
- The Radicalisation of Bradley Manning: relationships between performers and audience
- The Radicalisation of Bradley Manning: Prop design
- The Radicalisation of Bradley Manning: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- The Radicalisation of Bradley Manning: Costume design (including hair and make-up)
- The Radicalisation of Bradley Manning: Lighting design (direction, colour, intensity, special effects)
- The Radicalisation of Bradley Manning: Sound design (direction, amplification, music, sound effects)
- The Radicalisation of Bradley Manning: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- The Radicalisation of Bradley Manning: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ The Woman made of Flowers 26 topics
- The Woman made of Flowers: genre
- The Woman made of Flowers: structure
- The Woman made of Flowers: characters
- The Woman made of Flowers: form
- The Woman made of Flowers: style
- The Woman made of Flowers: language
- The Woman made of Flowers: sub-text
- The Woman made of Flowers: character motivation and interaction
- The Woman made of Flowers: creation of mood and atmosphere
- The Woman made of Flowers: development of pace and rhythm
- The Woman made of Flowers: dramatic climax
- The Woman made of Flowers: stage directions
- The Woman made of Flowers: social context
- The Woman made of Flowers: cultural context
- The Woman made of Flowers: historical context
- The Woman made of Flowers: theatrical conventions of the period
- The Woman made of Flowers: performance conventions
- The Woman made of Flowers: use of performance space
- The Woman made of Flowers: relationships between performers and audience
- The Woman made of Flowers: Prop design
- The Woman made of Flowers: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- The Woman made of Flowers: Costume design (including hair and make-up)
- The Woman made of Flowers: Lighting design (direction, colour, intensity, special effects)
- The Woman made of Flowers: Sound design (direction, amplification, music, sound effects)
- The Woman made of Flowers: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- The Woman made of Flowers: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
☑️ Ubu Roi 26 topics
- Ubu Roi: genre
- Ubu Roi: structure
- Ubu Roi: characters
- Ubu Roi: form
- Ubu Roi: style
- Ubu Roi: language
- Ubu Roi: sub-text
- Ubu Roi: character motivation and interaction
- Ubu Roi: creation of mood and atmosphere
- Ubu Roi: development of pace and rhythm
- Ubu Roi: dramatic climax
- Ubu Roi: stage directions
- Ubu Roi: social context
- Ubu Roi: cultural context
- Ubu Roi: historical context
- Ubu Roi: theatrical conventions of the period
- Ubu Roi: performance conventions
- Ubu Roi: use of performance space
- Ubu Roi: relationships between performers and audience
- Ubu Roi: Prop design
- Ubu Roi: Set design (revolves, trucks, projection, multimedia, pyrotechnics, smoke machines, flying)
- Ubu Roi: Costume design (including hair and make-up)
- Ubu Roi: Lighting design (direction, colour, intensity, special effects)
- Ubu Roi: Sound design (direction, amplification, music, sound effects)
- Ubu Roi: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
- Ubu Roi: Performers' physical interpretation of character (build, age, height, facial features, movement, posture, gesture, facial expression)
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A Level Drama and Theatre WJEC Revision Content
Take a look at the written content available for this course. Practice-question availability may vary.
A Level Drama and Theatre WJEC - A Day in the Death of Joe Egg - A Day in the Death of Joe Egg: genre Content Preview
A Day in the Death of Joe Egg
A Day in the Death of Joe Egg: genre
Genre Characteristics and Context
- "A Day in the Death of Joe Egg" falls under the category of Black Comedy-Drama - a genre that blends elements of tragedy and satire to tell serious stories with a darkly humorous edge.
- The play explores the challenges facing a couple, Bri and Sheila, raising their disabled child, Joe, often referring to their life experiences as a form of absurd tragicomedy.
- It employs discomforting humour, often in the face of apparent hopelessness, as a form of catharsis, letting characters and audiences explore painful experiences through comedy.
- While comedy in the play is persistent, playwright Peter Nichols ensures that he does not make light of disability or parenthood - instead, he uses humour to expose the grittiness of reality.
- The play is also seen as a social commentary challenging attitudes and stereotypes associated with disability in the 1960s.
Noteworthy Applications of Genre
- Frequent breaking of the fourth wall, where Bri and Sheila perform imagined conversations with Joe as a healthy child, introduces grotesque humour in the midst of their tragic reality.
- The use of irony is common, such as instances where Bri, a special needs teacher, struggles with accommodating his own daughter’s disability.
- The characters often utilise dark humour as a coping mechanism, allowing them to deal with their hardship, such as when Bri mocks the condition of his child.
- Satirical elements can be seen in the portrayal of certain supporting characters - like Freddie's patronising pretentiousness and Pam's insensitiveness - their attitudes contributing to the black comedy.
- Despite the comedic mechanisms, the play never shies away from presenting the stark and painful reality of the situation, effectively preserving its tragic aspect.
- The characters experience an absence of hope, something crucial to tragic genre elements. Their relentless pursuit to engage their daughter, even when there is no reaction, is deeply sombre and poignant.
Genre Impact
- The play's genre enables it to broach controversial subjects - disability, parental responsibility, societal misunderstanding - with an approachability that a more confronting dramatic style might not achieve.
- It is a mirror of life, displaying the humour and tragedy that often exist together in reality. Nichols uses this approach to create an empathetic understanding among the audience towards complex realities.
- The play's ability to make the audience laugh while making them uncomfortable with their laughter can inspire reflective thought and potentially change perspectives.
- The emotional duality of the black comedy-drama genre emphasises the complexity of human experience and makes "A Day in the Death of Joe Egg" a resonant play.
Question: How does the black comedy-drama genre of "A Day in the Death of Joe Egg" aid in delivering its social commentary and dealing with its controversial subjects?
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