Year 13 CCEA Drama: Your Summer Bridging Course | Year 13 CCEA 戏剧：暑期衔接课程

📚 Year 13 CCEA Drama: Your Summer Bridging Course | Year 13 CCEA 戏剧：暑期衔接课程

Moving from GCSE to Year 13 CCEA Drama is an exciting step, but it demands a higher level of independence, critical thinking and creative depth. The summer bridging period is the perfect time to sharpen your performance skills, deepen your understanding of dramatic texts and build the reflective habits that will carry you through AS Unit 1, Unit 2 and the written examination. This guide sets out a structured, practical route into your Year 13 Drama course so that you arrive in September confident, curious and fully prepared.

从 GCSE 升入 CCEA Year 13 戏剧课程是一个激动人心的跨越，但它要求更强的独立性、批判性思维和创作深度。暑期衔接期正是打磨表演技能、加深对戏剧文本理解并养成反思习惯的最佳时机——这些将贯穿 AS 第一单元、第二单元和笔试。本文为你梳理出一条结构清晰、实操性强的 Year 13 戏剧入学路线，助你在九月带着自信、好奇和充分准备走进课堂。

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1. Understanding the CCEA AS Drama Course Structure | 了解 CCEA AS 戏剧课程结构

The CCEA GCE Drama and Theatre Studies course begins at AS level in Year 13, which contributes 40% of the overall A level. The AS qualification is built around three interconnected units: a devised performance with a written portfolio (AS 1), a scripted performance visited by an external examiner (AS 2), and a written examination combining live theatre review and a set text study (AS 3). Recognising how each component is weighted—AS 1 carries 60% of the AS mark, while AS 2 and AS 3 carry 40% together—helps you plan your time and energy from the summer onward.

CCEA 戏剧与剧场研究 GCE 课程从 Year 13 的 AS 阶段开始，占整体 A level 的 40%。AS 资格围绕三个相互关联的单元构建：包含书面作品集的编创表演（AS 1）、由外部考官巡访评分的剧本表演（AS 2），以及融合现场戏剧评论与规定文本研究的笔试（AS 3）。了解各单元的权重——AS 1 占 AS 总分的 60%，AS 2 与 AS 3 合计占 40%——有助于从暑期开始合理规划时间与精力。

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2. The Three Units at a Glance | 三大单元概览

The table below summarises how CCEA AS Drama is assessed. Being aware of the practical and written demands before term starts means you can begin gathering materials, exploring stimuli and attending live performances with purpose.

下面的表格概括了 CCEA AS 戏剧的评估方式。在学期开始前了解实践与写作的要求，意味着你可以有目的地搜集素材、探索刺激物并观摩现场演出。

Unit	Title	Assessment	Weighting (AS)	Key Skills
AS 1	Devised Performance	Internal assessment, external moderation; includes a portfolio	60%	Devising, collaboration, research, reflection
AS 2	Text in Performance	Visiting examiner; extract from a published play plus a monologue or duologue	20%	Interpretation, characterisation, vocal and physical control
AS 3	Written Examination	2-hour paper: Section A live theatre review, Section B set text study	20%	Analytical writing, directorial vision, design awareness, evaluation

The large share given to AS 1 means your summer focus on devising skills and reflective writing pays immediate dividends. At the same time, reading your set text early and watching at least one piece of live theatre will lift the pressure when you tackle AS 3 in the second half of the year.

AS 1 占据大比重意味着暑期聚焦编创技能与反思性写作能立见成效。与此同时，提前阅读规定文本并至少观摩一部现场戏剧，将为你下半年应对 AS 3 时卸下不少压力。

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3. Developing Your Performance Skills Over Summer | 暑期提升表演技能

Strong performance skills are the backbone of every CCEA unit, whether you are devising original work or performing scripted extracts. Use the summer to establish a daily warm-up routine that targets articulation, breath control, resonance and physical flexibility. Record yourself performing a monologue—perhaps from a play you are considering for AS 2—and watch it back with a critical eye, noting where your vocal variety, pace and stillness can improve.

扎实的表演技能是 CCEA 每一单元的根基，无论你是在创作原创作品还是演绎剧本片段。利用暑假建立每日热身习惯，针对吐字归音、呼吸控制、共鸣与身体柔韧性进行训练。录下自己表演一段独白——也许选自你考虑用于 AS 2 的剧本——然后以批判的眼光回看，标记声音变化、节奏和静态时刻可以如何改进。

Even simple exercises, such as repeating a line with ten different intentions or exploring Laban’s eight efforts to vary movement quality, deepen your expressive range. Aim to learn one classical and one contemporary monologue by heart; this stores material you can later adapt and demonstrates initiative.

即便是简单的练习——比如用十种不同意图重复一句台词，或运用拉班八大力效变化动作质感——都能拓宽你的表现幅度。争取熟记一段古典和一段现代独白；这不仅能储备日后可改编的素材，还能展现主动性。

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4. Reading and Analysing Set Texts | 阅读与解析规定剧本

CCEA publishes a list of set texts for AS 3, which has recently included titles such as Arthur Miller’s ‘The Crucible’, Sophocles’ ‘Antigone’, Tennessee Williams’ ‘A Streetcar Named Desire’ and Timberlake Wertenbaker’s ‘Our Country’s Good’. Choose the text your centre is likely to study and read it at least twice during the summer: once for enjoyment and story, and a second time with a pencil in hand, annotating directorial ideas, design possibilities and character arcs.

CCEA 为 AS 3 发布了规定文本清单，近年来涵盖剧作包括阿瑟·米勒的《萨勒姆的女巫》、索福克勒斯的《安提戈涅》、田纳西·威廉斯的《欲望号街车》以及汀布莱克·韦滕贝克的《吾国吾民》。挑选你的学校可能学习的剧目，在暑期至少通读两遍：第一遍享受故事，第二遍执笔批注，记录导演构想、设计可能性和人物弧光。

As you read, think like a director, a designer and an actor. Ask yourself how you would stage the opening scene, what lighting states would underscore the central conflict, and where the climax lies. Making concise notes in a dedicated notebook gives you a head start on the kind of analytical writing expected in the exam.

阅读时，试着以导演、设计师和演员的视角思考。自问你会如何调度开场场景，哪种灯光状态能烘托核心冲突，高潮点又在哪里。在专用笔记本上做简练的笔记，能让你在考试所要求的分析性写作上占得先机。

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5. Watching and Reviewing Live Theatre | 观摩并评论现场戏剧

Section A of the AS 3 written paper requires a detailed review of a live performance you have seen during the course. Summer is an ideal moment to watch a production—whether at a local theatre, a touring show or a recorded National Theatre Live screening—and practise writing about it with precision. Focus on specific moments of staging, acting choices and design elements rather than simply retelling the plot.

AS 3 笔试的 A 部分要求对学习期间观摩的一部现场演出进行细致评论。暑期正是观剧——无论是本地剧院、巡演还是 National Theatre Live 影院放映——并练习精准撰写评论的绝佳时机。请聚焦具体的舞台调度瞬间、表演选择和设计元素，而非简单复述剧情。

Use technical vocabulary such as ‘blocking’, ‘proxemics’, ‘gobo’, ‘cyclorama’ and ‘underscoring’ where appropriate. Write your first draft as soon as you return home while the sensory impact is fresh, then refine it by linking each observation to the director’s intended effect on the audience. This habit directly mirrors the exam task and strengthens your evaluative voice.

适当使用专业术语，如“走位”、“空间关系”、“图案片”、“天幕”和“情绪配乐”。趁感官冲击尚存，回家后立刻撰写初稿，然后通过将每一观察与导演对观众的意图效果相联系来精细修改。这个习惯与考试任务直接对应，并能强化你的批判评述能力。

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6. Building a Devising Toolkit | 构建编创工具箱

AS 1 tasks you with creating an original performance in response to a stimulus. Over the summer, collect images, newspaper clippings, poems, music tracks or abstract concepts that intrigue you. Practise turning a single stimulus into a short scene using improvisation, physical theatre or choral movement, and record the process in a logbook—this mimics the portfolio you will later submit.

AS 1 要求你们依据一个刺激物创作一部原创表演。暑假期间，可以收集令自己感兴趣的图像、报纸剪辑、诗歌、音乐曲目或抽象概念。练习运用即兴表演、肢体剧场或合唱式动作将单一刺激物发展成短场景，并以日志记录过程——这正模拟了你日后需提交的作品集。

Experiment with recognised devising techniques such as Frantic Assembly’s building blocks of chair duets and round-by-through, or the use of found text and verbatim material. Even without a group, you can explore solo devising or sketch out ideas you can bring to your ensemble in September. The key is to cultivate a habit of seeing everything as potential theatrical material.

尝试公认的编创技法，如 Frantic Assembly 的椅子二重唱与“环绕-穿越-穿透”构建块，或是现成文本与口述材料的运用。哪怕没有小组搭档，你也可探索单人编创，或勾勒出九月可与团队分享的构思。关键在于养成将一切视为潜在剧场素材的习惯。

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7. Reflective Writing: The Portfolio | 反思性写作：作品集

The AS 1 portfolio (around 1500–2000 words) documents your devising journey: research, development, rehearsal discoveries and an evaluation of the final piece. Summer is a low-pressure laboratory for practising this style. After any creative exercise you try, spend twenty minutes writing under three clear headings: What we did, How it developed, and What I learned. Use the first person and avoid vague praise; be specific about what worked, what did not, and why.

AS 1 作品集（约 1500–2000 词）记录你的编创历程：研究、发展、排练发现以及对成品的评估。暑期低压环境正是练习这一文风的实验室。每完成一项创意练习，花二十分钟按照三个清晰标题书写：我们做了什么、如何发展、我学到了什么。使用第一人称，避免空泛赞美；具体说明什么奏效、什么未成以及原因。

This reflective habit also supports your wider learning. The analytic vocabulary you build—terms like ‘episodic structure’, ‘multi-roling’, ‘juxtaposition’ and ‘symbolic gesture’—will filter into your set text essays and live theatre reviews, making your written work more cohesive and sophisticated.

这一反思习惯还能辅助更广泛的学习。你构建的分析词汇——如“段落式结构”、“一人分饰多角”、“并置”和“象征性动作”——将渗透进你的规定文本论文和现场戏剧评论中，使书面答卷更连贯、更老练。

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8. Vocal and Physical Warm-ups | 声音与形体热身

Consistent, thorough warm-ups reduce injury risk and prepare the expressive instrument for demanding performance work. Design a personal vocal sequence that moves from relaxation and breath engagement (e.g., rib reserve breathing, humming) through resonance exercises (ng sounds, yawning sighs) to articulation drills (tongue twisters, plosive repetition). For physical preparation, progress from joint mobility and stretches to controlled centre work and dynamic movement sequences such as swings or sustained balances.

持续、充分的热身能减少受伤风险，并使表现乐器官为高要求的表演任务做好准备。设计一套个人声音训练流程：从放松与气息调动（如肋间储备呼吸、哼鸣）到共鸣练习（ng 音、哈欠叹气），再到咬字训练（绕口令、爆破音重复）。身体准备方面，可从关节活动与拉伸逐步过渡到受控核心练习与动态动作序列，如摆动或持久平衡。

Aim to carry out a 25-minute warm-up at least four times a week across the summer. Film one of these sessions and assess your alignment, the release of unnecessary tension and the clarity of your articulation. Treating your body and voice as a continually refined instrument is a mark of a serious drama student.

暑期争取每周至少进行四次 25 分钟的热身。录制其中一次并评估你的体态对齐、多余紧张的释放以及吐字的清晰度。把身体和声音视为不断打磨的乐器，这正是严肃戏剧学习者的标志。

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9. Working Collaboratively | 团队协作

Both AS 1 and AS 2 rely on effective ensemble work. Although summer can feel isolating, you can still develop collaborative sensibilities. Join a youth theatre, attend a workshop or simply meet with future classmates to play theatre games that sharpen listening, trust and spontaneity. Games like ‘Yes, and…’, ‘Mirroring’ and ‘Group count to 20’ train the shared focus essential for devising and performing scenes as a polished unit.

AS 1 与 AS 2 都依赖有效的团队协作。虽然暑假可能让人感到隔绝，但你仍可培养协作意识。参加青年剧团、工作坊，或干脆联系未来的同学一起玩戏剧游戏，从而强化倾听、信任与自发反应。像“是的，而且……”、“镜像”和“集体数到 20”这类游戏能训练集体专注力，这对打磨编创和表演场景至关重要。

If meeting in person is not possible, try collaborative storytelling online: one person starts a narrative based on a stimulus, others add a sentence each, aiming for a coherent three-minute story. This low-stakes practice mirrors the shared authorship central to CCEA’s devised performance unit.

若无法线下见面，也可尝试线上协作讲故事：一人依据刺激物开始叙述，其他人各加一句话，目标是构成一个连贯的三分钟故事。这种低压练习正与 CCEA 编创表演单元的核心——共同创作——异曲同工。

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10. Research and Contextual Understanding | 研究与情境理解

Contextual knowledge enriches both practical and written work. For your set text, research the playwright’s background, the historical moment of the first production and the social or political currents the play engages with. For Miller’s ‘The Crucible’, understanding the allegorical connection to McCarthyism transforms a superficial reading into a layered interpretation. For ‘Antigone’, exploring ancient Greek burial rites and the role of the chorus illuminates design and staging choices.

情境知识能同时丰富实践与书面作业。针对规定文本，研究剧作家的背景、首演时的历史时刻以及剧作所触及的社会或政治思潮。对米勒的《萨勒姆的女巫》而言，理解其与麦卡锡主义的寓言式关联，能将肤浅阅读转化为多层解读。对《安提戈涅》，探索古希腊丧葬仪轨与歌队的作用，则能照亮设计与舞台调度选择。

Create a one-page visual mood board or a digital document for your text that synthesises images, colour palettes, architectural styles and costume references. This resource will later feed directly into the directorial and design concepts you are expected to articulate in the AS 3 exam.

为自己所读剧本制作一页视觉情绪板或一份数字文档，综合图像、色彩板、建筑风格和服装参照。这份资源日后将直接滋养你在 AS 3 考试中需要阐述的导演与设计概念。

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11. Time Management and Study Habits | 时间管理与学习习惯

The balance between practical rehearsal, portfolio writing and exam preparation can feel overwhelming without a plan. Use the summer to trial a weekly schedule that mirrors the academic year: allocate consistent slots for reading, solo devising, warm-up practice and written reflection. Short, focused sessions of 40–50 minutes often yield more progress than infrequent long marathons.

没有计划的支撑，实践排练、作品集写作与考试准备之间的平衡会让你应接不暇。借暑期试行一张模拟学年的周计划表：为阅读、单人编创、热身练习和书面反思分配固定时段。40 到 50 分钟短而专的学习频次，往往比偶尔的长时间马拉松更见成效。

Set yourself a mini-deadline every two weeks—for example, ‘Complete a draft live review by 15 August’ or ‘Learn my classical monologue by 22 August’—and share it with a friend or teacher for accountability. These small wins build momentum and remove the stress of starting from scratch in September.

每两周给自己设定一个小截止日——例如“8 月 15 日前完成一篇现场评论草稿”或“8 月 22 日前熟记古典独白”——并与朋友或老师分享以形成外部监督。这些小胜累积动能，也免去九月从零起步的焦虑。

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12. Summer Checklist and Resources | 暑期清单与资源

Before the term begins, you should aim to have completed the following: read your set text twice with annotations; attended at least one live theatre performance and written a structured review; established a daily warm-up habit; rehearsed two contrasting monologues; practised reflective writing under exam-style headings; gathered a collection of stimuli for devising; and researched your text’s context. This checklist turns the summer into a manageable, step-by-step preparation rather than a last-minute rush.

在新学期开始前，你应力求完成以下事项：将规定文本阅读两遍并做批注；观摩至少一场现场演出并写出结构化的评论；养成每日热身习惯；排练两段对比鲜明的独白；按照考试风格标题练习反思性写作；收集编创刺激物素材；并研究文本的情境。这份清单将暑期转化为可循序渐进的准备，而非临时抱佛脚。

Useful resources include the CCEA Drama microsite for specifications and exemplar materials, the National Theatre’s digital resources, Frantic Assembly’s ‘The Frantic Assembly Book of Devising Theatre’, and the Digital Theatre+ platform if your school provides access. Bookmark these early and dip into them throughout the break.

实用资源包括 CCEA 戏剧微型网站上的课程说明与范本材料、英国国家剧院数字资源、Frantic Assembly 的《编创剧场手册》，以及若你校方提供访问权限的 Digital Theatre+ 平台。尽早收藏这些链接，并在假期中时时查阅。

Published by TutorHao | Drama Revision Series | aleveler.com

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