A-Level Edexcel Drama: Summer Bridging Course | A-Level Edexcel 戏剧：暑期预习与衔接课程

📚 A-Level Edexcel Drama: Summer Bridging Course | A-Level Edexcel 戏剧：暑期预习与衔接课程

Welcome to your A-Level Edexcel Drama summer bridging course. Moving from GCSE to A-Level is a significant step: the syllabus demands deeper critical thinking, greater independence in devising, and a more sophisticated understanding of theatrical traditions. This programme is designed to introduce you to the structure of the course, the essential skills you will need, and a practical study plan that will give you a confident start in September.

欢迎参加A-Level Edexcel戏剧暑期衔接课程。从GCSE升入A-Level是一大步：课程要求更深入的批判性思维、更独立的创作能力，以及对戏剧传统更精细的理解。本课程旨在向你介绍课程框架、必备技能，并提供一个切实可行的暑期学习计划，让你在九月份自信起步。

---

1. Course Overview: What A-Level Drama Entails | 课程概览：A-Level戏剧学什么

The Edexcel A-Level Drama and Theatre qualification (9DR0) is built around three interconnected components: devising original theatre, performing or designing from existing texts, and a written examination that tests your ability to interpret and evaluate theatre. The total qualification is linear, with all assessments taken at the end of the two-year course.

Edexcel A-Level戏剧与剧场资格证书（9DR0）由三个相互关联的模块构成：原创戏剧创作、基于现成文本的表演或设计，以及一场考查你对戏剧的诠释与评价能力的笔试。整个资格为线性结构，所有评估在两年课程结束时进行。

Component 1: Devising (40%) requires you to create an original piece of theatre in a group, supported by a portfolio of written evidence and a video recording of the final performance. Component 2: Text in Performance (20%) involves presenting a monologue or duologue, or a design realisation, from two different published plays. Component 3: Theatre Makers in Practice (40%) is a 2 hour 30 minute written exam covering live theatre evaluation, practical realisation of a performance text, and directorial interpretation of a classic play.

模块一：原创戏剧创作（占40%）要求以小组形式创作一部原创戏剧作品，并提交一份书面作品集佐证和最终演出的录像。模块二：文本演绎（占20%）要求从两个不同的已出版剧本中选取片段，进行独白、对白表演或设计实现。模块三：剧场实践者（占40%）为一场2小时30分钟的笔试，涵盖现场戏剧评价、表演文本的实际实现以及对一部经典剧作进行导演诠释。

Throughout the course you will be assessed against four Assessment Objectives: AO1 (create and develop ideas), AO2 (apply theatrical skills in performance), AO3 (demonstrate knowledge of how theatre is made) and AO4 (analyse and evaluate your own work and the work of others). Understanding these objectives from day one will help you target your revision and practical work effectively.

在整个课程中，你将接受四项评估目标的考核：AO1（创作与发展创意）、AO2（在表演中应用剧场技能）、AO3（展示对戏剧创作方式的理解）和AO4（分析并评价本人及他人的作品）。从第一天起就理解这些目标，能帮助你有效地瞄准复习和实践方向。

---

2. Bridging the Gap: From GCSE to A-Level Drama | 衔接差距：从GCSE戏剧到A-Level戏剧

GCSE Drama gives you a solid foundation in devising, performing and evaluating, but A-Level expects you to operate with far greater autonomy. The jump in academic rigour is most noticeable in the written portfolio, the depth of textual analysis required, and the need to engage with professional theatre criticism and practitioner theory.

GCSE戏剧为你打下了创作、表演和评价的坚实基础，但A-Level期许你以更强的自主性去实践。学术严谨性的跃升最为明显地体现在书面作品集、所需的文本分析深度，以及需要接触专业戏剧评论和实践者理论等方面。

You will no longer simply describe what you did on stage; you must justify every creative choice through the lens of a recognised theatre practitioner or genre. This means reading beyond the set plays and building a personal library of live theatre experiences. Start keeping a theatre journal this summer, noting not just what you see but how the director used space, lighting, sound and rhythm to shape meaning.

你不能再仅仅描述自己在舞台上做了什么；你必须透过公认的剧场实践者或流派的视角来论证每一个创意选择。这意味着你要阅读必读剧作之外的资料，并积累个人的现场戏剧体验库。从这个暑期开始，坚持写戏剧日志吧，不仅记录你所看到的，还要记录导演如何运用空间、灯光、声音和节奏来塑造意义。

In addition, the written examination demands a fluent, analytical essay style. You will need to structure arguments about how an actor or designer might realise a moment from the page to the stage, and how a director could interpret a scene for a contemporary audience. Practise writing short, timed responses to short extracts over the summer to build this muscle.

此外，笔试要求具备流畅、分析性的论述文风格。你需要构建论点，论述演员或设计师如何将一个瞬间从剧本文字落地到舞台，以及导演如何为当代观众诠释一个场景。暑期可以练习限时对短片段写出回应，以此锻炼这项能力。

---

3. Component 1: Devising Original Theatre | 模块一：原创戏剧创作

Your first major project will be to collaborate with a group to devise an original piece of theatre, inspired by a stimulus and a chosen theatre practitioner. This component is internally assessed and externally moderated. The final piece is performed to an audience and recorded, while your creative journey is documented in a portfolio of around 3000 words.

你的第一个重大课题是与小组合作，以某一刺激物和自选的剧场实践者为灵感，创作一部原创戏剧作品。该模块为校内评估、校外审核。最终作品需面向观众演出并录像，而你的创作历程则记录在约3000字的作品集中。

Success in devising hinges on your ability to research, experiment, and critically reflect. Over the summer, watch devised theatre online and read about practitioners such as Frantic Assembly, Complicite, or Kneehigh. Notice how they generate material through physical workshops, improvisation, and text. Start collecting stimuli—a poem, a news story, a piece of art—and jot down initial creative responses in your journal.

原创创作的成功取决于你研究、实验和批判性反思的能力。暑期可以观看在线原创戏剧作品，并了解 Frantic Assembly、Complicite 或 Kneehigh 等实践团体，注意他们如何通过肢体工作坊、即兴表演和文本生成素材。开始收集刺激物（一首诗、一篇新闻、一件艺术品），并在日志里写下你初步的创意回应。

Your portfolio must demonstrate how your ideas evolved in relation to your chosen practitioner’s methods. Thus, building a working vocabulary of Stanislavski’s ‘magic if’, Brecht’s Verfremdungseffekt, or Artaud’s Theatre of Cruelty will give you a strong analytical foundation. You do not need to master these theories now, but a familiarity with their basic principles will save you considerable time later.

你的作品集必须展示你的创意如何结合所选实践者的方法而演变。因此，掌握斯坦尼斯拉夫斯基的“假使”、布莱希特的“间离效果”或阿尔托的“残酷戏剧”等工作词汇，将为你奠定坚实的分析基础。你无需现在就精通这些理论，但熟悉其基本原理将为你日后节省大量时间。

---

4. Component 2: Text in Performance | 模块二：文本演绎

For this externally examined component, you will either perform or design for two key extracts from two different published plays. If you choose the performance route, you must deliver a monologue or duologue from one text, and a group piece from another. Design students realise lighting, sound, set or costume for the same requirements.

在这个由外部考官评分模块中，你需要为两部不同已出版剧本的两个关键片段进行表演或设计。若选择表演路线，你必须呈现一个文本的独白或对白，以及另一个文本的集体表演。设计方向的学生则需就相同要求实现灯光、声音、布景或服装设计。

One of your chosen texts must be drawn from the Edexcel list of ‘performance texts’, which includes works such as ‘That Face’ by Polly Stenham, ‘Machinal’ by Sophie Treadwell, ‘Equus’ by Peter Shaffer, and ‘Accidental Death of an Anarchist’ by Dario Fo. The other extract can be from a contrasting play of your choice, enabling you to showcase versatility.

你选择的文本之一必须出自Edexcel“表演文本”列表，其中包括波莉·斯坦纳姆的《那张脸》、索菲·特雷德韦尔的《机械》、彼得·谢弗的《恋马狂》以及达里奥·福的《一个无政府主义者的意外死亡》等。另一片段可自选对比鲜明的剧作，以展现你的多样性。

Use the summer to read at least two of these performance texts in their entirety. Pay close attention to the playwright’s stage directions, character arcs, and subtext. For performers, begin practising a monologue by speaking it aloud daily, experimenting with vocal tone and physicality. For designers, start gathering visual and sonic research that captures the mood of a chosen extract.

利用暑期通读至少两部这类表演文本。密切关注剧作家的舞台指示、角色弧线和潜台词。对于表演者，开始每日大声练习一段独白，尝试不同的声调和肢体表达。对于设计师，着手收集能捕捉所选片段情绪的视觉与声音研究资料。

---

5. Component 3: Theatre Makers in Practice – Written Exam | 模块三：剧场实践者笔试

The written paper is divided into three sections. Section A: Live Theatre Evaluation requires you to write about a piece of live theatre you have seen, drawing on analytical notes you can take into the exam. Section B: Page to Stage asks you to explain how you would realise a specific extract from your chosen performance text as either an actor or a designer. Section C: Interpreting a Performance Text requires a directorial concept for an extract from a classic play, tailored to a given audience and performance space.

笔试试卷分为三个部分。A部分：现场戏剧评价，要求就你看过的一部现场戏剧作品撰文，可带入考场的分析笔记为辅助。B部分：从书页到舞台，要求你解释将如何以演员或设计师身份，实现你所选表演文本的某个特定片段。C部分：诠释表演文本，需针对一部经典剧作片段，提出面向特定观众与演出空间的导演构思。

This component rewards breadth of theatre knowledge and the ability to write precisely under timed conditions. The summer is an ideal time to see professional theatre—live if possible, or via high-quality recordings from the National Theatre, Royal Shakespeare Company, or Digital Theatre+. After each viewing, write a 500-word evaluation focusing on two key moments and explaining how the director’s use of space, light, sound and performance style created meaning.

该模块奖励广博的剧场知识以及在限时条件下精确写作的能力。暑期是观看专业戏剧的理想时机——尽可能看现场，或者通过英国国家剧院、皇家莎士比亚剧团或 Digital Theatre+ 的高清录像观看。每次观剧后，撰写一篇500字的评价，聚焦于两个关键时刻，说明导演如何通过空间、灯光、声音和表演风格营造意义。

For Sections B and C, begin to familiarise yourself with one performance text from the prescribed list, such as ‘Woyzeck’ by Georg Buchner, ‘The Maids’ by Jean Genet, or ‘Colder Than Here’ by Laura Wade. Read the play actively: mark entrances and exits, note shifts in power, and sketch a ground plan of the imagined stage. This kind of spatial thinking is vital for the exam.

针对B和C部分，开始熟悉规定列表中的一部表演文本，如格奥尔格·毕希纳的《沃伊采克》、让·热内的《女仆》或劳拉·韦德的《比这里更冷》。主动阅读剧本：标出上场和下场，记录权力的转移，并画出想象舞台的平面图。这类空间思维对考试至关重要。

---

6. Essential Reading: Exploring Set Texts | 必读材料：探索必读文本

Edexcel provides lists of performance texts and classic texts to choose from. Successful A-Level students often read widely beyond the minimum requirement. Below is a selection of texts commonly studied; aim to read at least three over the summer, including one classic and two contemporary works, keeping a dedicated reading journal.

Edexcel 提供了备选的表演文本和经典文本列表。成功的A-Level学生通常广泛阅读，超出最低要求。以下是常学文本的选例；暑期目标至少阅读三部，包括一部经典和两部当代作品，并做专门的阅读日志。

Performance Texts (Section B)	Classic Texts (Section C)
‘Equus’ by Peter Shaffer	‘Antigone’ by Sophocles
‘Machinal’ by Sophie Treadwell	‘Doctor Faustus’ by Christopher Marlowe
‘That Face’ by Polly Stenham	‘Waiting for Godot’ by Samuel Beckett
‘The Maids’ by Jean Genet	‘The Caucasian Chalk Circle’ by Bertolt Brecht

As you read, ask yourself: What is the playwright’s intention? How does the structure of the play serve that intention? What are the key turning points? How could a director use space and rhythm to highlight these moments? Record your ideas, as they will directly feed into Component 3 essays and your practical work.

阅读时问自己：剧作家的意图是什么？剧本结构如何服务于这一意图？关键转折点是什么？导演如何运用空间和节奏来突出这些时刻？记录下你的想法，它们将直接滋养模块三的论文和你的实践作业。

---

7. Developing Analytical Writing Skills | 培养分析写作技巧

The written portfolio and examination both demand that you write as an informed theatre maker. This means moving beyond vague praise (‘the acting was good’) towards precise, technical analysis (‘the actor used a lowered centre of gravity and a restricted vocal range to convey oppression’). Practise using precise theatre terminology this summer.

书面作品集和笔试都要求你能以一位有见识的剧场创作者的身份来写作。这意味着要超越模糊的赞美（“表演很好”），转向精准的技术分析（“演员通过降低重心和限制音域来传递压抑感”）。这个暑期就练习使用精确的剧场术语吧。

Start a weekly analytical writing exercise: select a short scene from a play you are reading, and write two paragraphs (about 200 words in total) explaining how you would direct the scene for a specific audience, and why. Focus on one production element per week—first lighting, then sound, then proxemics, then costume. This discipline will sharpen your Component 3 skills.

开始每周分析写作练习：从你正在阅读的剧本中选一个短场景，写两段文字（共约200词），解释你将如何为某一特定观众导演该场景，并说明理由。每周聚焦一个制作元素——第一周灯光，然后声音，接着人际关系距离，再到服装。这种训练将磨砺你的模块三技能。

When evaluating live theatre, always link your observations to the intended effect on the audience. For example: ‘The sudden blackout followed by a single, low-frequency drone created an overwhelming sense of isolation, mirroring the protagonist’s psychological state.’ Such sensory detail, tied to interpretation, earns high marks.

在评价现场戏剧时，始终将你的观察与对观众的预期效果联系起来。例如：“突然的暗场后紧接一个低沉单调的嗡嗡声，营造出一种无法抗拒的孤独感，映射出主角的心理状态。”这种与诠释相连的感官细节能获得高分。

---

8. Practical Workshop Preparation | 实践工作坊准备

When you return to the studio, you will be expected to throw yourself into physical and vocal warm-ups, improvisations, and scene work with focus and energy. You can prepare your instrument—your body and voice—over the summer so that you feel ready to take creative risks.

回到排练室后，你将被要求全情投入肢体与声音热身、即兴表演和片段作业。你可以在暑期就准备好你的“乐器”——你的身体和声音，以便到时能自如地承担创意风险。

Set aside 20 minutes a day for vocal exercises: practise diaphragmatic breathing, articulation drills (tongue twisters), and exploring pitch and resonance. For physical preparation, work on flexibility through yoga or simple stretching, and try Laban’s eight efforts—punch, slash, dab, flick, press, wring, glide, float—to expand your movement vocabulary.

每天留出20分钟进行声音练习：练习腹式呼吸、吐字归音训练（绕口令），并探索音高与共鸣。在肢体准备方面，通过瑜伽或简单拉伸提升柔韧性，并尝试拉班的八种力效——冲、砍、点、弹、压、扭、滑动、飘浮——以拓展你的动作语汇库。

If you have chosen the design pathway, spend time with the technical tools you will use. Sketch costume designs for a character from one of your summer reads, create a lighting storyboard for a key scene, or collect soundscapes that could underscore moments of tension or release. The aim is to arrive in September with a portfolio of initial ideas and a playful, experimental mindset.

如果你选择了设计路径，花时间熟悉你将要使用的技术工具。为暑期读物中的一个角色绘制服装设计草图，为某个关键场景创建灯光故事板，或收集能烘托紧张或释放时刻的音景。目标是在九月份到来时，已拥有一套初步想法作品集和一种乐于游戏的实验心态。

---

9. Building Your Theatre Knowledge: Key Practitioners and Genres | 构建剧场知识：关键实践者与流派

A-Level Drama is not just about doing; it is about knowing the wider context of theatre history and theory. The specification encourages you to apply the methodologies of key practitioners, ranging from Stanislavski’s psychological realism to Brecht’s epic theatre, and from Artaud’s visceral approach to contemporary physical theatre companies like Frantic Assembly.

A-Level戏剧不止关乎实践，更关乎了解戏剧史与理论的更广阔语境。课程大纲鼓励你运用关键实践者的方法，从斯坦尼斯拉夫斯基的心理现实主义到布莱希特的史诗剧场，从阿尔托的感官冲击法到诸如 Frantic Assembly 等当代肢体剧团。

Create a set of practitioner fact-files this summer. For each, note: their historical context, core beliefs about the purpose of theatre, and signature rehearsal techniques. For example, Stanislavski sought emotional truth through objectives, obstacles, and the ‘magic if’; Brecht wanted audiences to think critically rather than empathise, using techniques such as direct address, placards, and alienation effects.

这个暑期创建一套实践者资料卡。对每位实践者，记录：其历史背景、对剧场目的的核心信念，以及标志性的排练技巧。例如，斯坦尼斯拉夫斯基通过目标、障碍和“假使”来寻求情感真实；布莱希特希望观众批判性思考而非共情，使用直接致辞、标语牌和间离效果等技法。

Also begin to recognise theatrical genres and styles: naturalism, expressionism, absurdism, physical theatre, and immersive theatre. When watching a production, try to identify which genre or practitioner influenced the director’s choices. This will build your critical vocabulary and enable you to make sophisticated connections in your written work.

还应开始识别戏剧体裁与风格：自然主义、表现主义、荒诞主义、肢体剧场和沉浸式剧场。观看演出时，试着辨识导演的抉择受到哪种体裁或哪位实践者的影响。这将积累你的批评词汇，使你能够在书面作业中建立富有深度的联结。

---

10. Summer Study Plan: A Week-by-Week Guide | 暑期学习计划：每周指南

A structured approach over six weeks can transform your readiness. Below is a flexible template; adapt it to your own pace and commitments, but aim for consistent, short bursts of activity rather than last-minute cramming.

分六周进行结构化安排可以极大提升你的准备度。下面是一个灵活的模板，你可以根据自己的节奏和安排做调整，但请力求持续、短时高频的活动，而非最后时刻填鸭。

Week 1: Read one performance text and one classic text. Note initial impressions. Watch a National Theatre production online and write a live-theatre-style evaluation.

第1周：阅读一部表演文本和一部经典文本。记录初步印象。在线观看一部国家剧院作品，并撰写一篇现场戏剧风格的评价。

Week 2: Select a monologue from your performance text. Analyse the character’s objectives and obstacles. Practise it daily, experimenting with three different physical approaches.

第2周：从你的表演文本中选择一段独白。分析角色的目标与障碍。每日练习，尝试三种不同的肢体表现方法。

Week 3: Research one theatre practitioner in depth. Create a fact-file and watch a workshop or documentary about their methods. Reflect on how you might use their techniques in a devised piece.

第3周：深度学习一位剧场实践者。创建资料档案，观看关于其方法的工作坊或纪录片。反思你如何在原创作品中运用这些技巧。

Week 4: Begin a ‘Page to Stage’ exercise. Choose a short extract from your classic text and sketch a set design, lighting plot, and blocking for a key moment. Explain your choices in writing.

第4周：开始“从书页到舞台”练习。从你的经典文本中选取一个短片段，为某一关键时刻绘制布景设计、灯光布图和舞台调度。书面解释你的选择。

Week 5: Read a contrasting performance text. Compare the playwrights’ use of structure, language and stage space in a

Published by TutorHao | A-Level 戏剧 Revision Series | aleveler.com

更多咨询请联系16621398022（同微信）