Pearson EdexcelA-Level52 resources

Pearson Edexcel A-Level Drama and Theatre Studies Past Papers & Mark Schemes

Download free Pearson Edexcel A-Level Drama and Theatre Studies past papers, mark schemes & examiner reports. 52 resources.

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June 2018

1 file

A-Level Drama and Theatre Studies – Mark scheme – Unit 4 (6DR04) – June 2018

Mark Scheme

June 2017

1 file
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A-Level Drama and Theatre Studies – Question paper – Unit 4 (6DR04) – June 2017

Question Paper

June 2016

1 file
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A-Level Drama and Theatre Studies – Question paper – Unit 4 (6DR04) – June 2016

Question Paper

June 2015

6 files
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A-Level Drama and Theatre Studies – Examiner report – Unit 2 (6DR02) – June 2015

Examiner Report
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A-Level Drama and Theatre Studies – Examiner report – Unit 1 (6DR01) – June 2015

Examiner Report
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A-Level Drama and Theatre Studies – Question paper – Unit 4 (6DR04) – June 2015

Question Paper
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A-Level Drama and Theatre Studies – Examiner report – Unit 3 (6DR03) – June 2015

Examiner Report
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A-Level Drama and Theatre Studies – Examiner report – Unit 4 (6DR04) – June 2015

Examiner Report

A-Level Drama and Theatre Studies – Mark scheme – Unit 4 (6DR04) – June 2015

Mark Scheme

June 2014

6 files
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A-Level Drama and Theatre Studies – Examiner report – Unit 2 (6DR02) – June 2014

Examiner Report

A-Level Drama and Theatre Studies – Mark scheme – Unit 4 (6DR04) – June 2014

Mark Scheme
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A-Level Drama and Theatre Studies – Examiner report – Unit 3 (6DR03) – June 2014

Examiner Report
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A-Level Drama and Theatre Studies – Examiner report – Unit 1 (6DR01) – June 2014

Examiner Report
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A-Level Drama and Theatre Studies – Question paper – Unit 4 (6DR04) – June 2014

Question Paper
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A-Level Drama and Theatre Studies – Examiner report – Unit 4 (6DR04) – June 2014

Examiner Report

June 2013

1 file
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A-Level Drama and Theatre Studies – Examiner report – Unit 2 (6DR02) – June 2013

Examiner Report

June 2012

3 files
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A-Level Drama and Theatre Studies – Examiner report – Unit 3 (6DR03) – June 2012

Examiner Report
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A-Level Drama and Theatre Studies – Examiner report – Unit 2 (6DR02) – June 2012

Examiner Report
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A-Level Drama and Theatre Studies – Question paper – Unit 4 (6DR04) – June 2012

Question Paper

June 2011

1 file
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A-Level Drama and Theatre Studies – Examiner report – Unit 4 (6DR04) – June 2011

Examiner Report

June 2010

4 files
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A-Level Drama and Theatre Studies – Unit 4: Theatre in Context -Source Booklet – June 2010

Additional Resources
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A-Level Drama and Theatre Studies – Unit 4: Theatre in Context -Source Booklet – June 2010

Additional Resources
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A-Level Drama and Theatre Studies – Question paper – Unit 4 (6DR04) – June 2010

Question Paper
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A-Level Drama and Theatre Studies – Examiner report – Unit 3 (6DR03) – June 2010

Examiner Report

June 2009

1 file
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A-Level Drama and Theatre Studies – Examiner report – Unit 1 (6DR01) and Unit 2 (6DR02) – June 2009

Examiner Report

Four Units, Two Tiers, and a Source Booklet: The Legacy Drama Specification in Detail

This archive of 52 resources covers the Pearson Edexcel legacy A-Level Drama and Theatre Studies specification (units 6DR01–6DR04), which was the predecessor to the current Drama and Theatre (9DR0) qualification. Although the specification structure has changed, the core analytical and practical skills remain identical, making these papers valuable preparation material for any student studying drama at A-Level. The legacy specification was divided into four units across two tiers. At AS Level, Unit 1 (6DR01) — Exploration of Drama and Theatre — was a coursework unit requiring students to create a portfolio demonstrating practical exploration of two contrasting plays through the lens of at least two recognised theatre practitioners. Students were expected to show how practitioner techniques (Stanislavski's emotional memory, Brecht's gestus, Artaud's use of sensory assault) could be applied to specific scenes and characters. Unit 2 (6DR02) — Theatre Text in Performance — was the AS written paper (1 hour 30 minutes, 60 marks). Section A required students to explain how they would perform or design for a specific extract from their set text, demonstrating understanding of staging, vocal delivery, physicality, and audience impact. Section B required an evaluation of a live theatre production, analysing how performers and designers created meaning through specific production choices. At A2 Level, Unit 3 (6DR03) — Exploration of Dramatic Performance — was a second coursework unit assessing a devised performance accompanied by a documented creative process showing research, rehearsal development, and evaluation. Unit 4 (6DR04) — Theatre Text in Context — was the A2 written paper (2 hours 30 minutes, 80 marks) and the most demanding component. It included a pre-released Source Booklet containing extracts from critical writings, practitioner theories, and historical documents related to the set text. Students had to analyse their set text in its original performance context, evaluate critical interpretations, and explain their own directorial vision with precise staging detail. The Source Booklet questions in Unit 4 are particularly distinctive — they require students to synthesise information from unfamiliar critical and historical sources with their own textual knowledge, a skill that develops sophisticated academic argumentation transferable to university-level study.

Exam Paper Structure

Unit 1 (6DR01)No calculator

Exploration of Drama and Theatre

Coursework🎯 marks📊 30% of grade
Exploration of practitioners' techniquesPractical exploration of performance textsPortfolio of evidence
Unit 2 (6DR02)No calculator

Theatre Text in Performance

1 hour 30 minutes🎯 60 marks📊 20% of grade
Performance text analysisLive theatre evaluationApplication of practitioner methods
Unit 3 (6DR03)No calculator

Exploration of Dramatic Performance

Coursework🎯 marks📊 20% of grade
Devised performanceDocumented creative processApplication of theatrical conventions
Unit 4 (6DR04)No calculator

Theatre Text in Context

2 hours 30 minutes🎯 80 marks📊 30% of grade
In-depth study of a performance textTheatrical context and interpretationEvaluation and critical analysis

Key Information

Exam BoardPearson Edexcel
Specification Code6DR01–6DR04 (legacy modular)
QualificationA-Level (Legacy)
Grading ScaleA*–E (raw) / A–E (UMS)
Assessment TypeWritten + practical units (modular)
Unit 1 (6DR01)Exploration of Drama and Theatre (AS, coursework)
Unit 2 (6DR02)1 hr 30 min — Theatre Text in Performance (AS, written)
Unit 3 (6DR03)Exploration of Dramatic Performance (A2, coursework)
Unit 4 (6DR04)2 hr 30 min — Theatre Text in Context (A2, written)
NoteLegacy specification — replaced by Drama and Theatre (9DR0)
Available SessionsLegacy papers (pre-2017)
Total Resources52

Key Topics in Drama and Theatre Studies

Topics you need to know

Performance text analysis and directorial interpretationTheatrical practitioners (Stanislavski, Brecht, Artaud, Berkoff)Live theatre evaluation and critical analysisThe Source Booklet: synthesising critical and historical sourcesStaging, design, and production conceptsDevised performance creation and documentationVocal and physical performance techniquesTheatrical context (social, political, historical)

Exam Command Words

Command wordWhat the examiner expects
AnalyseExamine a scene, character, or theatrical element in detail, explaining how it creates meaning on stage
EvaluateJudge the effectiveness of a performance, design, or production choice you have witnessed
ExplainGive reasons for directorial or design decisions, linking them to the text's themes and intended audience impact
As a directorDescribe how you would stage a specific scene — blocking, vocal delivery, lighting, sound, and set
DiscussConsider different approaches to staging or interpreting a performance text, weighing their merits
With reference toDraw specifically on a practitioner's methods, a live production you saw, or the set text in your answer

Typical Grade Boundaries

GradeApproximate mark needed
A*90–95% UMS (aggregate)
A80–89% UMS
B70–79% UMS
C60–69% UMS
D50–59% UMS
E40–49% UMS

⚠️ Legacy modular specification using UMS (Uniform Mark Scale). Typical boundaries per unit.

Source Booklet Synthesis, Practitioner Application, and Writing as a Director

The Unit 4 Source Booklet is the most distinctive feature of this specification, and the papers in this archive provide invaluable practice for developing the skill of synthesising unfamiliar critical sources with your own textual knowledge. When working through past Source Booklets, practise the following sequence: read the extract carefully, identify the critical argument or historical context it presents, consider how this perspective illuminates (or contradicts) your understanding of the play, and then integrate the source's insights into your own directorial interpretation. The mark scheme rewards responses that engage critically with the source material rather than simply paraphrasing it. Unit 2 performance questions follow a consistent format: 'As a performer/director/designer, explain how you would...' For these questions, think in concrete theatrical terms. Don't write 'I would make the character seem angry' — instead describe the specific vocal qualities (pace, pitch, volume, pause), physical choices (gesture, posture, proxemics, facial expression), and design elements (lighting state, sound cue, set positioning) you would use to communicate the character's emotional state to the audience. Specificity is everything in drama writing. Live theatre evaluation (Unit 2 Section B) requires a structured response: identify the production element you're discussing (a specific moment of performance, a design choice, a directorial decision), describe what you saw in precise theatrical language, analyse how it created meaning for the audience, and evaluate its effectiveness. The weakest responses simply describe what happened on stage; the strongest interrogate why specific choices were made and what impact they had. Practitioner application is assessed across both written papers. Prepare a clear framework for each key practitioner: Stanislavski (given circumstances, objectives, super-objective, emotional memory, the 'magic if'), Brecht (Verfremdungseffekt, gestus, direct address, placards, episodic structure, historicisation), and Artaud (Theatre of Cruelty, total theatre, sensory bombardment, ritual, abolishing the stage-auditorium divide). When applying a practitioner to a text, don't just name the technique — explain specifically how it would be realised in the staging of a particular scene and what audience effect it would produce.

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