Component 2, Section A Overview: Post-1914 Prose/Drama
Stagecraft and Performance: Unlike prose, drama is written to be seen; analysis must include the impact of lighting, sound, set design, and the physical movement of actors as dictated by stage directions.
Dialogue and Subtext: Focus on the 'unsaid' between characters, analyzing how power dynamics are established through interruptions, silences, and rhetorical patterns.
Dramatic Irony: Evaluate the effect created when the audience possesses information that the characters on stage do not, often used to build tension or highlight tragedy.
| Feature | Prose Analysis | Drama Analysis |
|---|---|---|
| Primary Focus | Internal monologue and descriptive imagery | Dialogue, action, and physical space |
| Narrative Control | Controlled by a narrator's voice | Controlled by the 'spectacle' and stage directions |
| Reader/Audience | Private, imaginative experience | Public, shared performance experience |
| Time | Can expand/contract through description | Usually moves in 'real-time' during scenes |
The Thesis-Led Approach: Always start with a clear thesis statement that outlines your central argument in response to the specific keywords of the question.
Integrated Context: Avoid 'context dumping' (listing historical facts); instead, ensure every piece of historical information is directly linked to a specific literary choice made by the author.
Evidence Selection: Choose 'rich' quotations that allow for multi-layered analysis of language, structure, and theme simultaneously to maximize efficiency.
Tentative Language: Use phrases like 'this suggests,' 'the writer may be implying,' or 'one could interpret this as' to demonstrate the critical maturity required for AO5.