In simple terms
A friendly intro before the formal notes — no formulas yet.
The Theatre Detective's Report
The Research Presentation is not just a report on a theatre tradition; it's you, as a theatre-maker, showing how you've used that research to create something. You are demonstrating the vital link between academic knowledge and embodied practice.
Imagine you're a detective investigating a classic case (a world theatre tradition). First, you gather all the evidence from archives and witness statements (Criterion A: Research). Then, you re-enact a key moment of the case yourself to understand the perpetrator's methods (Criterion B: Praxis). Finally, you present your findings to the chief, not by reading a dry report, but by showing them the re-enactment and explaining how it unlocks the entire case (Criteria C & D: Presentation & Synthesis). Your presentation is the story of your investigation.
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Frame Your Inquiry: Select a specific, researchable world theatre tradition and formulate a focused research question that fascinates you as a performer or director.
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Synthesise Research & Praxis: Conduct academic research while simultaneously exploring the tradition's conventions physically. Let your practical work inform your research questions, and vice-versa.
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Craft the Narrative & 'Moment': Structure your presentation as a compelling story. Select and refine a powerful 'moment of theatre' that serves as the climax of your practical demonstration.
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Deliver and Justify: Present your findings and your 'moment' to an audience, clearly articulating the 'how' and 'why' of your choices and demonstrating the synthesis of your theoretical and practical learning.
Explore the concept
Use the live diagram and synced steps — play it or tap a step card to walk through.
Full topic notes
Formal explanation with the rigour you need for the exam.
Deconstructing the Assessment Criteria: What Examiners Reward
Understanding the criteria is the first step to success. Examiners use them as a precise checklist. Let's translate them into actionable goals.
Criterion A: The Researcher (Max 6 marks) - Go beyond Wikipedia. Use academic journals, primary sources (practitioner writings), and interviews. Show you understand not just what the convention is, but why it exists within its cultural and historical context. A top-band presentation cites specific sources and details.
Criterion B: The Practitioner (Max 8 marks) - This is about your 'praxis'. You must clearly identify a convention, explore it physically, and then apply it to create meaning in your 'moment of theatre'. The link between the convention and your intention must be explicit and effective. Examiners look for thoughtful application, not just imitation.
Criterion C: The Presenter (Max 8 marks) - Structure is key. A simple 'intro-body-conclusion' is not enough. Think theatrically: how can you create a compelling journey for your audience? Your physical and vocal delivery must be engaging and confident. This is a performance about performance.
Criterion D: The Synthesiser (Max 8 marks) - This is the highest-level skill. Synthesis is the 'so what?'. You must constantly connect the dots for the examiner: 'Because my research showed X, I explored it practically by doing Y, which resulted in Z in my moment of theatre, revealing a new understanding for me as a theatre-maker.' Avoid just listing facts or describing actions.
Crafting a Compelling Narrative Structure
Your presentation's structure is its dramaturgy. It should guide the audience, build suspense, and make your argument inescapable. Think of it as a well-directed play, not a lecture. The 'moment of theatre' should not be an awkward interruption; it should be the climax or a pivotal turning point in your narrative.
The Hook: Start with a question, a powerful image, or a brief physical demonstration to grab attention. Don't just say 'My presentation is on...'
The Roadmap: Clearly state your research question and signpost the main sections of your presentation. Let the audience know the journey you are taking them on.
Integrated 'Moment': Frame your 'moment of theatre' carefully. Introduce the context and your artistic intention before you perform it ('What you are about to see is...'). Afterwards, deconstruct it: 'As you saw, my choice to... was intended to...'. This frames the praxis within your argument.
The 'Aha!' Moment (Synthesis): Your conclusion should do more than summarise. It should articulate your key insight – the new understanding you gained by bridging the research and the practice. What did you learn about the tradition, about theatre, and about yourself as a creator?
Record yourself rehearsing your presentation. Watch it back and assess it against Criterion C. Is your structure clear? Is your delivery engaging? Are you relying too much on notes? Self-assessment is crucial for refining your performance.
The 'Moment of Theatre': From Exploration to Efficacy
The 'moment of theatre' is the heart of your praxis (Criterion B). It is not about creating a polished, perfect performance. It is about demonstrating a deep, practical understanding of a convention. The process of getting there is as important as the final product.
Focus on ONE Convention: Do not try to showcase everything you learned. Choose one specific, tangible convention and explore it in depth. Quality over quantity.
Document Your Process: Keep a journal or blog. Note what worked, what didn't, and why. These reflections are gold for your presentation script, showing the journey of your practical exploration.
Intention is Everything: Be crystal clear about what you want to communicate in your moment. Your justification should link your application of the convention directly to this artistic intention.
Frame it for the Audience: The 'moment' will likely be abstract or decontextualized. It's your job to provide the context before and the analysis after, so the audience understands its significance within your research.
Delivery and Theatrical Engagement
Your delivery is assessed under Criterion C. You are a theatre student; your presentation should reflect that. This means being conscious of your use of voice, body, and space to engage your audience and communicate your ideas with clarity and passion.
Own the Space: Don't hide behind a lectern. Move with purpose. Use gesture to emphasise points. Make eye contact with your audience (including the camera).
Vocal Dynamics: Vary your pace, pitch, and volume. Use pauses for emphasis. Your voice is a tool to maintain interest and convey meaning.
Notes are a Tool, Not a Script: Use cue cards with key points, not a full script to be read. Reading directly to the audience disengages them and demonstrates a lack of confidence and ownership of the material.
Technology with Purpose: If you use slides (e.g., PowerPoint, Google Slides), they should be minimal and visual. Use images, key quotes, or single words. Do not put your entire script on the screen. You are the presentation, not the slides.
Worked examples
See the formulas applied — reveal one step at a time, like the exam.
Model Script Excerpt: A student is presenting on the use of 'Tension States' from Jacques Lecoq's pedagogy to explore the theme of societal pressure. This excerpt demonstrates synthesis (Criterion D) and justification of praxis (Criterion B).
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(The student has just explained Lecoq's seven tension states, citing his book 'The Moving Body'.)
Model Structure Outline: A student is creating a presentation on how the convention of 'Ma' (meaningful pause) in Japanese Noh theatre can be used to create dramatic tension in a contemporary monologue.
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Introduction (The Hook): Begin by performing a single line from the monologue, followed by a long, charged 10-second pause ('Ma'). Then ask the audience: 'What did you feel in that silence?'.
How it all connects
The big idea sits in the middle — tap a linked idea to explore the link.
Tap a linked idea to see how it connects back to the main topic — that connection is what examiners reward.
Glossary
Try to recall each definition before you reveal it.
Quick check
Answer in your head first — then tap to check. No pressure.
Revision flashcards
Flip the card. Test yourself before the exam.
Praxis
The process of putting theoretical knowledge into practice. In the RP, it's the application of your research on a convention into a 'moment of theatre'. It is 'thinking through doing'.
Key takeaways
Review these before you close the topic — retrieval beats re-reading.
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Criterion A: The Researcher (Max 6 marks) - Go beyond Wikipedia. Use academic journals, primary sources (practitioner writings), and interviews. Show you understand not just what the convention is, but why it exists within its cultural and historical context. A top-band presentation cites specific sources and details.
- ✓
Criterion B: The Practitioner (Max 8 marks) - This is about your 'praxis'. You must clearly identify a convention, explore it physically, and then apply it to create meaning in your 'moment of theatre'. The link between the convention and your intention must be explicit and effective. Examiners look for thoughtful application, not just imitation.
- ✓
Criterion C: The Presenter (Max 8 marks) - Structure is key. A simple 'intro-body-conclusion' is not enough. Think theatrically: how can you create a compelling journey for your audience? Your physical and vocal delivery must be engaging and confident. This is a performance about performance.
- ✓
Criterion D: The Synthesiser (Max 8 marks) - This is the highest-level skill. Synthesis is the 'so what?'. You must constantly connect the dots for the examiner: 'Because my research showed X, I explored it practically by doing Y, which resulted in Z in my moment of theatre, revealing a new understanding for me as a theatre-maker.' Avoid just listing facts or describing actions.
Practice — then mark it
The whole point: a real Cambridge question, marked mark-by-mark.
Test your knowledge of the Research Presentation
Test your knowledge of the Research Presentation
Extra simulations & links
PhET, GeoGebra and other curated tools — open in a new tab.
Frequently asked
Checkpoint
One marked question is worth ten re-reads — close the loop before you move on.
Reading it isn’t knowing it — prove it.
Before you move on: do Test your knowledge of the Research Presentation on paper, snap a photo, and get examiner-style feedback on exactly where you win and lose marks.