Galicia PAU Performing Arts II / Artes Escénicas II CIUG

The CIUG programme sets the content: theatre theory and history, dramatic text and dramaturgy, staging and scenography, acting technique, relations with music, dance and film, critical commentary, and Galician, Spanish and international stage practice. The official paper structure and any choice between options are published by the CIUG; read the current model before planning revision.

Those details change between sittings, so no fixed figure should be trusted from a third-party page. The CIUG publishes the duration, the number of items and the optional sections in its official documentation for each call. Download the latest structure and a recent paper, then time yourself against the real format.

Only partly. You do need dates, movements, authors and technical vocabulary, but most marks come from applying them: reading a scene, identifying conflict and character function, justifying a staging proposal, or judging an acting choice. Candidates who only recite lists tend to plateau; those who practise written commentary improve fastest.

It rewards clear writing and structured argument more than obscure facts, which many candidates find manageable. The risk is vagueness: answers that name a concept without explaining or illustrating it lose marks. If your written Spanish or Galician is shaky, or you rarely write at length, budget extra practice time for essay structure.

Resit rules belong to the PAU regulations and to each annual call, so confirm them with the CIUG rather than relying on second-hand summaries. In practice candidates usually sit the ordinary and extraordinary calls within the same year and may repeat the assessment in later years under the conditions in force.

Start with the vocabulary and the historical map, because every other block depends on them: genre terms, the parts of a dramatic text, staging roles, and the sequence of major movements. Then move to commentary practice, which trains the skill the exam actually tests. Leave Galician and Spanish specifics for the middle of your schedule.

Three recurring causes: describing a text instead of analysing it, using technical terms loosely without defining or illustrating them, and ignoring the second part of a question that asks for justification or contextualisation. Poor time allocation also hurts, since long essays can swallow the minutes needed for the shorter items.

Not necessarily, but watching productions helps you write concretely about staging, space and acting. If live theatre is hard to access, use recorded productions and analyse directorial decisions: set, lighting, costume, rhythm, casting. Refer to what you have actually observed rather than inventing examples you cannot describe.

The subject is taught and assessed within the Galician curriculum, and the paper is delivered in the official languages used by the CIUG. Follow the language of the question paper and the instructions for your call; if a choice is offered, answer consistently in one language and keep terminology accurate.

Treat them as training, not prediction. Do one paper closed-book, mark it against the published criteria, and list the gaps it exposes. Repeat the same paper a few weeks later to check retention. Two well-analysed papers teach more than skimming ten, especially if you rewrite your weakest answer.