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UK GCSE 2007 : Drama Written paper

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General Certificate of Secondary Education 2007 Written Paper G2501 Drama [G2501] WEDNESDAY 16 MAY, MORNING TIME 2 hours. INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number in the Answer Booklet provided. Read carefully the instructions on page 3 and select one play from the list provided. You must answer Section A and Section B. INFORMATION FOR CANDIDATES Section A is based on your set play. You may use a clean copy of your set play in this section of the paper. The question has three parts, (a), (b) and (c). You must answer all parts. Section B of this paper is based on the play you used in Internally Assessed Unit 1 Scripted Performance. You cannot use the same play as you used in Section A. You must not bring a copy of the play you used for this unit into the examination. Section B has only one question. The total mark for this paper is 80, which includes marks for quality of written communication. Figures in brackets printed down the right-hand side of pages indicate the marks awarded to each question or part question. G2517 2538 BLANK PAGE G2517 2538 2 [Turn over List of Prescribed Plays for Section A The following is the list of plays prescribed for this examination. Look down the list of plays and turn to the page where the questions have been set for the play you have studied. Choose only one play from the list below. Remember you must answer both Section A and Section B. Write all your answers in the Answer Booklet. Question Number/Play Pages Play 1. Shakespeare: Romeo and Juliet 4 Play 2. Sheridan: The School for Scandal 6 Play 3. Shaw: Pygmalion 8 Play 4. Synge: The Playboy of the Western World 10 Play 5. Miller: The Crucible 12 Play 6. Friel: Philadelphia Here I Come! 14 Play 7. Reid: Tea in a China Cup 16 Play 8. Russell: Blood Brothers 18 G2517 2538 3 [Turn over Play 1 Shakespeare: Romeo and Juliet Section A Answer questions (a), (b) and (c). Read the extract below and answer questions (a) and (b). Spend about 5 minutes reading the extract. This extract is taken from Act 1, Scene 5. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 ROMEO: Sin from my lips? O trespass sweetly urged. Give me my sin again. JULIET: You kiss by th book. NURSE: Madam your mother craves a word with you. ROMEO: What is her mother? NURSE: Marry bachelor, Her mother is the lady of the house, And a good lady, and a wise and virtuous. I nursed her daughter that you talked withal I tell you, he that can lay hold of her Shall have the chinks. ROMEO: Is she a Capulet? O dear account, my life is my foe s debt. BENVOLIO: Away, be gone, the sport is at the best. ROMEO: Ay, so I fear, the more is my unrest. (a) Spend no more than 15 minutes on this question. Draw a costume for Nurse in this extract. Use a basic sketch and label it clearly. Her costume should be appropriate to her status and to the period in which the play is set. Your answer should include: G2517 2538 your choices of colour, shape and materials; a short paragraph giving reasons for your choices. 4 [10] [Turn over (b) Spend no more than 30 minutes on this question. Imagine you are the director for this extract. Write performance notes to help your actors play their roles in a way that is appropriate to the action, period and setting of the play. You should write notes for every line. Your notes should include your ideas on: voice movement gesture facial expression mood atmosphere [20] (c) Spend no more than 40 minutes on this question. This question refers to the whole play. Imagine you are the actor who is playing Capulet in a production of the full play. What rehearsal work would you use to explore and develop aspects of your character? In your answer you should: write about two rehearsal methods and two drama strategies; give reasons for your choices; refer closely to the text. [30] Section B Scripted Performance Answer question (d). Do not use Romeo and Juliet in this section. This question is about how you acted your role(s) in the Compulsory Internally Assessed Unit 1 Scripted Performance. (Write about your performance not about your rehearsal work.) (d) Spend about 30 minutes on this question. Before beginning your answer, write down the title of the play, the name of the person who wrote the play and the part(s) you played. Explain how you used voice and facial expression in your performance to portray your character(s). In your answer you should: G2517 2538 refer to the status and personality of your character(s); refer to the action of the play; refer closely to the text. 5 [20] [Turn over Play 2 Sheridan: The School for Scandal Section A Answer questions (a), (b) and (c). Read the extract below and answer questions (a) and (b). Spend about 5 minutes reading the extract. This extract is taken from Act 1 Scene 1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 MRS. CAN: Now who would have suspected your friend, Miss Prim, of an indiscretion? Yet such is the ill-nature of people, that they say her uncle stopt her last week, just as she was stepping into the York diligence with her dancingmaster. MARIA: I ll answer for t there are no grounds for that report. MRS. CAN: Ah, no foundation in the world, I dare swear; no more, probably, than for the story circulated last month, of Mrs Festino s affair with Colonel Cassino; though, to be sure, that matter was never rightly cleared up. JOSEPH S: The licence of invention some people take is monstrous indeed. MARIA: Tis so, but, in my opinion, those who report such things are equally culpable. (a) Spend no more than 15 minutes on this question. Draw a ground plan for this extract. Your ground plan should be appropriate to the action of the play, the setting and the period in which it is set. Your answer should include: G2517 2538 your choices of materials, colour, furniture and furnishings; exits and entrances; a short paragraph giving reasons for your choices. 6 [10] [Turn over (b) Spend no more than 30 minutes on this question. Imagine you are the director for this extract. Write performance notes to help your actors play their roles in a way that is appropriate to the action, period and setting of the play. You should write notes for every line. Your notes should include your ideas on: voice movement gesture facial expression mood atmosphere [20] (c) Spend no more than 40 minutes on this question. This question refers to the whole play. Imagine you are the actor who is playing Mrs Candour in a production of the full play. What rehearsal work would you use to explore and develop aspects of your character? In your answer you should: write about two rehearsal methods and two drama strategies; give reasons for your choices; refer closely to the text. [30] Section B Scripted Performance Answer question (d). Do not use The School For Scandal in this section. This question is about how you acted your role(s) in the Compulsory Internally Assessed Unit 1 Scripted Performance. (Write about your performance not about your rehearsal work.) (d) Spend about 30 minutes on this question. Before beginning your answer, write down the title of the play, the name of the person who wrote the play and the part(s) you played. Explain how you used voice and facial expression in your performance to portray your character(s). In your answer you should: G2517 2538 refer to the status and personality of your character(s); refer to the action of the play; refer closely to the text. 7 [20] [Turn over Play 3 Shaw: Pygmalion Section A Answer questions (a), (b) and (c). Read the extract below and answer questions (a) and (b). Spend about 5 minutes reading the extract. This extract is taken from the early part of Act III. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 HIGGINS: Nonsense! I know I have no small talk; but people don t mind. (He sits on the settee) MRS HIGGINS: Oh! Dont they? Small talk indeed! What about your large talk? Really, dear, you mustn t stay. HIGGINS: I must. Ive a job for you. A phonetic job. MRS HIGGINS: No use dear, dear. I m sorry; but I cant get round your vowels; and though I like to get pretty postcards in your patent shorthand, I always have to read the copies in ordinary writing you so thoughtfully send me. HIGGINS: Well this isn t a phonetic job. MRS HIGGINS: You said it was. HIGGINS: Not your part of it. Ive picked up a girl. MRS HIGGINS: Does that mean that some girl has picked you up? HIGGINS: Not at all. I don t mean a love affair. (a) Spend no more than 15 minutes on this question. Draw a costume for Mrs Higgins in this extract. Use a basic sketch and label it clearly. Her costume should be appropriate to her status and to the period in which the play is set. Your answer should include: G2517 2538 your choices of colour, shape and materials; a short paragraph giving reasons for your choices. 8 [10] [Turn over (b) Spend no more than 30 minutes on this question. Imagine you are the director for this extract. Write performance notes to help your actors play their roles in a way that is appropriate to the action, period and setting of the play. You should write notes for every line. Your notes should include your ideas on: voice movement gesture facial expression mood atmosphere [20] (c) Spend no more than 40 minutes on this question. This question refers to the whole play. Imagine you are the actor who is playing Liza in a production of the full play. What rehearsal work would you use to explore and develop aspects of your character? In your answer you should: write about two rehearsal methods and two drama strategies; give reasons for your choices; refer closely to the text. [30] Section B Scripted Performance Answer question (d). Do not use Pygmalion in this section. This question is about how you acted your role(s) in the Compulsory Internally Assessed Unit 1 Scripted Performance. (Write about your performance not about your rehearsal work.) (d) Spend about 30 minutes on this question. Before beginning your answer, write down the title of the play, the name of the person who wrote the play and the part(s) you played. Explain how you used voice and facial expression in your performance to portray your character(s). In your answer you should: G2517 2538 refer to the status and personality of your character(s); refer to the action of the play; refer closely to the text. 9 [20] [Turn over Play 4 Synge: The Playboy of the Western World Section A Answer questions (a), (b) and (c). Read the extract below and answer questions (a) and (b). Spend about 5 minutes reading the extract. This extract is taken from the early part of Act 2. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 SARA: I ll call him. Mister! Mister! (He puts in his head) Is Pegeen within? CHRISTY: (coming in as meek as a mouse, with the looking-glass held behind his back): She s above on the cnuceen, seeking the nanny goats, the way she d have a sup of goats milk for to colour my tea. SARA: And asking your pardon, is it you s the man killed his father? CHRISTY (sidling towards the nail where the glass was hanging): I am, God help me! SARA (taking the eggs she brought): Then my thousand welcomes to you, and I ve run up with a brace of duck s eggs for your food to-day. Pegeen s ducks is no use, but these are the real rich sort. Hold out your hand and you ll see it s no lie I m telling you. CHRISTY (coming forward shyly, and holding out his left hand): They re a great and weighty size. SUSAN: And I run up with a pat of butter, for it d be a poor thing to have you eating your spuds dry. (a) Spend no more than 15 minutes on this question. Draw a costume for Christy in this extract. Use a basic sketch and label it clearly. His costume should be appropriate to his status and to the period in which the play is set. Your answer should include: G2517 2538 your choices of colour, shape and materials; a short paragraph giving reasons for your choices. 10 [10] [Turn over (b) Spend no more than 30 minutes on this question. Imagine you are the director for this extract. Write performance notes to help your actors play their roles in a way that is appropriate to the action, period and setting of the play. You should write notes for every line. Your notes should include your ideas on: voice movement gesture facial expression mood atmosphere [20] (c) Spend no more than 40 minutes on this question. This question refers to the whole play. Imagine you are the actor who is playing Pegeen in a production of the full play. What rehearsal work would you use to explore and develop aspects of your character? In your answer you should: write about two rehearsal methods and two drama strategies; give reasons for your choices; refer closely to the text. [30] Section B Scripted Performance Answer question (d). Do not use The Playboy of the Western World in this section. This question is about how you acted your role(s) in the Compulsory Internally Assessed Unit 1 Scripted Performance. (Write about your performance not about your rehearsal work.) (d) Spend about 30 minutes on this question. Before beginning your answer, write down the title of the play, the name of the person who wrote the play and the part(s) you played. Explain how you used voice and facial expression in your performance to portray your character(s). In your answer you should: G2517 2538 refer to the status and personality of your character(s); refer to the action of the play; refer closely to the text. 11 [20] [Turn over Play 5 Miller: The Crucible Section A Answer questions (a), (b) and (c). Read the extract below and answer questions (a) and (b). Spend about 5 minutes reading the extract. This extract is taken from Act 1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 PROCTOR: And so condemned her? MARY WARREN (now a little strained, seeing his stubborn doubt): Why, they must when she condemned herself. PROCTOR: But the proof, the proof! MARY WARREN (with greater impatience with him): I told you the proof. It s hard proof, hard as rock, the judges said. PROCTOR (pauses an instant, then): You will not go to court again, Mary Warren. MARY WARREN: I must tell you, sir, I will be gone every day now. I am amazed you do not see what weighty work we do. PROCTOR: What work you do! It s strange work for a Christian girl to hang old women! MARY WARREN: But, Mr Proctor, they will not hang them if they confess. Sarah Good will only sit in jail some time (recalling) and here s a wonder for you; think on this. Goody Good is pregnant! 1952, Arther Miller. Reproduced by permission. All rights reserved. No cuts or changes shall be made to the text of the above work without the written consent of the author or his agent. No further use of this material in extended distrbution, other media, or future editions shall be made without the express written consent of The Wylie Agency (UK) Ltd. (a) Spend no more than 15 minutes on this question. Draw a costume for Mary Warren in this extract. Use a basic sketch and label it clearly. Her costume should be appropriate to her status and to the period in which the play is set. Your answer should include: G2517 2538 your choices of colour, shape and materials; a short paragraph giving reasons for your choices. 12 [10] [Turn over (b) Spend no more than 30 minutes on this question. Imagine you are the director for this extract. Write performance notes to help your actors play their roles in a way that is appropriate to the action, period and setting of the play. You should write notes for every line. Your notes should include your ideas on: voice movement gesture facial expression mood atmosphere [20] (c) Spend no more than 40 minutes on this question. This question refers to the whole play. Imagine you are the actor who is playing Elizabeth in a production of the full play. What rehearsal work would you use to explore and develop aspects of your character? In your answer you should: write about two rehearsal methods and two drama strategies; give reasons for your choices; refer closely to the text. [30] Section B Scripted Performance Answer question (d). Do not use The Crucible in this section. This question is about how you acted your role(s) in the Compulsory Internally Assessed Unit 1 Scripted Performance. (Write about your performance not about your rehearsal work.) (d) Spend about 30 minutes on this question. Before beginning your answer, write down the title of the play, the name of the person who wrote the play and the part(s) you played. Explain how you used voice and facial expression in your performance to portray your character(s). In your answer you should: G2517 2538 refer to the status and personality of your character(s); refer to the action of the play; refer closely to the text. 13 [20] [Turn over Play 6 Friel: Philadelphia Here I Come! Section A Answer questions (a), (b) and (c). Read the extract below and answer questions (a) and (b). Spend about 5 minutes reading the extract. This extract is taken from Episode II. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 CON: (softly) It s okay, honey, okay . . . LIZZY: He s my sister s boy the only child of five girls of us BEN: I ll get the car round the front. (He goes off through the scullery.) LIZZY: and we spent a fortune on doctors, didn t we, Connie, but it was no good, and then I say to him (Con), We ll go home to Ireland, I says, and Maire s boy, we ll offer him everything we have PRIVATE (terrified) No. No. LIZZIE: everything, and maybe we could coax him you know maybe it was sorta bribery I dunno but he would have everything we ever gathered PRIVATE: Keep it! Keep it! LIZZY: and all the love we had in us PRIVATE No! No! CON: Honey, we ve a long drive back to the hotel. Electronic rights - (c) Extract from "Philadelphia Here I Come!" reproduced by permission of The Agency (London) Ltd 1965 Brian Friel. All rights reserved and enquiries to The Agency (London) Ltd 24 Pottery Lane, London W11 4LZ info@theagency.co.uk Print rights - Extract from "Philadelphia Here I Come!" reproduced by permission of Faber and Faber Ltd Brian Friel. All rights reserved (a) Spend no more than 15 minutes on this question. Draw a costume for Lizzy in this extract. Use a basic sketch and label it clearly. Her costume should be appropriate to her status and to the period in which the play is set. Your answer should include: G2517 2538 your choices of colour, shape and materials; a short paragraph giving reasons for your choices. 14 [10]Electronic rig [Turn over (b) Spend no more than 30 minutes on this question. Imagine you are the director for this extract. Write performance notes to help your actors play their roles in a way that is appropriate to the action, period and setting of the play. You should write notes for every line. Your notes should include your ideas on: voice movement gesture facial expression mood atmosphere [20] (c) Spend no more than 40 minutes on this question. This question refers to the whole play. Imagine you are the actor who is playing Kate in a production of the full play. What rehearsal work would you use to explore and develop aspects of your character? In your answer you should: write about two rehearsal methods and two drama strategies; give reasons for your choices; refer closely to the text. [30] Section B Scripted Performance Answer question (d). Do not use Philadelphia Here I Come! in this section. This question is about how you acted your role(s) in the Compulsory Internally Assessed Unit 1 Scripted Performance. (Write about your performance not about your rehearsal work.) (d) Spend about 30 minutes on this question. Before beginning your answer, write down the title of the play, the name of the person who wrote the play and the part(s) you played. Explain how you used voice and facial expression in your performance to portray your character(s). In your answer you should: G2517 2538 refer to the status and personality of your character(s); refer to the action of the play; refer closely to the text. 15 [20] [Turn over Play 7 Reid: Tea in a China Cup Section A Answer questions (a), (b) and (c). Read the extract below and answer questions (a) and (b). Spend about 5 minutes reading the extract. This extract is taken from Act 1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 GRANDFATHER: My son will represent me. You should be proud of him, not sittin here mopin . GRANDMOTHER: You re an oul fool, you always were. SARAH: He s comin up the street. Now don t be arguing, you two, you don t want to upset him. God knows when we ll all be together again. (Offstage there is cheering from the crowd. SAMUEL comes in dressed in Second World War uniform.) SAMUEL: The band s marching with us to the boat. I ve never seen anything like it. It s like the twelfth of July out there. GRANDFATHER: Don t yous all deserve it? The young men of this road are doing Ulster proud. GRANDMOTHER: I ve made you some sandwiches, son, in case you get hungry. SAMUEL: Ach mammy, I can t go off to war with a packet of sandwiches in my hand. Do you want me to be a laughin stock? Tea in a China Cup by Christina Reid, reproduced by permission of A & C Black Publishers Ltd (a) Spend no more than 15 minutes on this question. Draw a costume for Grandfather in this extract. Use a basic sketch and label it clearly. His costume should be appropriate to his status and to the period in which the play is set. Your answer should include: G2517 2538 your choices of colour, shape and materials; a short paragraph giving reasons for your choices. 16 [10] [Turn over (b) Spend no more than 30 minutes on this question. Imagine you are the director for this extract. Write performance notes to help your actors play their roles in a way that is appropriate to the action, period and setting of the play. You should write notes for every line. Your notes should include your ideas on: voice movement gesture facial expression mood atmosphere [20] (c) Spend no more than 40 minutes on this question. This question refers to the whole play. Imagine you are the actor who is playing Sarah in a production of the full play. What rehearsal work would you use to explore and develop aspects of your character? In your answer you should: write about two rehearsal methods and two drama strategies; give reasons for your choices; refer closely to the text. [30] Section B Scripted Performance Answer question (d). Do not use Tea in a China Cup in this section. This question is about how you acted your role(s) in the Compulsory Internally Assessed Unit 1 Scripted Performance. (Write about your performance not about your rehearsal work.) (d) Spend about 30 minutes on this question. Before beginning your answer, write down the title of the play, the name of the person who wrote the play and the part(s) you played. Explain how you used voice and facial expression in your performance to portray your character(s). In your answer you should: G2517 2538 refer to the status and personality of your character(s); refer to the action of the play; refer closely to the text. 17 [20] [Turn over Play 8 Russell: Blood Brothers Section A Answer questions (a), (b) and (c). Read the extract below and answer questions (a) and (b). Spend about 5 minutes reading the extract. This extract is taken from Act 2. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 MICKEY: Look . . . y can see the estate from up here. LINDA: Have we come all this way just to look at the bleedin estate? Mickey we re fourteen. She beams at him. He can t take it and looks the other way. MICKEY: Look. LINDA: What? MICKEY: There s that lad lookin out the window. I see him sometimes when I m up here. LINDA: Oh him . . . he s gorgeous, isn t he? MICKEY: What? LINDA: He s lovely lookin , isn t he? MICKEY: All right, all right! You ve told me once. LINDA: Well, he is. An what do you care if I think another feller s gorgeous eh? MICKEY: I don t. LINDA: You . . . I give up with you, Mickey Johnstone. I m off. Blood Brothers 1985 by Willy Russell, Publisher - Electronic rights, Casarotto Ramsay & Associates Ltd., Publisher - Print rights, A & C Black Publishers Ltd. All rights whatsoever in this play are strictly reserved and application for performance etc., must be made before rehearsal to Casarotto Ramsay & Associates Ltd., Waverly House, 7-12 Noel Street, London W1F *GQ England. No performance may be given unless a licence has been obtained. (a) Spend no more than 15 minutes on this question. Draw a costume for Linda in this extract. Use a basic sketch and label it clearly. Her costume should be appropriate to her status and to the period in which the play is set. Your answer should include: G2517 2538 your choices of colour, shape and materials; a short paragraph giving reasons for your choices. 18 [10] [Turn over (b) Spend no more than 30 minutes on this question. Imagine you are the director for this extract. Write performance notes to help your actors play their roles in a way that is appropriate to the action, period and setting of the play. You should write notes for every line. Your notes should include your ideas on: voice movement gesture facial expression mood atmosphere [20] (c) Spend no more than 40 minutes on this question. This question refers to the whole play. Imagine you are the actor who is playing Mickey in a production of the full play. What rehearsal work would you use to explore and develop aspects of your character? In your answer you should: write about two rehearsal methods and two drama strategies; give reasons for your choices; refer closely to the text. [30] Section B Scripted Performance Answer question (d). Do not use Blood Brothers in this section. This question is about how you acted your role(s) in the Compulsory Internally Assessed Unit 1 Scripted Performance. (Write about your performance not about your rehearsal work.) (d) Spend about 30 minutes on this question. Before beginning your answer, write down the title of the play, the name of the person who wrote the play and the part(s) you played. Explain how you used voice and facial expression in your performance to portray your character(s). In your answer you should: G2517 2538 refer to the status and personality of your character(s); refer to the action of the play; refer closely to the text. 19 [20] [Turn over Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright holders may have been unsuccessful for and CCEA will be happy to rectify any omissions of acknowledgement in future if notified. S 3/06 0000 7-046-1 G2517 2538 20 [Turn over

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