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UK GCSE 2009 : Drama Written paper

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General Certificate of Secondary Education 2009 Written Paper G2501 Drama [G2501] THURSDAY 11 JUNE, 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. 4396 BLANK PAGE 4396 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 4396 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 3, Scene 5. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 LADY CAPULET: Fie, fie, what, are you mad? JULIET: Good father, I beseech you on my knees, (she kneels down) Hear me with patience, but to speak a word. CAPULET: Hang thee young baggage, disobedient wretch! I tell thee what, get thee to church a Thursday, Or never after look me in the face. Speak not, reply not, do not answer me. My fingers itch. Wife, we scarce thought us blessed. That God has sent us but this only child; But now I see this one is one too much, And that we have a curse in having her. Out on her, hilding! NURSE: God in heaven bless her. You are to blame my lord to rate her so. CAPULET: And why, my lady wisdom? Hold your tongue. (a) Spend no more than 15 minutes on this question. Draw a costume for Lady Capulet 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: 4396 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 playing Juliet 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. (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 movement in your performance to portray your character(s). (Write about your performance not about your rehearsal work.) In your answer you should: 4396 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 II Scene ii. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 LADY SNEER: Very well, Lady Teazle; I see you can be a little severe. LADY TEAZ: In defence of a friend it is but justice. But here comes Sir Peter to spoil our pleasantry. Enter Sir Peter Teazle (up L.). SIR PET: [Bowing.] Ladies, your most obedient. [Aside] Mercy on me, here is the whole set! a character dead at every word, I suppose. MRS. CAN: I am rejoiced you are come, Sir Peter. They have been so censorious and Lady Teazle as bad as any one. SIR PET: [C.] That must be very distressing to you, Mrs. Candour, I dare swear. [Moves down L.] MRS. CAN: Oh, they will allow good qualities to nobody; not even good nature to our friend Mrs. Pursy. (a) Spend no more than 15 minutes on this question. Draw a costume for Lady Sneerwell 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: 4396 your choices of colour, shape and materials; 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 Lady Teazle 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. (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 movement in your performance to portray your character(s). (Write about your performance not about your rehearsal work.) In your answer you should: 4396 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 MRS EYNSFORD HILL: What does doing her in mean? HIGGINS: (hastily) Oh, thats the new small talk. To do a person in means to kill them. MRS EYNSFORD HILL: (to Eliza, horrified) You surely dont believe that your aunt was killed? LIZA: Do I not! Them she lived with would have killed her for a hat-pin, let alone a hat. MRS EYNSFORD HILL: But it cant have been right for your father to pour spirits down her throat like that. It might have killed her. LIZA: Not her. Gin was mother s milk to her. Besides, he d poured so much down his own throat that he knew the good of it. MRS EYNSFORD HILL: Do you mean that he drank? LIZA: Drank! My word! Something chronic. (a) Spend no more than 15 minutes on this question. Draw a costume for Mrs Eynsford Hill 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: 4396 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 Doolittle 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. (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 movement in your performance to portray your character(s). (Write about your performance not about your rehearsal work.) In your answer you should: 4396 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 Act 3. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 MICHAEL: Is it me to fight him, when it s father-slaying he s bred to now? (Pushing SHAWN) Go on you fool and fight him now. SHAWN: (coming forward a little) Will I strike him with my hand? MICHAEL: Take the loy is on your western side. SHAWN: I d be afeard of the gallows if I struck with that. CHRISTY: (taking up the loy): Then I ll make you face the gallows or quit off from this. SHAWN flies out the door CHRISTY: Well, fine weather be after him (going to MICHAEL, coaxingly,) and I m thinking you wouldn t wish to have that quaking blackguard in your house at all. Let you give us your blessing and hear her swear her faith to me, for I m mounted on the spring-tide of the stars of luck, the way it ll be good for any to have me in the house. PEGEEN: (at the other side of Michael ) Bless us now, for I swear to God I ll wed him, and I ll not renegue (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 the play is set. Your answer should include: 4396 your choices of materials, colour, furniture and furnishings; exits and entrances; 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 Widow Quin 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. (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 movement in your performance to portray your character(s). (Write about your performance not about your rehearsal work.) In your answer you should: 4396 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 3 of the play. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 HATHORNE: And the name of this man? GILES: (taken aback): What name? HATHORNE: The man that give you this information. GILES: (hesitates, then): Why, I I cannot give you his name. HATHORNE: And why not? GILES: (hesitates, then bursts out): You know well why not! He ll lay in jail if I give his name! HATHORNE: This is contempt of the court, Mr Danforth! DANFORTH: (to avoid that); You will surely tell us the name. GILES: I will not give you no name. I mentioned my wife s name once and I ll burn in hell long enough for that. I stand mute. DANFORTH: In that case, I have no choice but to arrest you for contempt of this court, do you know that? GILES: This is a hearing; you cannot clap me for contempt of a hearing. DANFORTH: Oh, it is a proper lawyer! (a) Spend no more than 15 minutes on this question. Draw a costume for Giles 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: 4396 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 Hale 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. (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 movement in your performance to portray your character(s). (Write about your performance not about your rehearsal work.) In your answer you should: 4396 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 I. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 PUBLIC: God, my legs are trembling! Kathy . . . KATE: Anybody at home? Mammy! Daddy! [Public hesitates before entering Doogan s house. Private is at his elbow, prompting him desperately.] PRIVATE: Mr Doogan . . . Senator Doogan I want to ask your permission . . . O my God! . . . KATE: Yo-ho! PRIVATE: Mrs Doogan, Kate and I have to get married rightaway Cripes, no! KATE: Where is everybody! Yo-ho-yo-ho! PRIVATE: If the boys could see you now! [Kate comes back to him, gives him a quick kiss on the cheek.] KATE: Don t look so miserable. Here . . . [fixes his tie]. PUBLIC: Kathy, maybe we should wait until until until next Sunday KATE: [earnestly] Remember, it s up to you, entirely up to you. DOOGAN: [off] That you, Kate? (a) Spend no more than 15 minutes on this question. Draw a costume for Kate 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: 4396 your choices of colour, shape and materials; a short paragraph giving reasons for your choices. 14 [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 Public Gar 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. (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 movement in your performance to portray your character(s). (Write about your performance not about your rehearsal work.) In your answer you should: 4396 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 Two. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 BETH: Mum, I m not asking you any more, I m telling you, we have to go. SARAH looks around the room at the china cabinet and the photos. SARAH: I m not leavin my wee house, I won t abandon them. BETH: We can bring the pictures with us. SARAH: It s not just the pictures. BETH: Look I ll put all the china, linen, anything you want into the car. SARAH: My mother worked her fingers to the bone to buy that new devon grate. BETH: The cooker, the kitchen sink, anything you want. SARAH: I remember the day the men came to put it in. She was that pleased, no more black leadin . That was when she started to buy the brass ornaments. (a) Spend no more than 15 minutes on this question. Draw a ground plan in 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: 4396 your choices of materials, colours, furniture and furnishings; exits and entrances; 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 Beth 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. (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 movement in your performance to portray your character(s). (Write about your performance not about your rehearsal work.) In your answer you should: 4396 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 One. leaps in front of them, gun in hand, pointed at them. MICKEY: Hi ya, Sammy. SAMMY: Give us a sweet. MICKEY: Haven t got any. EDWARD: Yes, you have . . . MICKEY frantically shakes his head, trying to shut EDWARD up. Yes, I gave you one for Sammy, remember? SAMMY laughs at EDWARD s voice and MICKEY s misfortune. SAMMY: Y little robbin get. MICKEY: No, I m not. (He hands over a sweet.) An anyway, you pinched my best gun. MICKEY tries to snatch the gun from SAMMY, but SAMMY is too fast. SAMMY: It s last anyway. It only fires caps. I m gonna get a real gun soon, I m gonna get an air gun. SAMMY goes into a fantasy shoot out. He doesn t notice EDWARD who has approached him and is craning to get a close look at his head. (Eventually noticing) What are you lookin at? EDWARD: Pardon. MICKEY: That s Eddie. He lives up by the park. SAMMY: He s friggin poshy. MICKEY: No, he s not. He s my best friend. SAMMY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 (a) Spend no more than 15 minutes on this question. Draw a costume for Edward 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: 4396 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. (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 movement in your performance to portray your character(s). (Write about your performance not about your rehearsal work.) In your answer you should: 4396 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. 936-010-1 4396 20 [Turn over

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