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UK GCSE 2008 : Drama Written paper

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General Certificate of Secondary Education 2008 Written Paper G2501 Drama [G2501] WEDNESDAY 14 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. G2518 3398 BLANK PAGE G2518 3398 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 G2518 G2518 3398 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. The extract is taken from Act 2, Scene 3. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 ROMEO: Thou chid st me oft for loving Roseline. For doting, not for loving, pupil mine. ROMEO: And bad st me bury love. FRIAR LAWRENCE: Not in a grave, To lay one in another out to have. ROMEO: I pray thee chide me not; her I love now Doth grace for grace, and love for love allow. The other did not so. FRIAR LAWRENCE: O she knew well Thy love did read by rote, that could not spell. But come young waverer, come go with me. In one respect I ll thy assistant be; For this alliance may so happy prove, To turn your households rancour to pure love. ROMEO: O let us hence, I stand on sudden haste. FRIAR LAWRENCE: (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: G2518 3398 your choices of materials, colours, furniture and furnishings; exits and entrances; 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 Romeo 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 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 gesture in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: G2518 3398 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. The extract is taken from Act 2, Scene 1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 LADY TEAZ: What! would you restrain the freedom of speech? SIR PET: O! they have made you just as bad as any one of the society. LADY TEAZ: Why, I believe I do bear a part with a tolerable grace. But I vow I have no malice against the people I abuse; when I say an ill-natured thing tis out of pure good humour and I take it for granted they deal exactly in the same manner with me. But Sir Peter, you know you promised to come to Lady Sneerwell s too. SIR PET: Well, well, I ll call in just to look after my own character. LADY TEAZ: Then indeed, you must make haste after me or you ll be too late so good-bye to ye. Exit LADY TEAZLE (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: G2518 3398 your choices of materials, colours, 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 playing Sir Peter 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 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 gesture in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: G2518 3398 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. The extract is taken from the early part of Act II. (hesitating, evidently perplexed) A young woman asks to see you, sir. HIGGINS: A young woman! What does she want? MRS PEARCE: Well, sir, she says youll be glad to see her when you know what she s come about. She s quite a common girl, sir. Very common indeed. I should have sent her away, only I thought perhaps you wanted her to talk into your machines. I hope Ive not done wrong; but really you see such queer people sometimes youll excuse me, I m sure, sir HIGGINS: Oh, that s all right, Mrs Pearce. Has she an interesting accent? MRS PEARCE: Oh, something dreadful, sir, really. I dont know how you can take an interest in it. HIGGINS: (to Pickering) Lets have her up. Shew her up, Mrs Pearce. (he rushes across to his working table and picks out a cylinder to use on the phonograph). 15 MRS PEARCE: (only half resigned to it) Very well, sir. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 MRS PEARCE: (a) Spend no more than 15 minutes on this question. Draw a costume for Mrs Pearce 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: G2518 3398 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 playing Higgins 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 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 gesture in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: G2518 3398 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. The extract is taken from Act 1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 (his feelings hurt): That s an unkindly thing to be saying to a poor orphaned traveller, has a prison behind him, and hanging before, and hell s gap gaping below. PEGEEN (with a sign to the men to be quiet): You re only saying it. You did nothing at all. A soft lad the like of you wouldn t slit the windpipe of a screeching sow. CHRISTY (offended): You re not speaking the truth. PEGEEN (in mock rage): Not speaking the truth, is it? Would you have me knock the head of you with the butt of the broom? CHRISTY: (twisting round on her with a sharp cry of horror): Don t strike me. I killed my poor father, Tuesday was a week, for doing the like of that. PEGEEN: (with blank amazement): Is it killed your father? CHRISTY: (whistling): With the help of God I did, surely, and that the Holy Immaculate Mother may intercede for his soul. CHRISTY (a) Spend no more than 15 minutes on this question. Draw a costume for Pegeen 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: G2518 3398 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 playing Christy 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 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 gesture in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: G2518 3398 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. The extract is taken from Act 4. 1 2 3 4 5 6 7 8 9 10 11 12 13 DANFORTH: Now, then, Mister, will you speak slowly and directly to the point, for Mr Cheever s sake. (he is on record now, and is really dictating to CHEEVER, who writes.) Mr. Proctor, have you seen the Devil in your life? (Proctor s jaws lock.) Come man, there is light in the sky; the town waits at the scaffold; I would give out this news. Did you see the Devil? PROCTOR: I did. PARRIS: Praise God! DANFORTH: And when he come to you, what were his demand? (Proctor is silent. Danforth helps) Did he bid you to do his work upon the earth? PROCTOR: He did. DANFORTH: And you bound yourself to his service? (Danforth turns, as Rebecca Nurse enters, with Herrick helping to 14 support her. She is barely able to walk.) Come in, come in, woman. 15 REBECCA (brightening): Ah, John! You are well, then, eh? (a) Spend no more than 15 minutes on this question. Draw a costume for Danforth 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: G2518 3398 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 playing Proctor 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 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 gesture in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: G2518 3398 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. The extract is taken from Episode II. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 (quietly, deliberately) You don t want to go, laddybuck. Admit it. You don t want to go. (Madge enters from the scullery.) PUBLIC: (searching for an excuse) I can t nd my coat. I left it in my room. (Madge gives him a long, patient look, goes to the nail below the school clock, lifts down the coat, and hands it to him. He takes it from her and goes towards the scullery door.) PUBLIC: If you would only learn to leave things where you nd them you wouldn t be such a bad aul nuisance. (Public and Private go off.) MADGE: (calls) Don t you dare come home drunk! (Public s head appears round the door.) PUBLIC: (softly) I m going to say good-bye to the boys over a quiet drink or two. And how I spend my nights is a matter entirely for myself. MADGE: The Boys! Couldn t even come here to say good-bye to you on your last night. PRIVATE: Straight to the bone! PUBLIC: Just you mind your business and I ll mind mine. PRIVATE: (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: G2518 3398 your choices of materials, colours, furniture and furnishings; exits and entrances; 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 playing Private 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 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 gesture in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: G2518 3398 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. The extract is taken from Act 1. 1 THERESA: Have you got your new uniform 2 for the grammar school yet? 3 BETH: Not yet, my mammy s still saving 4 up to pay for it. 5 THERESA: I got mine last week. You 6 want to see it. Everything s dark green, even the knickers. 7 BETH: Our uniform s navy blue 8 THERESA: Are the knickers navy blue too? 9 BETH: Yes. 10 THERESA: Do you know what that big 11 lad down the street says those sort of knickers are called? 12 BETH: What? 13 THERESA: Passion killers. 14 BETH: What does that mean? 15 THERESA: I don t know. I asked my mammy and she hit me and made me go to confession. They sit and ponder this for a moment. (a) Spend no more than 15 minutes on this question. Draw a costume for Beth 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: G2518 3398 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 playing Theresa 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 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 gesture in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: G2518 3398 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. The extract is taken from Act 2. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 MRS JOHNSTONE: You re gonna miss the bus. I won t. MRS JOHNSTONE: Well, you ll miss Linda, she ll be waitin for y . MICKEY: Well, I don t wanna see her. What do I wanna see her for? MRS JOHNSTONE (laughing at his transparency): You ve only been talkin about her in your sleep for the past week . . . MICKEY (outraged): You liar . . . MRS JOHNSTONE: Oh, my sweet darling . . . MICKEY: I never. That was a line out the school play! MRS JOHNSTONE (her laughter turning to a smile): All right. I believe y . Now go before you miss the bus. Are y goin . We see LINDA at the bus stop. LINDA: Hi-ya, Mickey. MRS JOHNSTONE: Ogh, did I forget? Is that what you re waitin for? Y waitin for y mum to give y a big sloppy kiss, come here . . . MICKEY: I m goin , I m goin . . . MICKEY: (a) Spend no more than 15 minutes on this question. Draw a costume for Mickey 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: G2518 3398 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 playing Edward 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 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 gesture in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: G2518 3398 refer to the status and personality of your character(s); refer to the action of the play; refer closely to the text. 19 [20] 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-2/07-528-013-1 [Turn over

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