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UK GCSE 2010 : Drama Written paper

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General Certificate of Secondary Education Written Paper [G2501] G2501 Drama *G2501* 2010 WEDNESDAY 2 JUNE, AFTERNOON 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. 5321 BLANK PAGE 5321 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 5321 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 4, Scene 5. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 LADY CAPULET: What is the matter? NURSE: Look, look. O heavy day! LADY CAPULET: O me, O me, my child, my only life. Revive, look up, or I will die with thee. Help! Help! Call help. Enter CAPULET CAPULET: For shame, bring Juliet forth; her lord is come. NURSE: She s dead, deceased, she s dead, alack the day! LADY CAPULET: Alack the day, she s dead, she s dead, she s dead! CAPULET: Ha! Let me see her. Out alas she s cold, Her blood is settled, and her joints are stiff; Life and these lips have long been separated. Death lies on her like an untimely frost Upon the sweetest ower of all the eld. NURSE: O lamentable day! LADY CAPULET: O woeful time! (a) Spend no more than 15 minutes on this question. Draw a costume for Capulet 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: 5321 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 Mercutio 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 facial expressions in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: 5321 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 5 Scene 2. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Enter CRABTREE CRABT: With pistols, nephew pistols: I have it from undoubted authority. MRS. CAN: Oh, Mr. Crabtree, then it is all true! CRABT: Too true, indeed, madam, and Sir Peter is dangerously wounded SIR BENJ. B: By a thrust in second quite through his left side CRABT: By a bullet lodged in the thorax. MRS. CAN: Mercy on me! Poor Sir Peter! CRABT: Yes, madam; though Charles would have avoided the matter, if he could. MRS. CAN: I knew Charles was the person. SIR BENJ. B: My uncle, I see, knows nothing of the matter. CRABT: But Sir Peter taxed him with the basest ingratitude. SIR BENJ: That I told you, you know CRABT: Do, nephew, let one speak! and insisted on immediate (a) Spend no more than 15 minutes on this question. Draw a costume for Sir Benjamin 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: 5321 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 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 facial expressions in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: 5321 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 end of Act V. 1 2 3 4 5 6 7 LIZA: Yes: you turn round and make up to me now that I m not afraid of you, and can do without you. HIGGINS: Of course I do, you little fool. Five minutes ago you were a millstone round my neck. Now youre a tower of strength: a consort battleship. You and I and Pickering will be three old bachelors instead of only two men and a silly girl. Mrs Higgins returns, dressed for the wedding. Eliza instantly 8 9 10 11 12 13 14 15 becomes cool and elegant. MRS HIGGINS: The carriage is waiting, Eliza. Are you ready? LIZA: Quite. Is the professor coming? HIGGINS: Certainly not. He cant behave himself in church. He makes remarks out loud all the time on the clergyman s pronunciation. LIZA: Then I shall not see you again Professor. Goodbye. (She goes to the door) MRS HIGGINS: (coming to Higgins) Goodbye dear. HIGGINS: Goodbye, mother. 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 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: 5321 your choices of materials, colour, furniture and furnishings; exits and entrances; 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 Pickering 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 facial expressions in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: 5321 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 2. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 WIDOW QUIN: (admiring CHRISTY) . . . Sit down now while you re quiet till you talk with me CHRISTY: (swaggering): I m going abroad on the hillside for to seek Pegeen. WIDOW QUIN: You ll have time and plenty for to seek Pegeen, and you heard me saying at the fall of night the two of us should be great company. CHRISTY: From this out I ll have no want of company when all sorts is bringing me their food and clothing (he swaggers to the door tightening his belt), the way they set their eyes upon a gallant orphan cleft his father with one blow to the breeches belt. (He opens door, then staggers back) Saints of glory! Holy angels from the throne of light! WIDOW QUINN: (going over) What ails you? CHRISTY: It s the walking spirit of my murdered da! (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: 5321 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 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 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 facial expressions in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: 5321 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 of the play. 1 2 3 4 5 6 7 8 9 10 11 12 13 ABIGAIL: She always sings her Barbados songs, and we dance. PARRIS: I cannot blink what I saw, Abigail, for my enemies will not blink it. I saw a dress lying on the grass. ABIGAIL (innocently): A dress? PARRIS (it is very hard to say): Aye, a dress. And I thought I saw someone naked running through the trees! ABIGAIL (in terror): No one was naked! You mistake yourself uncle! PARRIS (with anger): I saw it! (He moves from her. Then, resolved) Now tell me true Abigail. And I pray you feel the weight of truth upon you, for now my ministry s at stake, my ministry and perhaps your cousin s life. Whatever abomination you have done, give me all of it now, for I dare not be taken unaware when I go before them down there. 1952, Arthur 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 distribution, other media, or future editions shall be made witthout the express written consent of The Wylie Agency (UK)Ltd. (a) Spend no more than 15 minutes on this question. Draw a costume for Parris 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: 5321 your choices of colour, shape and materials; a short paragraph giving reasons for your choices. 12 [10] 1952, Arthu [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 Tituba 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 facial expressions in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: 5321 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: [roars] Madge! Madge! S.B.: No need to roar like that. PUBLIC: The the the bread s done. We need more bread. S.B.: You know where it s kept, don t you? [Madge at scullery door.] PUBLIC: Can we have more bread, Madge . . . please . . . MADGE: Huh! Pity you lost the power of your legs. PUBLIC: I ll I ll get it myself it doesn t matter . . . [Madge comes over to the table and takes the plate from Public. She gives S.B. a hard look.] MADGE: [irony] The chatting in this place would deafen a body. Won t the house be quiet soon enough long enough? [She shuffles off with the plate.] PRIVATE: Tick-tock-tick-tock-tick-tock. It is now sixteen or seventeen years since I saw the Queen of France, then the Dauphiness, at Versailles . . . Go on! What s the next line? [S.B. produces a roll of money from his pocket and puts it on the table.] S.B.: I suppose you ll be looking for your pay. Electronic rights - (c) Extract from "Philadelphia Here I Come!" reproduced by permission of The Agency (London) Ltd 1965 All rights reserved 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 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: 5321 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 Madge 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 facial expressions in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: 5321 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 GRANDMOTHER: Will you tell her about the tea-set. SARAH: I m coming to the tea-set . . . after they had their tea the old aunt showed Beth around the house and apart from all the other nice stuff, do you know what she has? MAISIE: What? GRANDMOTHER: A real Belleek tea-set. SARAH: The real McCoy. MAISIE: I was never all that struck on Belleek. Do you not think it s awful Fenian-looking? SARAH: It s over a hundred years old, it must be worth a fortune. MAISIE: Oh, I m sure it is, but I still say you can t beat the fine English bone china. SARAH: Well, I like it, it s really elegant. The old aunt said it belonged to her grandmother. 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 Grandmother 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: 5321 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 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 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 facial expressions in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: 5321 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 the 2nd half of Act One. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 LINDA: Yeh, we try an shoot his little thingy off, don t we Mickey? They all laugh. Come on gang, let s go. EDWARD (standing firm): But Mickey . . . I mean . . . suppose we get caught . . . by a policeman. MICKEY: Aah . . . take no notice. We ve been caught loads of times by a policeman . . . haven t we, Linda? LINDA: Oh, my God, yeh. Hundreds of times. More than that. MICKEY: We say dead funny things to them, don t we, Linda? EDWARD: What sort of funny things? LINDA: All sorts, don t we Mickey? MICKEY: Yeh . . . like y know when they ask what y name is, we say things like, like Adolph Hitler , don t we Linda? LINDA: Yeh, an hey Eddie, y know when they say, What d y think you re doin ? we always say somethin like like, waitin for the ninety-two bus . 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 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: 5321 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 Linda 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 facial expressions in your performance to portray your character(s). (Write about your performance not your rehearsal work.) In your answer you should: 5321 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. 5321 5321 20 [Turn over

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