Download 2024 AQA GCSE DRAMA 8261/W Component 1 Understanding Drama Verified Question Paper with and more Exams Playwriting and Drama in PDF only on Docsity!
2024 AQA GCSE DRAMA 8261/W Component 1
Understanding Drama
Verified Question Paper with Marking Scheme Combined.
June 2024
For this paper you must have:
- an AQA 12 - page answer book
- a copy of the set play you have studied. This play must not be annotated and must not contain additional notes.
Instructions
- Use black ink or black ball-point pen.
- Write the information required on the front of your answer book. The reference for this paper is 8261/W.
- Answer all questions in Section A.
- Answer one question in Section B. Answer all parts to this question as instructed.
- Answer one question in Section C.
- You must answer on different plays for Section B and Section C.
- Do all rough work in your answer book. Cross through any work you do not want to be marked.
Information
- The total number of marks available for this paper is 80.
- The marks for each question are shown in brackets.
- Section A carries 4 marks. Section B carries 44 marks. Section C carries 32 marks.
- All questions require answers in continuous prose. However, where appropriate, you could support your answers with sketches and/or diagrams.
- You will be marked on your ability to:
- use good English
- organise information clearly
- use specialist vocabulary where appropriate.
Section A: Theatre roles and terminology Answer all questions in this section. For each question, you should write the question number and the letter that is next to the correct answer in your answer book. Only one answer per question is allowed. 0 1 In the professional theatre, which team is responsible for keeping the prompt copy? A Front of House B Actors C Stage Management [1 mark] IB/G/Jun24/8261/W 0 2 What type of staging is shown in Figure 1? A Thrust B Theatre in the Round C Proscenium Arch [1 mark]
0 3 What is the stage position of the actor in Figure 1? A Centre stage B Downstage right C Upstage left [1 mark] 0 4 What is an advantage of using a traverse stage? A All of the audience have a similar view of the action. B The audience feels more involved as they are closer to the action. C Backdrops can be used, as there is no audience on one side of the stage. [1 mark] Turn over for Section B
Turn over ►
Section B: Study of set play You should answer the one question that relates to the set play you have studied. Only answer on one set play. If you have studied: Answer: Go to: The Crucible Question (^5) Page 6 Blood Brothers Question (^6) Page 8 Around the World in 80 Days Question 7 Page 10 Things I Know To Be True Question 8 Page 12 Noughts & Crosses Question 9 Page 14 Romeo and Juliet Question 10 Page 16 A Taste of Honey Question 11 Page 18 The Empress Question (^12) Page 20 The Great Wave Question 13 Page 22 Turn over for the next question Turn over ►
The Crucible Read the following extract and answer Question 5 on page 7. From Act One Hale Abigail, what sort of dancing were you doing with her in the forest? Abigail Why – common dancing is all. Parris I think I ought to say that I – I saw a kettle in the grass where they were dancing. Abigail That were only soup. Hale What sort of soup were in this kettle, Abigail? Abigail Why, it were beans – and lentils, I think, and – Hale Mr^ Parris,^ you^ did^ not^ notice,^ did^ you,^ any^ living^ thing^ in^ the^ kettle?^ A^ mouse,^ perhaps, a spider, a frog –? Parris ( fearfully ) I – do believe there were some movement – in the soup. Abigail That jumped in, we never put it in! Hale ( quickly ) What jumped in? Abigail Why, a very little frog jumped – Parris A frog, Abby! Hale ( grasping ABIGAIL) Abigail, it may be your cousin is dying. Did you call the Devil last night? Abigail I never called him! Tituba, Tituba … Parris ( blanched ) She called the Devil? Hale I should like to speak with Tituba. Parris Goody Ann, will you bring her up? (MRS PUTNAM exits ) Hale How did she call him? Abigail I know not – she spoke Barbados. Hale Did you feel any strangeness when she called him? A sudden cold wind, perhaps? A trembling below the ground? Abigail I didn’t see no Devil! ( Shaking BETTY) Betty, wake up. Betty! Betty! Hale You cannot evade me, Abigail. Did your cousin drink any of the brew in that kettle? Abigail She never drank it. Hale Did you drink it? Abigail No, sir. Hale Did Tituba ask you to drink it? Abigail She tried, but I refused. Hale Why are you concealing? Have you sold yourself to Lucifer? Abigail I never sold myself! I’m a good girl! I’m a proper girl! MRS PUTNAM enters with TITUBA, and instantly ABIGAIL points at TITUBA. Abigail She^ made^ me^ do^ it!^ She^ made^ Betty^ do^ it! Tituba ( shocked and angry ) Abby! Abigail She makes me drink blood! Parris Blood!!
Question 5: The Crucible Read the extract on page 6. Answer parts 05.1, 05.2 and 05.3. Then answer either part 05.4 or 05.5. Question 5 (^0 5). (^1) You are designing a setting for a performance of this extract. The setting must reflect the context of The Crucible, set in a Puritan community in the late 17th century. Describe your design ideas for the setting. [4 marks] (^0 5). (^2) You are performing the role of Hale. Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create. ‘ ( grasping Abigail ) Abigail, it may be your cousin is dying. Did you call the Devil last night?’ [8 marks] (^0 5). (^3) You are performing the role of Hale. Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Abigail to show the audience Hale’s determination to get the truth. [12 marks] And either (^0 5). 4 You are performing the role of Abigail. Describe how you would use your acting skills to interpret Abigail’s character. Explain why your ideas are appropriate for:
- this extract
- the performance of your role in the play as a whole. [20 marks] or (^0 5). (^5) You are a designer working on one aspect of design for this extract. Describe how you would use your design skills to create effects which support the action. Explain why your ideas are appropriate for:
- this extract
- your chosen design skill in the play as a whole. [20 marks] Turn to page 24 for Section C Turn over ►
Question 6: Blood Brothers Read the extract on page 8. Answer parts 06.1, 06.2 and 06.3. Then answer either part 06.4 or 06.5. Question 6 0 6.^1 You are designing a costume for Mrs Johnstone to wear in a performance of this extract. The costume must reflect the context of Blood Brothers , set in a Liverpudlian community in the 1950s. Describe your design ideas for the costume. [4 marks] (^0 6). (^2) You are performing the role of Mrs Johnstone. Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create. ‘Oh but look, look, it’s all right, Mrs Lyons, I’ll still be able to do me work.’ [8 marks] (^0 6). (^3) You are performing the role of Mrs Johnstone. Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Mrs Lyons to show the audience Mrs Johnstone’s fear. [12 marks] And either (^0 6). (^4) You are performing the role of Mrs Lyons. Describe how you would use your acting skills to interpret Mrs Lyons’ character. Explain why your ideas are appropriate for:
- this extract
- the performance of your role in the play as a whole. [20 marks] or (^0 6). 5 You are a designer working on one aspect of design for this extract. Describe how you would use your design skills to create effects which support the action. Explain why your ideas are appropriate for:
- this extract
- your chosen design skill in the play as a whole. [20 marks] Turn to page 24 for Section C Turn over ►
Around the World in 80 Days Read the following extract and answer Question 7 on page 11. From Act One, Scene Twenty Fix Excuse me, did you intend to sail aboard The Carnatic this morning? Fogg Yes, sir. Fix So did I. I’ve only just learned it left last night without giving notice. We now must wait a week for another steamer. Mrs Aouda No! Oh, Mr Fogg! Fogg ( evenly ). I seem to see some other vessels here in Hong Kong Harbour. FOGG approaches a ship’s CAPTAIN coiling some line. Is your boat ready to sail? Captain Von Darius Yes, your honour. Fogg Are you the captain? CAPTAIN BLOSSOM VON DARIUS turns around. It is a woman. Captain Von Darius Yes, Blossom Von Darius, Captain of The Tankadere. Fogg ( taken aback by her gende r). Huh. ( Recovered .) Does she go fast? Captain Von Darius Between eight and nine knots. Fogg Will you take me and my companion to Yokohama? Captain Von Darius Japan, man?! You must be joking! Fogg No. I must get there by the 14th at the latest to catch a boat for San Francisco. Captain Von Darius No! Out of the question – such a long journey with such a little boat? And at this time of year? She’d never make it in time! Fogg I promise you five hundred pounds if she does. Captain Von Darius But you can’t promise calm seas and winds staying in the south-west, can you? Fogg No, I cannot. Captain Von Darius Then, it’s impossible. Fogg Unlikely, perhaps, but not impossible. Captain Von Darius But you’d need perfect conditions and – Fogg Will you try? I will pay you… whatever the outcome. Captain Von Darius Whatever the outcome? FOGG holds out the five hundred pounds to CAPTAIN VON DARIUS_. She takes them._ We’ll set sail in an hour or so. Fogg I will remind you, Captain, that time is of the essence. Captain Von Darius Half an hour then. But I don’t think that’s going to help. CAPTAIN VON DARIUS nods and readies the boat. Fogg If you would like to join us, Mr – Fix Fix. Thank you, Mr – Fogg Fogg. Fix Fogg. I was about to ask the favour. But I will pay my own way. Fogg Let us not speak of that, sir. Fix But, I insist. Fogg No, sir. It enters into my general expenses. They look out at the water. Mrs Aouda Poor Passepartout! Perhaps, in the confusion, he boarded The Carnatic? Fogg We will search for him in Yokohama before our boat sails for San Francisco. Mrs Aouda What if we don’t find him? He has your passport! Fogg Please don’t be alarmed. Things have a way of working themselves out. Transition: Two boats are put on the map – The Carnatic ( large ) and The Tankadere ( small ).
Things I Know To Be True Read the following extract and answer Question 8 on page 13. From Winter Fran Look,^ Mark,^ there’s^ nothing^ you^ could^ tell^ us^ that^ would^ shock^ us^ or^ make^ us^ feel^ any different about you. I just want to say that. Bob Unless you told us you had decided to become a woman. Then I would be shocked. BOB laughs at his joke. He’s the only one though. It’s a terrible silence as they realise what’s just been inelegantly revealed. Mark That’s not how this was meant to go. They are silent. Shocked. I need you to say something. Fran We thought you were gay. Mark Right. Fran Are you? Mark What the hell does that matter? Fran I don’t know. Mark Well, I’m not. Fran Okay. Mark Are you relieved? Fran No… no, that’s not what I’m feeling right now. Mark What are you feeling, Mum? Fran I’m … I can’t … begin … Are you sure about this? Mark Yes. Fran Then what are you feeling? Mark Afraid … confused … A little ashamed. No. Not ashamed. I’m finished with feeling that. But embarrassed. I guess. Telling you. And angry. Yeah. Angry. I had a whole speech prepared. I’ve been practising it for twenty years. Bob And I put my foot in it. Mark You did, Dad, yeah. Bob Are you telling us that you’re one of those men who wants to be a woman? Mark That’s the gist of it. Bob Is it that you like to put on women’s clothing in the privacy of your own home because there was Uncle Trevor on my mother’s side or are you talking about the whole shebang here? Mark Okay. This is something that I have known about myself for many years. It is something I have fought and hidden. It has made me very unhappy. And it has cost me a relationship with a woman I loved very much. Fran Well, you can understand her point of view. Mark Yes, Mum. I can. Taylor’s point of view is very clear. But right now we’re talking about mine… This is hard, you know.
Question 8: Things I Know To Be True Read the extract on page 12. Answer parts 08.1, 08.2 and 08.3. Then answer either part 08.4 or 08.5. Question 8 (^0 8). (^1) You are designing a costume for Mark to wear in a performance of this extract. The costume must reflect the context of this scene in Things I Know to Be True , set in a contemporary working-class Australian suburb. Describe your design ideas for the costume. [4 marks] (^0 8). 2 You are performing the role of Mark. Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create. ‘Okay. This is something that I have known about myself for many years. It is something I have fought and hidden.’ [8 marks] (^0 8). (^3) You are performing the role of Mark. Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Fran to show the audience Mark’s anger. [12 marks] And either (^0 8). (^4) You are performing the role of Fran. Describe how you would use your acting skills to interpret Fran’s character. Explain why your ideas are appropriate for:
- this extract
- the performance of your role in the play as a whole. [20 marks] or (^0 8). (^5) You are a designer working on one aspect of design for this extract. Describe how you would use your design skills to create effects which support the action. Explain why your ideas are appropriate for:
- this extract
- your chosen design skill in the play as a whole. [20 marks] Turn to page 24 for Section C Turn over ►
Question 9: Noughts & Crosses Read the extract on page 14. Answer parts 09.1, 09.2 and 09.3. Then answer either part 09.4 or 09.5. Question 9 (^0 9). (^1) You are designing a costume for Sephy to wear in a performance of this extract. The costume must reflect the conventions of contemporary dystopian theatre used in Noughts & Crosses. Describe your design ideas for the costume. [4 marks] (^0 9). (^2) You are performing the role of Sephy. Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create. ‘You’re a snob, Callum. And I never realised it until now. I thought you were better than that.’ [8 marks] (^0 9). (^3) You are performing the role of Sephy. Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Callum to show the audience Sephy’s anger. [12 marks] And either (^0 9). (^4) You are performing the role of Callum. Describe how you would use your acting skills to interpret Callum’s character. Explain why your ideas are appropriate for:
- this extract
- the performance of your role in the play as a whole. [20 marks] or (^0 9). (^5) You are a designer working on one aspect of design for this extract. Describe how you would use your design skills to create effects which support the action. Explain why your ideas are appropriate for:
- this extract
- your chosen design skill in the play as a whole. [20 marks] Turn to page 24 for Section C Turn over ►
Romeo and Juliet Read the following extract and answer Question 10 on page 17. From Act Two, Scene Four Juliet Now, good sweet nurse – O Lord, why look’st thou sad? Though news be sad, yet tell them merrily: If good, thou sham’st the music of sweet news By playing it to me with so sour a face. Nurse I am aweary, give me leave awhile. Fie, how my bones ache! What a jaunt have I had! Juliet I would thou hadst my bones, and I thy news: Nay, come, I pray thee speak, good, good nurse, speak. Nurse Jesu, what haste? Can you not stay awhile? Do you not see that I am out of breath? Juliet How art thou out of breath, when thou hast breath To say to me that thou art out of breath? The excuse that thou dost make in this delay Is longer than the tale thou dost excuse. Is thy news good or bad? Answer to that. Say either, and I’ll stay the circumstance: Let me be satisfied, is’t good or bad? Nurse Well, you have made a simple choice, you know not how to choose a man: Romeo? No, not he, though his face be better than any man’s, yet his leg excels all men’s, and for a hand and a foot and a body, though they be not to be talked on, yet they are past compare: he is not the flower of courtesy, but, I’ll warrant him, as gentle as a lamb. Go thy ways, wench, serve God. What, have you dined at home? Juliet No, no. But all this did I know before. What says he of our marriage? What of that? Nurse Lord, how my head aches! What a head have I! It beats as it would fall in twenty pieces. My back o‘t’other side – O, my back, my back! Beshrew your heart for sending me about, To catch my death with jaunting up and down! Juliet I’faith, I am sorry that thou art not well. Sweet, sweet, sweet nurse, tell me, what says my love? Nurse Your love says, like an honest gentleman, and a courteous, and a kind, and a handsome, and, I warrant, a virtuous– Where is your mother? Juliet Where is my mother? Why, she is within, Where should she be? How oddly thou repliest: ‘Your love says, like an honest gentleman, Where is your mother?’
