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2023 AQA GCSE DRAMA 8261/W Component 1 Understanding Drama Question Paper & Mark scheme (Merged) June 2023 [VERIFIED]
GCSE
DRAMA
Component 1 Understanding Drama
Monday 15 May 2023 Afternoon Time allowed: 1 hour 45 minutes
Materials
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.
IB/G/Jun23/E7 8261/W
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) Who has responsibility for operating the lighting board during a production? A The sound designer B The stage manager C The technician [1 mark] Figure 1 0 2 What type of staging is shown in Figure 1? A Proscenium arch B Thrust stage C Traverse stage [1 mark]
There are no questions printed on this page
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 Turn over for the next question Turn over ►
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 0 5. 2 0 5. 3 And either 0 5. 4 or You are designing a costume for Hale to wear in a performance of this extract. The costume must reflect the context of The Crucible, set in a Puritan community in the late 17th century. Describe your design ideas for the costume. [4 marks] 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. ‘Mr Proctor, your house is not a church; your theology must tell you that.’ [8 marks] 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 Proctor to show the audience the tension between the two characters. [12 marks] You are performing the role of Proctor. Describe how you would use your acting skills to interpret Proctor ’s character. Explain why your ideas are appropriate for:
- this extract
- the performance of your role in the play as a whole. [20 marks] 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 20 for Section C Turn over ►
Blood Brothers Read the following extract and answer Question 6 on page 9. From Act One Mrs Johnstone ( screaming, off ) Go away! Mickey Mother… will y’ open the bleedin’ door or what? Mrs Johnstone ( realising; with relief, off ) Mickey? Mickey MRS JOHNSTONE comes to open the door. Mam, Mam. She grabs him and hugs him. He extricates himself. Why was the door bolted? Did you think it was the rent man? She laughs and looks at him. Mam, our Sammy’s robbed me other gun an’ that was me best one. Why does he Mrs Johnstone rob all me things off me? Because you’re the youngest, Mickey. It used to happen to our Sammy when he Mickey was the youngest. Mam, we’re playing mounted police an’ Indians. I’m a Mountie. Mam, Mam, Mrs Johnstone y’ know this mornin’, we’ve wiped out three thousand Indians. Good. Mickey ( aiming the gun at her and firing ) Mam, Mam, you’re dead. Mrs Johnstone ( staring at him ) Hmm. Mickey What’s up, Mam? Mrs Johnstone Nothin’, son. Go on, you go out an’ play, there’s a good lad. But, ’ey, don’t you go Mickey playin’ with those hooligans down at the rough end. ( on his way out ) We’re down at the other end, near the big houses in the park. Mrs Johnstone Mickey! Come here. Mickey What? Mrs Johnstone What did you say, where have you been playin’? Mickey Mam, I’m sorry, I forgot. Mrs Johnstone What have I told you about playin’ up near there? Come here. ( She grabs him. ) Mickey It wasn’t my fault. Honest. Mrs Johnstone So whose fault was it then? Mickey The Indians. They rode up that way, they were tryin’ to escape. Mrs Johnstone Don’t you ever go up there. Do you hear me? Mickey Yeh. You let our Sammy go up there. Mrs Johnstone Our Sammy’s older than you. Mickey But why – Mrs Johnstone Just shut up. Never mind why. You don’t go up near there. Now go on, get out Mickey an’ play. But you stay outside the front door where I can see y’. Ah but, Mam, the –
Around the World in 80 Days Read the following extract and answer Question 7 on page 11. From Act One, Scene Four Passepartout Now, Jean, say adieu to adventure, foreign lands and the call of the unknown! A quiet life within these four walls will be all the journey you need for the rest of your Fogg life! Passepartout! FOGG has arrived home. PASSEPARTOUT looks with confusion at his watch. ( Again, not raising his voice .) Passepartout! Passepartout PASSEPARTOUT rushes to FOGG. Uh… yes, monsieur. Fogg I’ve called you twice. Passepartout I’m sorry, sir, but – Fogg We start for Dover and Calais in ten minutes, so we haven’t a moment to lose. Passepartout Monsieur is... going somewhere? Fogg Yes. We are going round the world. Passepartout Round the world!? Fogg In eighty days. I have wagered my word and half my fortune that I shall make the journey in time. Don’t worry about the trunks, we’ll take only two carpet bags with the bare essentials and buy whatever we need along the way. We’ve only three minutes before we must leave for the station, so I suggest you make haste! PASSEPARTOUT rushes around packing as FOGG calmly and quietly retrieves a huge roll of Bank of England notes. Passepartout ( to himself ). Around the world in eighty days! No. This must be a joke! Perhaps Fogg we will go to Dover, maybe even on to Paris but no further than that! Make sure to bring the Bradshaw Guide. It’s bound in red. It contains the timetables of every steamer and railway in the world. PASSEPARTOUT grabs the Bradshaw and carries it along with two carpet bags. He meets FOGG at the door. Passepartout You have forgotten nothing? Nothing, monsieur. FOGG takes one of the carpet bags, opens it, and slips into it the large roll of Bank of Fogg England notes. Good! Take good care of that bag. There are now twenty thousand pounds in it. Passepartout They exit the house. ( a cry of despair ). Ahh! Fogg What’s the matter? Passepartout In my hurry, I forgot to turn off the gas lamp in my room! Fogg An unfortunate oversight, my dear fellow. You understand it will burn at your expense.
Question 7: Around the World in 80 Days Read the extract on page 10. Answer parts 07.1, 07.2 and 07.3. Then answer either part 07.4 or 07.5. Question 7 0 7. 1 0 7. 2 0 7. 3 And either 0 7. 4 or 0 7. 5 You are designing a costume for Passepartout to wear for a performance of this extract. The costume must reflect the context of Around the World in 80 Days , set in late 19th century London. Describe your design ideas for the costume. [4 marks] You are performing the role of Passepartout. Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create. ‘In my hurry, I forgot to turn off the gas lamp in my room!’ [8 marks] You are performing the role of Passepartout. Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Fogg to show the audience Passepartout ’s surprise at Fogg’s news. [12 marks] You are performing the role of Fogg. Describe how you would use your acting skills to interpret Fogg ’s character. Explain why your ideas are appropriate for:
- this extract
- the performance of your role in the play as a whole. [20 marks] 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 20 for Section C Turn over ►
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
- 1 0 8. 2 You are designing a setting for a performance of this extract. The setting must reflect the context of Things I Know To Be True set in a contemporary working-class Australian suburb. Describe your design ideas for the setting. [4 marks] You are performing the role of Bob. 0 8. 3 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 throwing a lot of balls at me at once here, Rosie. I don’t think you’ve thought this through. ’ [8 marks] You are performing the role of Bob. And either
- 4 or 0 8. 5 Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Rosie to show the audience Bob ’s concerns for Rosie. [12 marks] You are performing the role of Rosie. Describe how you would use your acting skills to interpret Rosie ’s character. Explain why your ideas are appropriate for:
- this extract
- the performance of your role in the play as a whole. [20 marks] 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 20 for Section C Turn over ►
Noughts & Crosses Read the following extract and answer Question 9 on page 15. From Act One, Scene Twenty One Meggie MEGGIE slaps RYAN ’s face. She continues to hit him as she speaks. Ryan, you promised me there’d never be anything like this. You promised you’d only Ryan be involved in the background. You promised. ( restraining her ). I didn’t have any choice. Once you’re in, they’ve got you. And you Meggie have to do as you’re told. You don’t. You could’ve said no. You should’ve said no. Ryan Believe me, I had to do it. I had no choice. I was protecting you, Meggie. And our Meggie sons. Protecting us from what? From something you inflicted on us in the first place. You Ryan chose to join them. Who do you think I’m doing all this for? Meggie I know exactly who you’re doing it for. But she’s dead, Ryan. And murdering Ryan innocent people won’t bring her back. You’ve got it wrong, Meggie. Meggie Have I? I warned you, Ryan. I begged you not to involve Jude in all this. Callum I’m sure Dad’s sorry. Aren’t you, Dad? You didn’t mean to hurt those people. Meggie Sorry? Well, he can say that to the families of all those people he’s murdered. Jude We were told there would be a warning. Meggie And what if they told you there wasn’t? Would you have refused to be involved then? Silence. I can’t bear to look at you. Pause. Ryan They were legitimate targets. Meggie All those people killed and maimed, and that’s what you have to offer. Ryan How many millions of Nought lives have been destroyed by the Crosses over the Meggie centuries? No number of people killed in a shopping centre can ever pay for that. These are human beings you’re talking about. Ryan We’re in a state of war, Meggie, and it wasn’t the Noughts who started it. Meggie You’ve been brainwashed. Ryan No, you’re the one who’s been brainwashed. By the telly and the radio and the newspapers. It’s all right for them to use violence when they please, to keep us in poverty and bleed us dry. But when we fight back, they call us cowardly and Meggie barbaric. And what about the Noughts you just killed? It wasn’t only Crosses, you know, you Ryan killed your own as well. Sometimes the ends have to justify the means. Collateral damage. Meggie Pause. In that case we have nothing more to say to each other. I want you out of this house. Callum I want you out of this house by morning. Mum, please. Ryan I’m damned if I’ll leave my own house. Meggie I am not going to let you drag a noose round Jude’s neck. Ryan I’d never let that happen. They’d have to hang me first. I love Jude. That’s why I’m Meggie in the LM. I want something better for our sons. I’m not arguing with you, Ryan. Just pack your bags and go.
Romeo and Juliet Read the following extract and answer Question 10 on page 17. From Act Three, Scene Five Lady Capulet Why, how now, Juliet! Juliet Madam, I am not well. Lady Capulet Evermore weeping for your cousin’s death? What, wilt thou wash him from his grave with tears? An if thou couldst, thou couldst not make him live: Therefore, have done. Some grief shows much of love, Juliet But much of grief shows still some want of wit. Yet let me weep for such a feeling loss. Lady Capulet So shall you feel the loss, but not the friend Juliet Which you weep for. Feeling so the loss, I cannot choose but ever weep the friend. L ady Capulet Well, girl, thou weep’st not so much for his death, Juliet As that the villain lives which slaughtered him. What villain, madam? Lady Capulet That same villain, Romeo. Juliet Villain and he be many miles asunder.– God pardon him! I do with all my heart: Lady Capulet And yet no man like he doth grieve my heart. That is because the traitor lives. Juliet Ay, madam, from the reach of these my hands: Would none but I might venge my cousin’s death! L ady Capulet We will have vengeance for it, fear thou not: Then weep no more. I’ll send to one in Mantua, Where that same banished runagate doth live, Shall give him such an unaccustomed dram, That he shall soon keep Tybalt company, And then I hope, thou wilt be satisfied. Juliet Indeed, I never shall be satisfied With Romeo, till I behold him – dead – Is my poor heart so for a kinsman vexed. Madam, if you could find out but a man To bear a poison, I would temper it, That Romeo should upon receipt thereof, Soon sleep in quiet. O, how my heart abhors To hear him named and cannot come to him, To wreak the love I bore my cousin Upon his body that hath slaughtered him!
Question 10: Romeo and Juliet Read the extract on page 16. Answer parts 10.1, 10.2 and 10.3. Then answer either part 10.4 or 10.5. Question 10 1 0. 1 1 0. 2 1 0. 3 And either 1 0. 4 or 1 0. 5 You are designing a setting for a performance of this extract. The setting must reflect the context of Romeo and Juliet , set in late 16th century Verona. Describe your design ideas for the setting. [4 marks] You are performing the role of Lady Capulet. Describe how you would use your vocal and physical skills to perform the lines below and explain the effects you want to create. ‘Evermore weeping for your cousin’s death? What, wilt thou wash him from his grave with tears? ’ [8 marks] You are performing the role of Lady Capulet. Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Juliet to show the audience Lady Capulet ’s anger. [12 marks] You are performing the role of Juliet. Describe how you would use your acting skills to interpret Juliet ’s character. Explain why your ideas are appropriate for:
- this extract
- the performance of your role in the play as a whole. [20 marks] 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 20 for Section C Turn over ►
Question 11: A Taste of Honey Read the extract on page 18. Answer parts 11.1, 11.2 and 11.3. Then answer either part 11.4 or 11.5. Question 11 1 1. 1 1 1. 2 1 1. 3 And either 1 1. 4 or 1 1. 5 You are designing a costume for Jo to wear in a performance of this extract. The costume must reflect the context of A Taste of Honey , set in working-class Salford in the late 1950s. Describe your design ideas for the costume. [4 marks] You are performing the role of Jo. Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create. ‘I know, you make everything work. The stove goes, now we eat.’ [8 marks] You are performing the role of Jo. Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Geof to show the audience Jo ’s relationship with Geof. [12 marks] You are performing the role of Geof. Describe how you would use your acting skills to interpret Geof ’s character. Explain why your ideas are appropriate for:
- this extract
- the performance of your role in the play as a whole. [20 marks] 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 over for Section C Turn over ►
Section C: Live theatre production Answer one question from this section. State the title of the live/digital theatre production you saw. Answer your question with reference to this production. You must answer on a different play to the play you answered on in Section B. Either Question 12 1 2 Describe how two or more actors used their vocal and physical skills to show a relationship between their characters. Analyse and evaluate how effective they were in showing their characters’ relationship to the audience. You could make reference to:
- vocal skills, for example, pitch, pace and tone of voice
- physical skills, for example, body language and facial expression
- a scene or section and/or the production as a whole. [32 marks] or Question 13 1 3 Describe how sound was used to create different moods. Analyse and evaluate how effective the sound was in creating different moods for the audience. You could make reference to:
- volume and direction
- types of sound, amplification and special effects
- a scene or section and/or the production as a whole. [32 marks] or Question 14 (^1 4) Describe how either the set or costume were used to communicate key themes. Analyse and evaluate how effective either the set or costume was in communicating the key themes to the audience. Set – you could make reference to:
- materials and effects
- space, scale, levels and colour
- a scene or section and/or the production as a whole. Costume – you could make reference to:
- materials, style, cut and fit
- colour, texture and condition
- a scene or section and/or the production as a whole. [32 marks] END OF QUESTIONS
