Cambridge IGCSE Drama 0411 — 2019 May/June Paper 1 · Variant 2

This document consists of 3 printed pages, 1 blank page and 1 Insert. DC (ST) 166305/2 © UCLES 2019 [Turn over Cambridge Assessment International Education Cambridge International General Certificate of Secondary Education * 6 9 7 3 7 9 6 7 6 0 * DRAMA 0411/12 Paper 1 May/June 2019 2 hours 30 minutes Additional Materials: Clean copy of pre-release material (0411/12/T/EX). READ THESE INSTRUCTIONS FIRST An Answer Booklet is provided inside this Question Paper. You should follow the instructions on the front cover of the Answer Booklet. If you need additional paper, ask the invigilator for a continuation booklet. Section A Answer all questions in this section. Section B Answer one question. Section C Answer one question. You are advised to spend between 15 and 30 minutes reading the questions and the extract and making notes before you begin to answer the questions. You are advised to divide your time equally between the three sections. The questions in this paper are based on the text and the stimulus that you have worked on. A clean copy of the pre-release material is provided with this Question Paper. The number of marks is given in brackets [ ] at the end of each question or part question.

2 0411/12/M/J/19 © UCLES 2019 Section A Answer all questions in this section. Questions 1–6 are based on the extract from Hedda Gabler, by Henrik Ibsen (adapted by Brian Friel), which you have studied. 1 GEORGE TESMAN is described as ‘genial, open, very enthusiastic’ in line 87. Identify one way that an actor playing the role could show this between line 91 (‘Auntie Juju!’) and lines 102–103 (‘That wasn’t at all necessary.’). Give a reason for your answer. [2] 2 Suggest one way in which the actor playing JULIANA could emphasise the physicality of the role between line 22 (‘Good for you.’) and lines 40–41 (‘But what am I going to do without you?’). Explain why this would be effective. [2] 3 Look at lines 493 (‘HEDDA does not respond.’) to lines 542–543 (‘Sit down here beside me.’). Where in this passage would you change the physical distance between any two of the characters for dramatic effect? Give two reasons why you would do this. [3] 4 Give two ways you would advise the actors to communicate the power relationship between HEDDA GABLER and GEORGE TESMAN between line 372 (‘What a sophisticated woman that is.’) and line 425 (‘Well, show her in.’). Give a reason in each case. [4] 5 You have been cast in the role of THEA. Give two ways in which you would convey her personal anxieties between line 634 (‘I used to watch him…’) and line 674 (‘she threatened to shoot him.’). Give a reason why in each case. [4] 6 As a director, what aspects of the relationship between JULIANA and GEORGE TESMAN would you seek to bring out between line 156 (‘You are a very special – a most special aunt.’) and line 248 (‘Now when your book comes out, then they’ll sit up.’)? How would you do this? [5] Questions 7–8 are based on the piece of drama that you have devised from your chosen stimulus. At the start of your answer to Question 7, write the title of the stimulus you have used. 7 How effectively did you use varied tones of voice in your piece? Give examples. [5] 8 What work did you do on the pacing of your piece? What difference did it make to the final performance? [5]

3 0411/12/M/J/19 © UCLES 2019 Section B Answer one question in this section. Questions 9–11 are based on the extract from Hedda Gabler, by Henrik Ibsen (adapted by Brian Friel), which you have studied. 9 As an actor, what would your approach be to playing the role of JUDGE BRACK? Give practical examples from the extract to support your answer. [25] 10 As a director, what main themes would you seek to bring out in your company’s performance of the extract, and how would you do this? [25] 11 How would you interpret or adapt the stage directions in this extract to produce a set design for a present-day production? [25] Section C Answer one question in this section. Questions 12–14 are based on the piece of drama that you have devised from your chosen stimulus. At the start of your answer, write the title of the stimulus you have used. 12 Your drama teacher has advised you that your piece could be improved, and has offered your group an additional three-week rehearsal period. Which aspects would you work on, and why? [25] 13 How effective was the staging of your devised piece, and why? [25] 14 Your group has been invited to perform your piece in an arts festival but you have been told to make the piece shorter to fit your time slot. What would you do to ensure that the new version would be even more powerful than before? [25]

4 0411/12/M/J/19 © UCLES 2019 BLANK PAGE Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the publisher will be pleased to make amends at the earliest possible opportunity. To avoid the issue of disclosure of answer-related information to candidates, all copyright acknowledgements are reproduced online in the Cambridge Assessment International Education Copyright Acknowledgements Booklet. This is produced for each series of examinations and is freely available to download at www.cambridgeinternational.org after the live examination series. Cambridge Assessment International Education is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which itself is a department of the University of Cambridge.

This document consists of 16 printed pages. © UCLES 2019 [Turn over Cambridge Assessment International Education Cambridge International General Certificate of Secondary Education DRAMA 0411/12 Paper 1 Written Examination May/June 2019 MARK SCHEME Maximum Mark: 80 Published This mark scheme is published as an aid to teachers and candidates, to indicate the requirements of the examination. It shows the basis on which Examiners were instructed to award marks. It does not indicate the details of the discussions that took place at an Examiners’ meeting before marking began, which would have considered the acceptability of alternative answers. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers. Cambridge International will not enter into discussions about these mark schemes. Cambridge International is publishing the mark schemes for the May/June 2019 series for most Cambridge IGCSE™, Cambridge International A and AS Level and Cambridge Pre-U components, and some Cambridge O Level components.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 2 of 16 Generic Marking Principles These general marking principles must be applied by all examiners when marking candidate answers. They should be applied alongside the specific content of the mark scheme or generic level descriptors for a question. Each question paper and mark scheme will also comply with these marking principles. GENERIC MARKING PRINCIPLE 1: Marks must be awarded in line with: • the specific content of the mark scheme or the generic level descriptors for the question • the specific skills defined in the mark scheme or in the generic level descriptors for the question • the standard of response required by a candidate as exemplified by the standardisation scripts. GENERIC MARKING PRINCIPLE 2: Marks awarded are always whole marks (not half marks, or other fractions). GENERIC MARKING PRINCIPLE 3: Marks must be awarded positively: • marks are awarded for correct/valid answers, as defined in the mark scheme. However, credit is given for valid answers which go beyond the scope of the syllabus and mark scheme, referring to your Team Leader as appropriate • marks are awarded when candidates clearly demonstrate what they know and can do • marks are not deducted for errors • marks are not deducted for omissions • answers should only be judged on the quality of spelling, punctuation and grammar when these features are specifically assessed by the question as indicated by the mark scheme. The meaning, however, should be unambiguous. GENERIC MARKING PRINCIPLE 4: Rules must be applied consistently e.g. in situations where candidates have not followed instructions or in the application of generic level descriptors. GENERIC MARKING PRINCIPLE 5: Marks should be awarded using the full range of marks defined in the mark scheme for the question (however; the use of the full mark range may be limited according to the quality of the candidate responses seen). GENERIC MARKING PRINCIPLE 6: Marks awarded are based solely on the requirements as defined in the mark scheme. Marks should not be awarded with grade thresholds or grade descriptors in mind.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 3 of 16 Section A Question Answer Marks 1 GEORGE TESMAN is described as ‘genial, open, very enthusiastic’ in line 87. Identify one way that an actor playing the role could show this between line 91 (‘Auntie Juju’) and lines 102–103 (‘that wasn’t at all necessary.’). Give a reason for your answer. GEORGE TESMAN has arrived back from honeymoon, besotted with HEDDA and also with his own research. His enthusiasm could take many forms, from uncontrolled physical gesture to excited vocal delivery. Allow any credible reasons as to how the actor could demonstrate GEORGE’s enthusiasm. A suggestion of an appropriate means of showing GEORGE TESMAN’s personality. 1 Mark A reason as to why this suggestion would be appropriate. 1 Mark 2 Question Answer Marks 2 Suggest one way in which the actor playing JULIANA could emphasise the physicality of the role between line 22 (‘Good for you’) and lines 40–41 (‘But what am I going to do without you?’). Explain why this would be effective. JULIANA is 65 years old, although there is little in the play to indicate that she is worn down or enfeebled. However, the stage directions indicate a certain degree of physicality – throwing open the windows, taking the flowers, hugging BERTHA. Allow credit for any suggestions that take account of all of this. An appropriate suggestion about how to emphasise the physicality of the role. 1 Mark A brief explanation of why this suggestion would be effective. 1 Mark 2

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 4 of 16 Question Answer Marks 3 Look at lines 493 (‘Hedda does not respond.’) and lines 542–543 (‘Sit down here beside me.’). Where in the passage would change the physical distance between any two of the characters for dramatic effect? Give two reasons why you would do this. The entrance of THEA presages the arrival of GEORGE’s former colleague, EILERT LOEVBORG, who is in competition with GEORGE to achieve a position at the University. There is plenty of scope to reflect this in the proxemics of the extract. An appropriate suggestion as to where the physical distance could be changed. 1 Mark A reason as to why this would be effective. 1 Mark A second reason as to why this would be effective. 1 Mark 3 Question Answer Marks 4 Give two ways you would advise the actors to communicate the power relationship between HEDDA GABLER and GEORGE TESMAN between line 372 (‘What a sophisticated woman that is’.) and line 425 (‘Well, show her in’). Give a reason in each case. The relationship between HEDDA and GEORGE is strained, given that they have just returned from their honeymoon. GEORGE appears powerless in his interactions with HEDDA, and this passage offers ample scope for the actors to bring this out through the way they interact physically. A suggestion of how to convey the power relationship. 1 Mark and A valid reason to support this. 1 Mark and/or A second suggestion of how to convey the power relationship. 1 Mark and A valid reason to support this. 1 Mark 4

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 5 of 16 Question Answer Marks 5 You have been cast in the role of THEA. Give two ways in which you would convey her personal anxieties between line 634 (‘I used to watch him«’) and line 674 (‘She threatened to shoot him’.). Give a reason why in each case. THEA is a younger school friend of HEDDA and a former acquaintance of GEORGE TESMAN. She is full of anxiety about her own emotions about her love for EILERT LOEVBORG, trapped in an unhappy marriage, which is something HEDDA quickly picks up on. Identification of one way to convey THEA’s personal anxiety. 1 Mark and A valid explanation as to why this was chosen. 1 Mark and/or Identification of a second way to convey THEA’s personal anxiety. 1 Mark and A valid explanation as to why this was chosen. 1 Mark 4 Question Answer Marks 6 As a director, what aspects of the relationship between JULIANA and GEORGE TESMAN would you seek to bring out between line 156 (‘You are very special – a most special aunt«’) and line 248 (‘Now when your book comes out, then they’ll sit up’)? How would you do this? JULIANA is the aunt of GEORGE, who has raised him since early childhood. He uses the affectionate term ‘Aunt Ju-Ju’ to refer to her, something for which he is ridiculed by HEDDA. He has an almost child-like relationship with her, and she has a very high view of him. This passage has potential to open up this relationship for the audience. Identifies an aspect(s) of the relationship between JULIANA and GEORGE TESMAN. 1 mark General comments about how to bring out the relationship between JULIANA and GEORGE TESMAN. 2 marks Some specific examples about how to bring out the relationship between JULIANA and GEORGE TESMAN. 3 marks A range of examples demonstrating understanding of how to bring out the relationship between JULIANA and GEORGE TESMAN. 4 marks A detailed explanation of how to bring out the relationship between JULIANA and GEORGE TESMAN. 5 marks 5

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 6 of 16 Question Answer Marks 7 How effectively did you use varied tones of voice in your piece? Give examples. Candidates should focus on how vocal tone was varied, and how effective it was. Identifies an aspect(s) of tone of voice. 1 mark General comments about tone of voice and makes a general comment about its effectiveness. 2 marks Some specific examples about how tone of voice was varied, with some indications about its effectiveness. 3 marks A range of examples demonstrating the use of varied tone of voice, with relevant examples about its effectiveness. 4 marks A detailed explanation of the use of tone of voice, with several relevant examples about its effectiveness. 5 marks 5 Question Answer Marks 8 What work did you do on the pacing in your piece? What difference did it make to the final performance? The question gives the opportunity to reflect on how pacing might be improved in the piece. This is an opportunity to consider how the work that they did on pacing served to improve – or indeed make worse – the final performance. Identifies an aspect(s) of pacing. 1 mark General comments about pacing and its effectiveness. 2 marks Some specific examples about pacing, with some indications of its effectiveness. 3 marks A range of examples demonstrating the pacing, with relevant examples of its effectiveness. 4 marks A detailed explanation of the pacing, with several relevant examples of its effectiveness. 5 marks 5

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 7 of 16 Section B Question Answer Marks 9 As an actor, what would your approach be to playing the role of JUDGE BRACK? Give practical examples from the extract to support your answer. JUDGE BRACK is an unscrupulous family friend. His presence on stage occupies the final quarter of the extract, and reveals how he manipulates the relationship with HEDDA, THEA and GEORGE. 23–25 Shows a sophisticated practical understanding of the varying aspects of the role • A comprehensive discussion of how the role could be played, showing sophisticated understanding of its significance in the extract. • Excellent, practical suggestions with sustained and detailed reference to the extract. Upper band – application 20–22 Shows a perceptive practical understanding of the varying aspects of the role • An assured discussion of how the role could be played, showing perceptive understanding of it. • Insightful practical suggestions with frequent and well-selected references to the extract. 17–19 Shows detailed practical understanding of the varying aspects of the role • An effective discussion of how the role could be played, showing detailed understanding of it. • Well-formulated ideas although there may be scope for further refinement; consistent and appropriate references to the extract. 25

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 8 of 16 Question Answer Marks 9 14–16 Shows secure understanding of the varying aspects of the role • A consistent understanding of the role, which is mostly viable. There may be some examples of how to play it. • A good level of detail with some appropriate references to the extract. Middle band – understanding 11–13 Shows some understanding of the varying aspects of the role • Variable understanding of the role, some of which is viable. There may be limited examples of how to play it. • A focus on the more obvious aspects of the character. 8–10 Shows undeveloped/superficial understanding of the varying aspects of the role • A few partially formulated ideas about the role. • A superficial approach based mostly on description; occasional reference to the extract. 5–7 Identifies one or two examples of the varying aspects of the role • Rudimentary suggestions based on isolated references to the extract. • The response is predominantly narrative. Lower band – identification 2–4 Simplistic response • The response shows little understanding of the role. 0/1 No answer/insufficient response to meet the criteria in the band above.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 9 of 16 Question Answer Marks 10 As a director, what main themes would you seek to bring out in your company’s performance of the extract, and how would you do this? The extract covers a number of major themes, including: love and desire, gender politics, relationships, betrayal, infidelity, anxiety, the corruptibility of the judiciary, the apparent irrelevance of obscure academic research in the face of Hedda’s yearning need for love, etc. Allow credit for any other reasonable themes that can be sustained from the extract. The focus, however, is on how your work as a director will bring this to life for an audience. 23–25 Shows a sophisticated practical understanding of the extract and offers creative solutions • Comprehensive discussion of the extent to which a director might bring out selected themes. • Excellent ideas with sustained and detailed reference to the extract. Upper band – application 20–22 Shows a perceptive practical understanding of the extract and offers creative solutions • Assured discussion of the extent to which a director might bring out selected themes. • Insightful ideas with frequent and well-selected references to the extract. 17–19 Shows detailed practical understanding of the extract • Effective discussion of the extent to which a director might bring out selected themes. • Well-formulated ideas although there may be scope for further refinement; consistent and appropriate references to the extract. 14–16 Shows secure understanding of the extract • A consistent discussion of the extent to which a director might bring out selected themes. • A good level of detail with some appropriate references to the extract. Middle band – understanding 11–13 Shows some understanding of aspects of the extract • Variable understanding of the director’s intention, some of which is viable and might bring out selected themes; there may be limited suggestions of how it can be realised. • A focus on the more obvious aspects of the extract. 8–10 Shows undeveloped/superficial understanding of the extract • A few partially formulated ideas about the director’s intention. • A superficial approach based mostly on description with occasional reference to the extract. 25

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 10 of 16 Question Answer Marks 10 5–7 Identifies one or two examples of how the director could approach the drama • Rudimentary suggestions based on isolated references to the extract. • Response is predominantly narrative. Lower band – identification 2–4 Simplistic response • Shows little understanding of how to direct the extract. 0/1 No answer/insufficient response to meet the criteria in the band above. Question Answer Marks 11 How would you interpret or adapt the stage directions in this extract to produce a set design for a present-day production? There is a considerable amount of detail provided in the stage directions. Allow credit for any discussion of how the stage directions could be reinterpreted/reimagined for a present-day production. 23–25 Shows a sophisticated practical understanding of design elements and offers creative solutions • Comprehensive discussion of how stage directions might inform design elements showing sophisticated understanding of how they could be used for a present-day production. • Excellent, practical suggestions with sustained and detailed reference to the extract. Upper band – application 20–22 Shows a perceptive practical understanding of design elements and their challenges • An assured discussion of how stage directions might inform design elements showing perceptive understanding of how they could be used for a present-day production. • Insightful practical suggestions with frequent and well-selected references to the extract. 17–19 Shows a detailed practical understanding of design elements • An effective discussion of how stage directions might inform design elements showing detailed understanding of how they could be used for a present-day production. • Well-formulated ideas although there may be scope for further refinement; consistent and appropriate references to the extract. 25

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 11 of 16 Question Answer Marks 11 14–16 Shows secure understanding of design elements • A consistent understanding of how the stage directions might inform design elements which is mostly viable; there may be some suggestions of how they could be used for a present-day production • A good level of detail with some appropriate references to the extract. Middle band – understanding 11–13 Shows some understanding of design elements • Variable understanding of how stage directions might inform design elements some of which are viable; there may be limited suggestions of how they could be used for a present-day production. • A focus on the more obvious aspects of the extract. 8–10 Shows undeveloped/superficial understanding of design elements • A few partially formulated ideas about how stage directions might inform design elements. • A superficial approach to design elements based mostly on description with little reference to the extract. 5–7 Identifies one or two examples of design elements • Rudimentary suggestions based on isolated references to the extract. • Response is predominantly narrative. Lower band – identification 2–4 Simplistic response • Shows little understanding of how stage directions might inform design elements. • Response may be typified by a sketch only with no supporting detail. 0/1 No answer/insufficient response to meet the criteria in the band above.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 12 of 16 Question Answer Marks 12 Your drama teacher has advised you that your piece could be improved and has offered your group an additional three-week rehearsal period. Which aspects would you work on, and why? The question invites candidates to reflect on the rehearsal process, to consider what could be improved from what has already been achieved. It suggests that able candidates would offer some analysis of the possibilities that have not yet been realised. A good answer would have to indicate what was in the existing piece in order to be able to go further. They need to be able to spot the shortcomings of what they’ve done, in order to improve it. 23–25 Shows a sophisticated practical understanding of the devised piece • A comprehensive discussion of the creative decisions. • Excellent, practical evaluation of how the piece could be improved with sustained and detailed reference to the devised piece. Upper band – evaluation 20–22 Shows a perceptive practical understanding of the devised piece. • An assured discussion of the creative decisions. • Insightful practical evaluation of how the piece could be improved with frequent and well-selected references to the devised piece. 17–19 Shows detailed practical understanding of the devised piece. • An effective discussion of the creative decisions. • Well-formulated practical evaluation of how the piece could be improved although there may be scope for further refinement; consistent and appropriate references to the devised piece. 14–16 Shows secure understanding of the devised piece. • A consistent understanding of the creative decisions. • A good level of detail with some appropriate references to the devised piece. There may be some evaluative comment. Middle band – understanding 11–13 Shows some understanding of the devised piece. • Variable understanding of the creative decisions. • A focus on the more obvious aspects of the devised piece. There may be limited evaluative comment. 8–10 Shows undeveloped/superficial understanding of the devised piece. • A few partially formulated ideas of the creative decisions. • A superficial approach based mostly on description; occasional reference to the devised piece. 25

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 13 of 16 Question Answer Marks 12 5–7 Identifies one or two examples of the devised piece • Rudimentary suggestions based on isolated references to the devised piece. • Response is predominantly narrative. Lower band – identification 2–4 Simplistic response • Shows little understanding of the creative decisions. 0/1 No answer/insufficient response to meet the criteria in the band above. Question Answer Marks 13 How effective was the staging of your devised piece, and why? Candidates may refer to any aspect of the staging in their evaluations. Candidates may focus on: • the journey from stimulus, to idea, to performance image, to delivery • the way the use of the stage-space reflects the intention of the piece • an evaluation of the success of the performance in achieving this through staging 23–25 A sophisticated evaluation of the staging of the piece • Comprehensive discussion of the effectiveness of the staging of the devised piece. • Excellent, detailed reference to the devised piece. Upper band – evaluation 20–22 A perceptive evaluation of the staging of the piece • An assured discussion of the effectiveness of the staging of the devised piece. • Insightful references to the devised piece. 17–19 A detailed evaluation of the staging of the piece • An effective discussion of the success of the staging of the devised piece. • Consistent and appropriate references to the devised work. 25

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 14 of 16 Question Answer Marks 13 14–16 A secure understanding of the staging of the piece, with some evaluation • A consistent response that considers the effectiveness of the staging of the devised piece. • A good level of detail with some appropriate references to the devised piece. Middle band – understanding 11–13 Shows some understanding of the staging of the piece • A variable understanding of the effectiveness of the staging of the devised piece. • A focus on the more predictable aspects of the devised piece. 8–10 Shows undeveloped/superficial understanding of staging • A few partially formulated ideas about the staging of the devised piece. • A superficial approach that includes tangential reference to staging. 5–7 Identifies one or two examples related to staging • Rudimentary response that links to the devised piece. • Response is predominantly narrative. Lower band – identification 2–4 Simplistic response • Shows little understanding of staging. 0/1 No answer/insufficient response to meet the criteria in the band above.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 15 of 16 Question Answer Marks 14 Your group has been invited to perform your piece in an arts festival, but you have been told to make the piece shorter to fit your time slot. What would you do to ensure that the new version would be even more powerful than before? Candidates should offer creative solutions to how they would improve the piece to best effect. The focus of the question is on identifying the irreducible heart of the piece and being able and willing to jettison those aspects that might be seen as peripheral, streamlining those aspects that could be more powerful, and integrating/conflating ideas for maximum effect. They may also decide to increase the pacing if this did not create an unintentional comic effect. Essentially, there is a challenge as to how to adapt the narrative for the new purpose. 23–25 Shows a sophisticated practical understanding and offers creative solutions • Comprehensive discussion of how to improve the performance showing sophisticated understanding. • Excellent, practical evaluation with sustained and detailed reference to the devised piece. Upper band – evaluation 20–22 Shows a perceptive practical understanding and offers creative solutions • An assured discussion of how to improve the performance, showing perceptive understanding. • Insightful practical evaluation with frequent and well-selected references to the devised piece. 17–19 Shows a detailed practical understanding of performance • An effective discussion of how to improve the performance, showing detailed understanding. • Well-formulated evaluation, although there may be scope for further refinement; consistent and appropriate references to the devised piece. 25

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 16 of 16 Question Answer Marks 14 14–16 Shows secure understanding of performance • A consistent understanding of how to improve the performance, which is mostly viable; there may be some suggestions of how it would be effective. • A good level of detail with some appropriate references to the devised piece. Middle band – understanding 11–13 Shows some understanding of performance • Variable understanding of how to improve the performance, some of which is viable; there may be limited suggestions of how it would be effective. • A focus on the more obvious aspects of the devised piece. 8–10 Shows undeveloped/superficial understanding of performance • A few partially formulated ideas about how to improve the performance. • A superficial approach to staging based mostly on description with little reference to the devised piece. 5–7 Identifies one or two examples of performance • Rudimentary suggestions based on isolated references to the devised piece. • Response is predominantly narrative. Lower band – identification 2–4 Simplistic response • Shows little understanding of how to improve the performance. • Response may be typified by a sketch only with no supporting detail. 0/1 No answer/insufficient response to meet the criteria in the band above.