Cambridge IGCSE Drama 0411 — 2020 May/June Paper 1 · Variant 1

Cambridge IGCSE™ * 3 7 9 2 4 3 1 9 9 1 * This document has 4 pages. Blank pages are indicated. DC (CE) 192348/1 © UCLES 2020 [Turn over DRAMA 0411/11 Paper 1 May/June 2020 2 hours 30 minutes You must answer on the enclosed answer booklet. You will need: Answer booklet (enclosed) Copy of pre-release material INSTRUCTIONS ● Section A: answer all questions. ● Section B: answer one question. ● Section C: answer one question. ● Follow the instructions on the front cover of the answer booklet. If you need additional answer paper, ask the invigilator for a continuation booklet. ● The questions in this paper are based on the play extract and the stimulus that you have worked on. A copy of the pre-release material is provided with this question paper. INFORMATION ● The total mark for this paper is 80. ● The number of marks for each question or part question is shown in brackets [ ].

2 0411/11/M/J/20 © UCLES 2020 Section A Answer all questions in this section. Questions 1–6 are based on the extract from Agra Bazaar, by Habib Tanvir that you have studied. 1 Identify a point in the extract where a sound effect could be used. Say what the sound effect would be and why it would be effective. [2] 2 What visual impression would you want the FAKIRS to create at the opening of the extract? Suggest one way in which they could do this. [2] 3 What atmosphere would you want to create between line 565 (People have begun to gather at POTTER’s shop) and line 587 (‘Don’t just stand there gaping, sing a song’)? Give two ways in which you would create this atmosphere. [3] 4 Look at the passage between line 471 (‘These are tough times’) and line 498 (‘…home to dogs and owls’). Identify two aspects of the character of TAZKIRANAWIS in this passage and explain how you would communicate these to an audience. [4] 5 You are playing the part of MADARI (MONKEY TRAINER) in the passage between line 82 (‘Come, show them your dance’) and lines 103–104 (Monkey salutes; people start to slip away). Identify two aspects of his speech that you would bring out in performance and explain how you would do this. [4] 6 You are directing the extract between line 181 (‘What clever idea have you had?’) and line 246 (‘The FAKIRS enter, singing’). What pacing would you suggest and why? [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 What setting were you trying to create in your devised piece, and how did you achieve this? [5] 8 Where in your piece did you use stage movement most effectively? [5]

3 0411/11/M/J/20 © UCLES 2020 Section B Answer one question in this section. Questions 9–11 are based on the extract from Agra Bazaar, by Habib Tanvir that you have studied. 9 You have been given the role of the POET. Discuss the most significant aspects of his character and how you would bring them out in performance. [25] 10 Consider the dramatic function of the songs in the extract and explain how, as a director, you would stage them in a performance. [25] 11 Explain your approach to creating set design for this extract, giving examples as to why it would be appropriate. [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 Choose two characters from your devised piece and review the dramatic effectiveness of their interactions with each other. [25] 13 Your drama teacher has suggested that your piece would benefit from having one longer speech. Identify a point where a longer speech would make your piece more dramatically effective and explain why. [25] 14 Using examples, evaluate how successful your devised piece was in communicating with its audience. [25]

4 0411/11/M/J/20 © UCLES 2020 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. BLANK PAGE

This document consists of 18 printed pages. © UCLES 2020 [Turn over Cambridge IGCSE™ DRAMA 0411/11 Paper 1 Written Examination May/June 2020 MARK SCHEME Maximum Mark: 80 Published Students did not sit exam papers in the June 2020 series due to the Covid-19 global pandemic. This mark scheme is published to support teachers and students and should be read together with the question paper. It shows the requirements of the exam. The answer column of the mark scheme shows the proposed basis on which Examiners would award marks for this exam. Where appropriate, this column also provides the most likely acceptable alternative responses expected from students. Examiners usually review the mark scheme after they have seen student responses and update the mark scheme if appropriate. In the June series, Examiners were unable to consider the acceptability of alternative responses, as there were no student responses to consider. Mark schemes should usually be read together with the Principal Examiner Report for Teachers. However, because students did not sit exam papers, there is no Principal Examiner Report for Teachers for the June 2020 series. Cambridge International will not enter into discussions about these mark schemes. Cambridge International is publishing the mark schemes for the June 2020 series for most Cambridge IGCSE™ and Cambridge International A & AS Level components, and some Cambridge O Level components.

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 2 of 18 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.

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 3 of 18 Question Answer Marks 1 Identify a point in the extract where a sound effect could be used. Say what the sound effect would be and why it would be effective. There are many opportunities for the use of sound effects in the extract. These are predominantly associated with crowd scenes, the Fakirs playing the drum, the sounds of arguments, and anything else justified by the text. Allow any reasonable suggestion that can be justified from the text. A suggestion of an appropriate sound effect for a particular point in the extract. 1 Mark A reason as to why this would be effective. 1 Mark 2 Question Answer Marks 2 What visual impression would you want the FAKIRs to create at the opening of the extract? Suggest one way in which they could do this. Allow suggestions of ceremonial, ritual, incantation, mysticism, or anything else that would fit with the broad role of a fakir, and anything else supported by the text. A suggestion about the intended visual impression. 1 Mark An explanation of one way in which this could be achieved. 1 Mark 2 Question Answer Marks 3 What atmosphere would you want to create between line 565 (People have begun to gather at Potter’s shop) and line 587 (‘Don’t just stand there gaping, sing a song’). Give two ways in which you would create this atmosphere. At this point, the atmosphere starts to build following a relatively static section of dialogue about bookselling. At the crowds gather to celebrate the birth of POTTER’s baby, the pacing and intensity also gain momentum. Allow candidates free rein as to what atmosphere they would seek to create, so long as it can be justified from the extract. An appropriate suggestion as to the atmosphere they wish to create. 1 Mark A way that this could be achieved. 1 Mark A second way as to how this could be achieved. 1 Mark 3

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 4 of 18 Question Answer Marks 4 Look at the passage between line 471 (‘These are tough times’) and line 498 (‘… home to dogs and owls’). Identify two aspects of the character of TAZKIRANAWIS in this passage and explain how you would communicate these to an audience. Tazkiranwis is a literary snob with a strong sense of his own importance. He is someone who compiles and chronicles biographical/literary detail – a type of biographer. He is educated, articulate and aware of the difference between him and the less educated classes, and this should be communicated through his lines here. A suggestion of an aspect of character. 1 Mark and A valid explanation to support how this could be communicated. 1 Mark and/or A second suggestion of an aspect of character. 1 Mark and A valid explanation to support how this could be communicated. 1 Mark 4 Question Answer Marks 5 You are playing the part of MADARI (THE MONKEY TRAINER) in the passage between line 82 (‘Come, show them your dance’) and lines 103-4 (Monkey salutes; people start to slip away). Identify two aspects of his speech that you would bring out in performance and explain how you would do this. A Madari is someone who trains animals to perform, so the emphasis here is on the actor’s physical actions and the way that he interacts with the monkey. As an actual monkey is unlikely to be used, there may well be a puppet or some other means of representing the monkey such as a child in a monkey costume. Identification of one aspect to emphasise 1 Mark and A valid explanation as to why this was chosen. 1 Mark and/or Identification of a second aspect to emphasise 1 Mark and A valid explanation as to why this was chosen. 1 Mark 4

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 5 of 18 Question Answer Marks 6 You are directing the extract between line 181 (‘What clever idea have you had?’) and line 246 (‘The Fakirs enter, singing’). What pacing would you suggest and why? The passage allows for a range of pacing approaches according to the changing mood. Allow any suggestion that fits with the text. Identifies an aspect of the pacing of the passage. 1 mark General comments about the pacing of the passage and a single reason as to what to do. 2 marks Some specific examples about pacing of the passage and one or two reasons as to what to do. 3 marks A range of examples about the pacing of the passage and some appropriate supporting reasons. 4 marks A range of examples about the pacing of the passage, with developed and perceptive reasons. 5 marks 5 Question Answer Marks 7 What setting were you trying to create in your devised piece, and how did you achieve this? Candidates should focus on the time and place that the devised piece was set and discuss how it was achieved. Identifies the general setting for the piece. 1 mark General comments about the setting and a simple suggestion as to how it was created. 2 marks Some specific examples about the setting and one or two suggestions as to how it was created. 3 marks A range of examples demonstrating how the setting of the piece was created. 4 marks Detailed and perceptive examples of how the setting was created. 5 marks 5

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 6 of 18 Question Answer Marks 8 Where in your piece did you use stage movement most effectively? It is anticipated that all pieces will involve some stage movement. However, it is also the case that some pieces will involve an amount of sitting at tables and chairs. Candidates should focus on how they moved around the performance space for dramatic effect, even if this did not form the majority of the piece. Identifies an aspect of use of stage movement. 1 mark General comments about use of stage movement and a simple reflection on its effectiveness. 2 marks Some specific examples about use of stage movement, with some indications of its effectiveness. 3 marks A range of examples demonstrating the use of stage movement, with relevant examples of its effectiveness. 4 marks Detailed and perceptive examples of the effectiveness of stage movement in the devised piece. 5 marks 5

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 7 of 18 SECTION B Question Answer Marks 9 You have been given the role of the POET. Discuss the most significant aspects of his character and how you would bring them out in performance. 23–25 Shows a sophisticated practical understanding of how to approach 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 how to approach 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 how to approach 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. 14–16 Shows secure understanding of how to approach 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 how to approach 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 how to approach the role • A few partially formulated ideas about the role. • A superficial approach based mostly on description; occasional reference to the extract. 25

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 8 of 18 Question Answer Marks 9 5–7 Identifies one or two examples of how to approach 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.

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 9 of 18 Question Answer Marks 10 Consider the dramatic function of the songs in the extract and explain how, as a director, you would stage them in a performance. A good answer is likely to spend some time considering the dramatic function of the songs in the extract and offer a detailed explanation of how the proposed staging would enhance the impact of these songs. 23–25 Shows a sophisticated practical understanding of the function of the songs and offers creative approaches to staging • Comprehensive discussion of the way that a director might stage the songs • Excellent ideas with sustained and detailed reference to the extract. Upper band – application 20–22 Shows a perceptive practical understanding of the function of the songs and offers perceptive approaches to staging • Assured discussion of the way that a director might stage the songs • Insightful ideas with frequent and well-selected references to the extract. 17–19 Shows detailed practical understanding of the function of the songs, with mostly good ideas as to their staging • Effective discussion of the way that a director might stage the songs • 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 function of the songs, and some appropriate ideas for staging • A consistent discussion of the way that a director might stage the songs • A good level of detail with some appropriate references to the extract. Middle band – understanding 11–13 Shows some understanding of aspects of the songs, and some ideas as to their staging • Variable understanding of the way that a director might stage the songs; there may be limited suggestions of how ideas can be realised. • A focus on the more obvious aspects of the extract. 8–10 Shows undeveloped/superficial understanding of the songs • A few partially formulated ideas about the director’s intention. • A superficial approach based mostly on description with occasional reference to the extract. 25

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 10 of 18 Question Answer Marks 10 5–7 Identifies one or two examples of how the director could approach the songs • Rudimentary suggestions based on isolated references to the songs. • 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.

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 11 of 18 Question Answer Marks 11 Explain your approach to creating set design for this extract, giving examples as to why it would be appropriate. 23–25 Shows a sophisticated practical understanding of design elements and offers creative solutions • Comprehensive explanation of design elements showing sophisticated understanding of how they could be used. • 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 offers creative solutions • An assured explanation of design elements showing perceptive understanding of how they could be used. • Insightful practical suggestions with frequent and well-selected references to the extract. 17–19 Shows a detailed practical understanding of design elements and offers solutions • An effective explanation of design elements showing detailed understanding of how they could be used. • Well-formulated ideas although there may be scope for further refinement; consistent and appropriate references to the extract. 14–16 Shows secure understanding of design elements and offers some solutions • A consistent understanding of the design elements which is mostly viable; there may be some suggestions of how they could be used • 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 design elements some of which are viable; there may be limited suggestions of how they could be used • 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 design elements. • A superficial approach to design elements based mostly on description with little reference to the extract. 25

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 12 of 18 Question Answer Marks 11 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 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.

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 13 of 18 Question Answer Marks 12 Choose two characters from your devised piece and review the dramatic effectiveness of their interactions with each other. The focus of the question is to allow a thorough discussion of how the dramatic scenario of the piece was created and developed through the interactions of two of the characters. 23–25 Shows a sophisticated practical understanding of the devised piece • A comprehensive explanation of the interaction between characters • Excellent, practical evaluation of the effectiveness of the piece, with sustained and detailed reference to specific examples. Upper band – evaluation 20–22 Shows a perceptive practical understanding of the devised piece. • An assured explanation of the interaction between characters • Insightful practical evaluation of the effectiveness of the piece, with frequent and well-selected references to specific examples. 17–19 Shows detailed practical understanding of the devised piece. • An effective explanation of the interaction between characters • Well-formulated practical evaluation of the effectiveness of the piece, 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 interaction between characters • 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 interaction between characters • 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 interaction between characters • A superficial approach based mostly on description; occasional reference to the devised piece. 25

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 14 of 18 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 ideas in the piece. 0/1 No answer/insufficient response to meet the criteria in the band above.

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 15 of 18 Question Answer Marks 13 Your drama teacher has suggested that your piece would benefit from having one longer speech. Identify a point where a longer speech would make your piece more dramatically effective and explain why. This question invites candidates to consider how dialogue can be improved by balancing shorter with longer contributions. They should indicate in each case why the additions indicated would be necessary. 23–25 Shows a sophisticated practical understanding of how to adapt the dialogue • Comprehensive explanation of the dialogue in the piece • Excellent evaluation of the effectiveness of the change to the piece. Upper band – evaluation 20–22 Shows a perceptive practical understanding of how to adapt the dialogue • An assured explanation of the dialogue in the piece • Insightful evaluation of the effectiveness of the change to the piece. 17–19 Shows detailed practical understanding of how to adapt the dialogue • An effective explanation of the dialogue in the piece • Well-formulated evaluation of the effectiveness of the change to the piece. 14–16 Shows secure understanding of how to adapt the dialogue • A consistent understanding of the dialogue in the piece • A good level of detail about the effectiveness of changing the piece. Middle band – understanding 11–13 Shows some understanding of aspects of how to adapt the dialogue • Variable understanding of the dialogue in the piece • A focus on the most obvious aspects of the change to the piece. 8–10 Shows undeveloped/superficial understanding of aspects of how to adapt the dialogue • A few partially formulated ideas about the dialogue in the piece. • A superficial approach based mostly on description with occasional reference to the change to the piece. 25

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 16 of 18 Question Answer Marks 13 5–7 Identifies one or two examples from 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 purpose of the devised piece. 0/1 No answer/insufficient response to meet the criteria in the band above.

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 17 of 18 Question Answer Marks 14 Using examples, evaluate how successful your devised piece was in communicating with its audience. The focus of the question is on how the piece engaged its audience. Candidates should be rewarded for offering perceptive analysis and evaluation of this. 23–25 Shows a sophisticated practical evaluation • Comprehensive explanation of how the piece communicated with the audience showing sophisticated understanding. • Excellent, practical evaluation with sustained and detailed reference to the devised piece. Upper band – evaluation 20–22 Shows a perceptive practical evaluation • An assured explanation of how the piece communicated with the audience, showing perceptive understanding. • Insightful practical evaluation with frequent and well- selected references to the devised piece. 17–19 Shows a detailed practical evaluation • An effective explanation of how the piece communicated with the audience, showing detailed understanding. • Well-formulated evaluation, although there may be scope for further refinement; consistent and appropriate references to the devised piece. 14–16 Shows secure evaluation • A consistent understanding of how the piece communicated with the audience; • A good level of detail with some appropriate references to the devised piece. Middle band – understanding 11–13 Shows some evaluation • Variable understanding of how the piece communicated with the audience • A focus on the more obvious aspects of the devised piece. 8–10 Shows undeveloped/superficial evaluation • A few partially formulated ideas about how the piece communicated with audience. • A superficial approach to staging based mostly on description with little reference to the devised piece. 25

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 18 of 18 Question Answer Marks 14 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 the audience was engaged • 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.