Cambridge IGCSE Drama 0411 — 2021 May/June Paper 1 · Variant 1

This document has 4 pages. Any blank pages are indicated. RCL (DF) 204104 © UCLES 2021 [Turn over * 6 7 2 8 2 1 9 3 9 6 * Cambridge IGCSE™ DRAMA 0411/11 Paper 1 May/June 2021 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/21 © UCLES 2021 Section A Answer all questions in this section. Questions 1–6 are based on the extract from Nell Gwynn, by Jessica Swale that you have studied. 1 What atmosphere would you want to create at the start of Scene Four? Identify one way you could achieve this. [2] 2 Give two examples of how the Company could use movement in performing the song at the end of Scene One. [2] 3 Read the passage from line 503 (‘Where have you been? I missed you’) to line 524 (‘I’ll meet you in your chamber’). Suggest three ways the actor playing LADY CASTLEMAINE could vary her body language in this passage. [3] 4 Read the passage from the start of Scene Two, as far as line 165 (‘She drops out of the act immediately.’). For each of the characters in the passage, give one piece of acting advice and say why this advice would be helpful. [4] 5 You have been cast in the role of DRYDEN, and are preparing to play the passage between line 668 (‘He holds the scrumpled piece of paper…’) to line 754 (‘Boom!’). Identify two points where your timing would be important and say why. [4] 6 You are directing a rehearsal of Scene Ten. What approach would you take to reveal the developing relationship between NELL and KING CHARLES? [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 Which character in your devised piece was the most dramatically effective, and why? [5] 8 Which section of your devised piece do you think had the most effect on your audience, and why do you think this was? [5]

3 0411/11/M/J/21 © UCLES 2021 Section B Answer one question in this section. Questions 9–11 are based on the extract from Nell Gwynn, by Jessica Swale that you have studied. 9 As an actor playing the part of EDWARD KYNASTON, what would be your character’s motivation and how would you show this in your portrayal of the role? [25] 10 As the director of this extract, how would you approach the staging of the ‘play-within-a-play’ in Scene 5 and Scene 9? [25] 11 Explain your approach to creating costume design for this extract, giving examples as to why it would be effective. [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 What approaches to staging were most important in devising your piece, and why? [25] 13 Evaluate the strengths and weaknesses of a recent performance of your devised piece. [25] 14 Discuss the structure of your devised piece and say how effective it was in communicating the message of the piece. [25]

4 0411/11/M/J/21 © UCLES 2021 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 17 printed pages. © UCLES 2021 [Turn over Cambridge IGCSE™ DRAMA 0411/11 Paper 1 Written Examination May/June 2021 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 2021 series for most Cambridge IGCSE™, Cambridge International A and AS Level components and some Cambridge O Level components.

0411/11 Cambridge IGCSE–Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 2 of 17 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 2021 © UCLES 2021 Page 3 of 17 SECTION A Question Answer Marks 1 What atmosphere would you want to create at the start of Scene Four? Identify one way you could achieve this. This scene is set in the (unidentified, but probably Whitehall) Palace where King Charles II lives. The stage directions refer to ‘huge fanfare with pomp, ceremony and golden regalia’, so the atmosphere could be described in these terms. The dialogue between CHARLES, ARLINGTON and LADY CASTLEMAINE is exaggerated and could be used to create a flamboyant atmosphere. Allow any suggestion that can be supported from the text. A suggestion of an appropriate atmosphere. 1 Mark Identification of a way of doing this. 1 Mark 2 Question Answer Marks 2 Give two examples of how the Company could use movement in performing the song at the end of Scene One. The song is performed by the Company rather than an individual. It is a rumbustious, rollicking song that offers plenty of scope for highly-charged, energetic movement including foot-stamping, bottle-clinking, clapping etc. Allow credit for any suggestions appropriate to the play at the point suggested by the candidate. An appropriate suggestion about how movement could be used. 1 Mark A second appropriate suggestion about how movement could be used. 1 Mark 2

0411/11 Cambridge IGCSE–Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 4 of 17 Question Answer Marks 3 Read the passage from line 503 (‘Where have you been? I missed you’) to line 524 (‘I’ll meet you in your chamber’). Suggest three ways the actor playing LADY CASTLEMAINE could vary her body language in this passage. LADY CASTLEMAINE is CHARLES’ most ambitious mistress and is keen to exert her power over him. She uses her charm and magnetism to persuade CHARLES to put to death his Chief Minister, Clarendon (who does not appear in the play). Her attempt to persuade can be emphasised through her body language with CHARLES. Allow credit for up to three different suggestions as to how this could be achieved. An appropriate suggestion as to how to vary the actors’ body language. 1 Mark A second appropriate suggestion as to how to vary the actors’ body language. 1 Mark A third appropriate suggestion as to how to vary the actors’ body language. 1 Mark 3 Question Answer Marks 4 Read the passage from the start of Scene Two, as far as line 165 (‘She drops out of the act immediately’). For each of the characters in the passage, give one piece of acting advice and say why this advice would be helpful. In the passage, the leading actor in the King’s Company, CHARLES HART, is teaching NELL GWYNN acting techniques. Allow any point of advice that could be sustained from the passage. He increasingly provokes her to project her lines and there is a growing sense of irony as her skill develops. Allow any reasonable suggestion that can be supported from the extract. A relevant piece of advice. 1 Mark and A clear explanation as to why this would be effective. 1 Mark and/or A second relevant piece of advice. 1 Mark and A clear explanation as to why this would be effective. 1 Mark 4

0411/11 Cambridge IGCSE–Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 5 of 17 Question Answer Marks 5 You have been cast in the role of DRYDEN, and are preparing to play the passage between line 668 (‘He holds the scrumpled piece of paper…’) to line 754 (‘Boom!‘). Identify two points where your timing would be important and say why. DRYDEN is a nervy playwright and is awkward in his interaction with others. This means that his timing is often gauche, which reflects his confusion. This, coupled with his excitement and/or nerves mean that he often blurts things out or interjects inappropriately. Identification of one point where timing would be important 1 Mark and A clear explanation as to why point would be significant 1 Mark and/or Identification of a second point where timing would be important 1 Mark and A clear explanation as to why point would be significant 1 Mark 4 Question Answer Marks 6 You are directing a rehearsal of Scene Ten. What approach would you take to reveal the developing relationship between NELL and KING CHARLES? This scene follows immediately from the previous scene where NELL has diverted her performance towards CHARLES as he arrives at the royal box. This is of immense irritation to her acting partner HART and he storms her into the dressing room, moments before CHARLES himself arrives. The scene is then a pas de deux between NELL and CHARLES as she trifles with him. A range of dramatically effective suggestions about how to direct the scene, supported by well-chosen examples. 5 marks A range of appropriate suggestions about how to direct the scene, with some well-chosen examples. 4 marks Two or three examples about the approach to the passage with suggestions as to how to make them work. 3 marks General comments about the approach to the passage with broad reference to what happens. 2 marks Identifies a single idea for directing the passage. 1 mark 5

0411/11 Cambridge IGCSE–Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 6 of 17 Question Answer Marks 7 Which character in your devised piece was the most dramatically effective, and why? There is a possibility that some candidates will simply write about the plot of the piece, and mention which character was the most significant. However, the question asks for an assessment of the significance of the character, and why. Detailed discussion of the character with sustained examples of why it was dramatically effective. 5 marks A clear description of the character, with some discussion of its dramatic effectiveness. 4 marks A description of a few aspects of the character with one or two suggestions about effectiveness. 3 marks General comments about a character in the piece and a simple description of that character. 2 marks Identifies a character in the piece. 1 mark 5 Question Answer Marks 8 Which section of your devised piece do you think had the most effect on your audience, and why do you think this was? Detailed description and perceptive discussion of how effectively a section of the piece connected with the audience. 5 marks A clear description of a section of the devised piece, with discussion of several aspects of its effectiveness. 4 marks A description of a section of the devised piece, with some commentary about one or two aspects that were effective. 3 marks General comments about a section of the devised piece and a single comment about its effectiveness. 2 marks Identifies a section of the devised piece. 1 mark 5

0411/11 Cambridge IGCSE–Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 7 of 17 SECTION B Question Answer Marks 9 As an actor playing the part of EDWARD KYNASTON, what would be your character’s motivation and how would you show this in your portrayal of the role? EDWARD KYNASTON is a male actor who has made his career playing female roles.With the proposed introduction of women actors to play female roles, KYNASTON feels under threat and is keen to demonstrate that he is a credible actor, arguing that audiences are captivated by his portrayals of women. He appears mainly in Scene 3 and Scene 5. 23– 25 Shows a sophisticated practical understanding of how to approach the role • A comprehensive discussion of the character’s motivation, showing sophisticated understanding of how to show it in performance. • 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 the character’s motivation, showing perceptive understanding of how to show it in performance. • 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 the character’s motivation, showing detailed understanding of how to show it in performance. • Well-formulated ideas although there may be scope for further refinement; consistent and appropriate references to the extract. 25

0411/11 Cambridge IGCSE–Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 8 of 17 Question Answer Marks 9 14– 16 Shows secure understanding of how to approach the role • A consistent understanding of the character’s motivation, which is mostly viable. There may be some examples of how to show it in performance. • 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 character’s motivation, some of which is viable. There may be limited examples of how to show it in performance. • 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 character’s motivation • A superficial approach based mostly on description; occasional reference to the extract. 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 2021 © UCLES 2021 Page 9 of 17 Question Answer Marks 10 As the director of this extract, how would you approach the staging of the ‘play-within-a-play’ in Scene 5 and Scene 9? 23– 25 Shows a sophisticated practical understanding of the scenes and offers creative solutions • Comprehensive discussion of the way that a director might stage the scenes • Excellent ideas with sustained and detailed reference to the extract. Upper band–application 20– 22 Shows a perceptive practical understanding of the scenes and offers creative solutions • Assured discussion of the way that a director might stage the scenes • Insightful ideas with frequent and well-selected references to the extract. 17– 19 Shows detailed practical understanding of the scenes • Effective discussion of the way that a director might stage the scenes • 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 scenes • A consistent discussion of the way that a director might stage the scenes • A good level of detail with some appropriate references to the extract. Middle band–understanding 11– 13 Shows some understanding of aspects of the scenes • Variable understanding of the way that a director might stage the scenes • 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 scenes • 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 2021 © UCLES 2021 Page 10 of 17 Question Answer Marks 10 5–7 Identifies one or two examples of how the director could approach the scenes • Rudimentary suggestions based on isolated references to the scenes • Response is predominantly narrative. Lower band– identification 2–4 Simplistic response • Shows little understanding of how to direct the scenes. 0–1 No answer/insufficient response to meet the criteria in the band above.

0411/11 Cambridge IGCSE–Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 11 of 17 Question Answer Marks 11 Explain your approach to creating costume design for this extract, giving examples as to why it would be effective. There are many possible approaches to creating costume for the extract. These might be inspired by the period, or reflect a postmodern approach. Allow credit for any discussion of how costume design could be interpreted or reimagined. Award credit for reference to how these suggestions would be effective. 23– 25 Shows a sophisticated practical understanding of costume design and offers creative solutions • Comprehensive discussion of costume design showing sophisticated understanding of how it 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 costume design and its challenges • An assured discussion of costume design showing perceptive understanding of how it could be used • Insightful practical suggestions with frequent and well- selected references to the extract. 17– 19 Shows a detailed practical understanding of costume design • An effective discussion of costume design showing detailed understanding of how it 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 costume design • A consistent understanding of costume design which is mostly viable; there may be some suggestions of how it could be used • A good level of detail with some appropriate references to the extract. Middle band–understanding 11– 13 Shows some understanding of costume design • Variable understanding of costume design, some of which is viable; there may be limited suggestions of how it could be used • A focus on the more obvious aspects of the extract. 8– 10 Shows undeveloped/superficial understanding of costume design • A few partially formulated ideas about costume design. • 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 2021 © UCLES 2021 Page 12 of 17 Question Answer Marks 11 5–7 Identifies one or two examples of costume design • Rudimentary suggestions based on isolated references to the extract. • Response is predominantly narrative. Lower band– identification 2–4 Simplistic response • Shows little understanding of costume design. • 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 2021 © UCLES 2021 Page 13 of 17 Question Answer Marks 12 What approaches to staging were most important in devising your piece, and why? 23– 25 Shows a sophisticated practical understanding of the devised piece • A comprehensive discussion of what ideas were most important, and why • Excellent, practical evaluation of the approaches taken, with sustained and detailed reference to specific examples. Upper band–evaluation 20– 22 Shows a perceptive practical understanding of the devised piece. • An assured discussion of what ideas were most important, and why • Insightful practical evaluation of the approaches taken, with frequent and well-selected references to specific examples. 17– 19 Shows detailed practical understanding of the devised piece. • An effective discussion of what ideas were most important, and why • Well-formulated practical evaluation of the approaches taken, 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 what ideas were most important • A good level of detail of the approaches taken. There may be some evaluative comment. Middle band–understanding 11– 13 Shows some understanding of the devised piece. • Variable understanding of what ideas were most important • 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 what ideas were most important • A superficial approach based mostly on description; occasional reference to the devised piece. 25

0411/11 Cambridge IGCSE–Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 14 of 17 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 2021 © UCLES 2021 Page 15 of 17 Question Answer Marks 13 Evaluate the strengths and weaknesses of a recent performance of your devised piece. 23– 25 Shows a sophisticated practical understanding of the devised piece • Comprehensive discussion of the strengths and weaknesses of the piece • Excellent evaluation of the effectiveness of the devised piece. Upper band–evaluation 20– 22 Shows a perceptive practical understanding of the devised piece • An assured discussion of the strengths and weaknesses of the piece • Insightful evaluation of the effectiveness of the devised piece. 17– 19 Shows detailed practical understanding of the devised piece • An effective discussion of the strengths and weaknesses of the piece • Well-formulated evaluation of the effectiveness of the devised piece. 14– 16 Shows secure understanding of the devised piece • A consistent understanding of the strengths and weaknesses of the piece • A good level of detail of the effectiveness of the devised piece. Middle band–understanding 11– 13 Shows some understanding of aspects of the devised piece • Variable understanding of the strengths and weaknesses of the piece • A focus on the most obvious aspects of the devised piece. 8–10 Shows undeveloped/superficial understanding of the devised piece • A few partially formulated ideas about the devised piece • A superficial approach based mostly on description with occasional reference to the devised piece. 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 purpose of the devised piece. 25

0411/11 Cambridge IGCSE–Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 16 of 17 Question Answer Marks 13 0–1 No answer/insufficient response to meet the criteria in the band above.

0411/11 Cambridge IGCSE–Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 17 of 17 Question Answer Marks 14 Discuss the structure of your devised piece and say how effective it was in communicating the message of the piece. 23– 25 Shows a sophisticated practical understanding of the devised piece • Comprehensive discussion of the structure of the piece • Excellent, practical evaluation 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 structure of the piece • Insightful practical evaluation with frequent and well- selected references to the devised piece. 17– 19 Shows a detailed practical understanding of the devised piece • An effective discussion of the structure of the piece • Well-formulated evaluation, 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 structure of the piece • A good level of detail with some appropriate references to the devised piece. Middle band–understanding 11– 13 Shows some understanding of the devised piece • Variable understanding of the structure of the piece • A focus on the more obvious aspects of the devised piece. 8– 10 Shows undeveloped/superficial understanding of the devised piece • A few partially formulated ideas about the structure of the piece • A superficial approach to structure based mostly on description with little reference to the devised piece. 5–7 Identifies one or two examples of the devised piece • Rudimentary suggestions based on isolated references to the structure of the devised piece • Response is predominantly narrative. Lower band – identification 2–4 Simplistic response • Shows little understanding of the structure of the piece • Response may be typified by a single reference only with no supporting detail. 0–1 No answer/insufficient response to meet the criteria in the band above. 25