Cambridge IGCSE Drama 0411 — 2021 May/June Paper 1 · Variant 2

This document has 4 pages. Any blank pages are indicated. * 7 4 4 6 4 6 5 5 9 7 * Cambridge IGCSE™ DC (RCL (DF)) 204510 © UCLES 2021 [Turn over DRAMA 0411/12 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 0411/12/M/J/21 © UCLES 2021 Section A Answer all questions in this section. Questions 1–6 are based on the extract from The Watsons, by Laura Wade that you have studied. 1 What atmosphere would you want to create between line 120 (‘Everyone turns to look…’) and line 132 (‘…the awkward moment over.’)? Identify one way you could achieve this. [2] 2 Choose one point between line 174 (‘And we’re at the assembly.’) and line 205 (‘…EMMA and CHARLES bow to each other’) where you would vary the volume of the music, and say why you would do this. [2] 3 Read the passage from line 1088 (‘TOM comes in, with LORD OSBORNE, MARGARET, and ELIZABETH) to line 1128 (‘She answers it, as the characters look on in amazement’). Suggest three ways in which the actors could vary their physical distance for dramatic effect. [3] 4 Read the passage from line 434 (‘Miss Watson! Good morning.’), as far as line 494 (‘You are a parson’s daughter.’). 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 LORD OSBORNE, and are preparing to play the passage between line 595 (‘When the others have gone…’) and line 676 (‘LORD OSBORNE leaves.’). Identify two points where your timing would be important and say why. [4] 6 You are directing a rehearsal of the passage from line 278 (‘ELIZABETH appears…’) to line 317 (‘No one will call.’). What approach would you take to reveal the relationship between ELIZABETH and EMMA? [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 moment in your devised piece do you think communicated the strongest emotion to your audience, and how? [5] 8 Explain how you created dramatically effective contrasts in your devised piece. [5]

3 0411/12/M/J/21 © UCLES 2021 Section B Answer one question in this section. Questions 9–11 are based on the extract from The Watsons, by Laura Wade that you have studied. 9 As an actor, what approach would you take to playing the role of LAURA? [25] 10 As the director, explain how you would approach the staging of this extract, from the beginning as far as line 70 (‘…if I’m not inclined to swoon at a soldier?’). [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 Explain how you made the best use of the performance space available to you when you performed your devised piece. [25] 13 Explain how the acting was enhanced by the use of design elements (e.g. lighting, sound, costume or props.) in your devised piece. [25] 14 In what ways did physicality and stage movement contribute to the effectiveness of your devised piece? [25]

4 0411/12/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 18 printed pages. © UCLES 2021 [Turn over Cambridge IGCSE™ DRAMA 0411/12 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.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 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.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 3 of 18 SECTION A Question Answer Marks 1 What atmosphere would you want to create between line 120 (‘Everyone turns to look …’) and line 132 (‘… the awkward moment over.’). Identify one way you could achieve this. This is a tableau scene to denote the arrival of the Osbornes. There is a moment of stillness as their arrival is intended to impress the people in the ballroom. However, there are various possible approaches, which include sycophancy, awkwardness and/or humour. A suggestion of an appropriate atmosphere. 1 Mark Identification of a way of doing this. 1 Mark 2 Question Answer Marks 2 Choose one point between line 174 (‘And we’re at the assembly.’) and line 205 (‘… EMMA and CHARLES bow to each other’) where you would vary the volume of the music, and say why you would do this. Music is playing continuously during this passage, and continues during the various conversations that take place. This requires the volume of the music to be strategically adjusted to foreground important conversations as they occur. The play presupposes that the music will be recorded, but be prepared to award credit for reference to live instrumentalists. An appropriate suggestion about the point where the volume of the music could be varied. 1 Mark An explanation of the purpose of varying the volume. 1 Mark 2

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 4 of 18 Question Answer Marks 3 Read the passage from line 1088 (‘TOM comes in, with LORD OSBORNE, MARGARET, and ELIZABETH) to line 1128 (‘She answers it, as the characters look on in amazement’). Suggest three ways in which the actors could vary their physical distance for dramatic effect. This is the point at which several of the characters discover their situation with regard to the author, LAURA, and culminates in her mobile phone ringing. There is ample scope for changes in physical distance in the way that the passage is staged. Allow credit for any suggestions that may be supported from the text. An appropriate suggestion as to how to vary physical distance between the actors for dramatic effect. 1 Mark A second appropriate suggestion as to how to vary physical distance between the actors for dramatic effect. 1 Mark A third appropriate suggestion as to how to vary physical distance between the actors for dramatic effect. 1 Mark 3 Question Answer Marks 4 Read the passage from line 434 (‘Miss Watson! Good morning.’), as far as line 494 (‘You are a parson’s daughter.’). For each of the characters in the passage, give one piece of acting advice and say why this advice would be helpful. MR HOWARD is a clergyman, poor, and with a fixed sense of morality. EMMA is beautiful, vivacious and is a strong contrast to his style. 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 helpful. 1 Mark and/or A second relevant piece of advice. 1 Mark and A clear explanation as to why this would be helpful. 1 Mark 4

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 5 of 18 Question Answer Marks 5 You have been cast in the role of LORD OSBORNE, and are preparing to play the passage between line 595 (‘When the others have gone …’) and line 676 (‘LORD OSBORNE leaves.’). Identify two points where your timing would be important and say why. LORD OSBORNE arrives to propose to EMMA but is awkward when talking to women. The actor requires skilful timing to be able to convey this sense of awkwardness. At times the actor needs to be hesitant, at other times, he is too blunt or makes inappropriate comments. Identification of one point where timing would be important 1 Mark and A clear explanation as to why this would be the case 1 Mark and/or Identification of a second point where timing would be important 1 Mark and A clear explanation as to why this would be the case 1 Mark 4 Question Answer Marks 6 You are directing a rehearsal of the passage from line 278 (‘ELIZABETH appears…’) to line 317 (‘No one will call.’). What approach would you take to reveal the relationship between ELIZABETH and EMMA? There is ample scope in this passage to bring out their sibling relationship. 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

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 6 of 18 Question Answer Marks 7 Which moment in your devised piece do you think communicated the strongest emotion to your audience, and how? There is a possibility that some candidates will simply write about the plot of the piece, and not mention which moment communicated the strongest emotion. However, the question asks for an assessment of the significance of a particular point in the drama, and how it communicated emotion. Detailed discussion of the moment with sustained examples of how it communicated emotion. 5 marks A clear description of the moment, with some discussion of how the emotion was communicated. 4 marks A description of a few aspects of the moment with one or two suggestions about how emotion was communicated. 3 marks General comments about a moment in the piece and a simple description of that moment. 2 marks Identifies a moment in the piece. 1 mark 5 Question Answer Marks 8 Explain how you created dramatically effective contrasts in your devised piece. Answers may consider a range of contrasts including visual, aural and dynamic contrasts. Some candidates may simply list a series of contrasts but the question specifically asks for details about how these were created. Detailed and perceptive discussion of dramatic contrasts in the piece with clear discussion of how they were created 5 marks A clear description of dramatic contrasts in the devised piece, with clear discussion of how they were created 4 marks A description of contrast in the devised piece, with one or two reasons as to how created. 3 marks General comments about contrast in the devised piece and a single comment about how it was created. 2 marks Identifies a contrast in the devised piece. 1 mark 5

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 7 of 18 SECTION B Question Answer Marks 9 As an actor, what approach would you take to playing the role of LAURA? LAURA appears initially as the female SERVANT but quickly reveals her true identity. In one sense, LAURA is the central character in the extract since her emergence transforms the nature of the drama. There are many approaches to playing the role. 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 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 the character’s motivation, 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 the character’s motivation, 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 character’s motivation, 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 character’s motivation, 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 character’s motivation. • A superficial approach based mostly on description; occasional reference to the extract. 25

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 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.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 9 of 18 10 As the director, explain how you would approach the staging of this extract, from the beginning as far as line 70 (‘… if I’m not inclined to swoon at a soldier?’). One of the challenges in staging the extract is the speed at which location, setting and time change, and how this can be done efficiently and effectively. A feature of the passage is the use of simultaneous overlap of time and place. Allow credit for creative solutions that consider use of furniture, props, lighting, projection etc. 23– 25 Shows a sophisticated practical understanding of the staging requirements and offers creative solutions • Comprehensive discussion of the way that a director might stage the passage • Excellent ideas with sustained and detailed reference to the extract. Upper band – application 20– 22 Shows a perceptive practical understanding of the staging requirements and offers creative solutions • Assured discussion of the way that a director might stage the passage • Insightful ideas with frequent and well-selected references to the extract. 17– 19 Shows detailed practical understanding of the staging requirements • Effective discussion of the way that a director might stage the passage • 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 staging requirements • A consistent discussion of the way that a director might stage the passage • A good level of detail with some appropriate references to the extract. Middle band – understanding 11– 13 Shows some understanding of aspects of the staging requirements • Variable understanding of the way that a director might stage the passage • 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 staging requirements • 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 2021 © UCLES 2021 Page 10 of 18 Question Answer Marks 10 5–7 Identifies one or two examples of how the director could approach the staging requirements • Rudimentary suggestions based on isolated references to the passage • Response is predominantly narrative. Lower band – identification 2–4 Simplistic response • Shows little understanding of how to direct the passage. 0/1 No answer/insufficient response to meet the criteria in the band above.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 11 of 18 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 derive from a postmodern approach. Allow credit for any discussion of how costume design this 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

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 12 of 18 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.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 13 of 18 Question Answer Marks 12 Explain how you made the best use of the performance space available to you when you performed your devised piece. 23– 25 Shows a sophisticated practical understanding of the devised piece • A comprehensive discussion of the use of the performance space • Excellent, practical evaluation of the creative decisions made, 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 the use of the performance space • Insightful practical evaluation of the creative decisions made, with frequent and well-selected references to specific examples. 17– 19 Shows detailed practical understanding of the devised piece. • An effective discussion of the use of the performance space • Well-formulated practical evaluation of the creative decisions made, 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 use of the performance space • A good level of detail of the creative decisions made. There may be some evaluative comment. Middle band – understanding 11– 13 Shows some understanding of the devised piece. • Variable understanding of the use of the performance space • 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 use of the performance space • A superficial approach based mostly on description; occasional reference to the devised piece. 25

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 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.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 15 of 18 Question Answer Marks 13 Explain how the acting was enhanced by the use of design elements (e.g. lighting, sound, costume or props.) in your devised piece. 23– 25 Shows a sophisticated practical understanding of the devised piece • Comprehensive discussion of the relationship between acting and design elements • 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 relationship between acting and design elements • Insightful evaluation of the effectiveness of the devised piece. 17– 19 Shows detailed practical understanding of the devised piece • An effective discussion of the relationship between acting and design elements • Well-formulated evaluation of the effectiveness of the devised piece. 14– 16 Shows secure understanding of the devised piece • A consistent understanding of the relationship between acting and design elements • 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 relationship between acting and design elements • 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 relationship between acting and design elements • 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

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 16 of 18 Question Answer Marks 13 0/1 No answer/insufficient response to meet the criteria in the band above.

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 17 of 18 Question Answer Marks 14 In what ways did physicality and stage movement contribute to the effectiveness of your devised piece? 23– 25 Shows a sophisticated practical understanding of the devised piece • Comprehensive discussion of how physicality and stage movement were used 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 of the devised piece • An assured discussion of how physicality and stage movement were used, showing perceptive understanding. • 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 how physicality and stage movement were used, 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 understanding of the devised piece • A consistent understanding of how physicality and stage movement were used, 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 the devised piece • Variable understanding of how physicality and stage movement were used, 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 the devised piece • A few partially formulated ideas about how physicality and stage movement were used. • A superficial approach to staging based mostly on description with little reference to the devised piece. 25

0411/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 18 of 18 Question Answer Marks 14 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 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.