Cambridge IGCSE Drama 0411 — 2022 Oct/Nov Paper 1 · Variant 1

This document has 12 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ DRAMA 0411/11 Paper 1 October/November 2022 2 hours 30 minutes (or 1 hour 50 minutes for candidates given permission to NOT answer Section C) You must answer on the question paper. You will need: Copy of pre-release material INSTRUCTIONS ● Section A: answer all questions. ● Section B: answer Question 7 and one other question. ● Section C: answer both questions. ● Use a black or dark blue pen. ● Write your name, centre number and candidate number in the boxes at the top of the page. ● Write your answer to each question in the space provided. ● Do not use an erasable pen or correction fluid. ● Do not write on any bar codes. ● The questions in this paper are based on the play extracts from the pre-release material and a devised piece that you have performed. 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 4 5 9 6 6 8 5 5 6 * DC (CJ) 302306/3 © UCLES 2022

2 0411/11/O/N/22 © UCLES 2022 Section A: Play extract The Mahabharata by Jean-Claude Carrière and Peter Brook This section is worth 30 marks. Answer all questions in this section. 1 Suggest two features of the costume you would wear to play GANESHA. … … … [2] 2 Read the passage between lines 167–8 [‘the KING OF THE FISHERMEN appears …’] and line 204 [‘He said that?’]. As an actor, identify three different physical actions the KING OF THE FISHERMEN could use to emphasise his power and authority. … … … … … [3] 3 Read the passage from line 235 [‘Listen to me, Bhishma…’] to lines 278–279 [‘Never forget me, Bhishma. I am your death…’]. What advice would you give to the actor playing AMBA in this passage? … … … … … … … … … … [5]

3 0411/11/O/N/22 © UCLES 2022 [Turn over 4 Read lines 306–308 [‘Vyasa, you are forgetting someone who can make the princesses fertile.’] to line 363 [‘We skip twenty years.’]. How would you direct the actors to make this passage dramatically effective? … … … … … … … … … … … … [5] 5 Read from line 445 [‘Don’t hesitate. Say your mantra.’] to line 461 [‘A last flame burns.’]. How would you use lighting and sound for dramatic effect in this passage? … … … … … … … … … … … … … … [5]

4 0411/11/O/N/22 © UCLES 2022 6 Read from line 526 [‘When Gandhari was pregnant, she bore her fruit…’] to the end of the extract. How would you direct this passage to achieve the greatest impact? … … … … … … … … … … … … … … … … … … … … … … … … … … [10]

5 0411/11/O/N/22 © UCLES 2022 [Turn over Section B: Play extract The Lark by Jean Anouilh This section is worth 25 marks. Answer Question 7 and EITHER Question 8 OR Question 9. 7 As a designer, how would you costume any two characters to show their difference in status? … … … … … … … … … … … … … … … … … … … … … … … [10]

6 0411/11/O/N/22 © UCLES 2022 EITHER 8 Read from line 146 [‘[smiling gently]: I was meeting…’] to lines 240–241 [‘without a murmur, my lords?’]. As an actor, what techniques would you use to play JOAN in this passage to highlight its dramatic impact? Make close reference to specific lines from the passage in your answer. OR 9 Read from line 289 [‘Where had we got to?’] to line 393 [‘He strides off’.]. How would you direct this passage to show the rising tension between the characters? Make close reference to specific lines from the passage in your answer. Question number: … … … … … … … … … … … … … … … … … … … … … …

7 0411/11/O/N/22 © UCLES 2022 [Turn over … … … … … … … … … … … … … … … … … … … … … … … … … … … … … [15]

8 0411/11/O/N/22 © UCLES 2022 Section C: Devised piece If you have been given permission to NOT attempt this section you should leave these questions blank. Your time for the exam will be reduced to 1 hour 50 minutes. This section is worth 25 marks. Answer Question 10 AND Question 11. Questions 10 and 11 are based on a devised piece that you have developed and performed. In the box below briefly state the title of your chosen devised piece, the stimulus you used and the part you played. This information is to help the examiner but is not assessed. TITLE: STIMULUS: PART:

9 0411/11/O/N/22 © UCLES 2022 [Turn over 10 Explain how you created moments of dramatic conflict in your piece during the devising process. Support your answer with examples. … … … … … … … … … … … … … … … … … … … … … … … … … … … [10]

10 0411/11/O/N/22 © UCLES 2022 11 Evaluate how successfully the dialogue of your devised piece revealed the tensions between characters. Make close reference to your piece to support your evaluation. … … … … … … … … … … … … … … … … … … … … … … … … … … …

11 0411/11/O/N/22 © UCLES 2022 … … … … … … … … … … … … … … … … … … … … … … … … … … … … [15]

12 0411/11/O/N/22 © UCLES 2022 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 Cambridge Assessment. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which is a department of the University of Cambridge. BLANK PAGE

This document consists of 11 printed pages. © UCLES 2022 [Turn over Cambridge IGCSE™ DRAMA 0411/11 Paper 1 Written Paper October/November 2022 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 October/November 2022 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 October/November 2022 © UCLES 2022 Page 2 of 11 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 October/November 2022 © UCLES 2022 Page 3 of 11 Question Answer Marks 1 Suggest two features of the costume you would wear to play GANESHA. Ganesha is a key figure introduced early on, and is described as someone with an elephant’s head and man’s body who comes strutting, his mask reflecting the God–like qualities of the character and may be comic. Suggestions could include a cumbersome, full head or symbolic 2D mask held up, and another aspect of costume. Additional appropriate costume should reflect his status. Only one mark can be awarded for the mask/head. One feature of the costume for GANESHA. 1 Mark One other feature of the costume for GANESHA. 1 Mark 2 2 Read the passage between line 167–8 [‘the KING OF THE FISHERMEN appears’] and line 204 [‘He said that?’]. As an actor, identify three different physical actions the KING OF THE FISHERMEN could use to emphasise his power and authority. There are several potential moments of movement and physicality which would emphasise power and authority. He looks at Santanu critically, is anxious to extract a promise before agreeing to the marriage, calls bluff as he walks away, shows fears caused by doubts, spreads hands to indicate impossible dilemma he is in, surprise/suspicion that Bhishma will give up all his rights, debates closely (proxemics) with Bhishma and deploys facial incredulity in making Bhishma repeat his oath. An appropriate suggestion of a physical action he could use to emphasise his power and authority. 1 Mark A second appropriate suggestion of a physical action he could use to emphasise his power and authority. 1 Mark A third appropriate suggestion of a physical action he could use to emphasise his power and authority. 1 Mark 3

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 4 of 11 Question Answer Marks 3 Read the passage from line 235 [‘Listen to me Bhishma’] to lines 278 – 279 [‘Never forget me, Bhishma. I am your death’]. What advice would you give to the actor playing AMBA in this passage? In this passage AMBA goes from being one of the chosen brides of Bhishma to being sent from him to her fiancé, being rejected by him and sent back to Bhishma who rejects her also saying she should go back to her father. She vows to devote her life to finding someone who can find a way to kill him. Band 1 A detailed discussion of how to play several facets of the role of AMBA in this passage. 4–5 marks Band 2 A broad explanation of how to play the role of AMBA in this passage. 2–3 marks Band 3 A general description of the role of AMBA in this passage. 1 mark Band 4 No creditable response. 0 marks 5 4 Read lines 306–308 [‘Vyasa, you are forgetting someone who can make the princesses fertile.’] to line 363 [‘We skip twenty years’]. How would you direct the actors to make this passage dramatically effective? Satyavati is seeking to manipulate events so that her son Vyasa becomes father to the next generation through the princesses left unable to procreate because of the death of their husband. The insemination of the princesses is barely touched on, even symbolically. The section explains why Dhritarashtra is to be born blind. Band 1 A detailed discussion of how a director would direct the actors, supported by close reference to the passage. 4–5 marks Band 2 An explanation of how a director would direct the actors, supported by some reference to the passage. 2–3 marks Band 3 A general description of the passage. 1 mark Band 4 No creditable response. 0 marks 5

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 5 of 11 Question Answer Marks 5 Read from lines 445 [‘Don’t hesitate. Say your mantra.’] to line 461 [‘A last flame burns.’] How would you use lighting and sound for dramatic effect in this passage? The stage directions describe a ‘ferocious’ ceremony/ritual. Candidates have freedom to suggest lighting and sound in a style that may be appropriate to the context. Suggestions should be justified with reference to the text and create a sense of ‘the elaborate and ferocious ceremony.’ Band 1 A practical understanding of how to use lighting and sound, supported by detailed reference to the passage. 4–5 marks Band 2 Some understanding of how to use lighting and sound, supported by one or two workable suggestions. 2–3 marks Band 3 Generally identifies some appropriate lighting or sound. 1 mark Band 4 No creditable response 0 marks 5

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 6 of 11 Question Answer Marks 6 Read from line 526 [‘When Gandhari was pregnant, she bore her fruit for two years’] to the end of the extract. How would you direct this passage to achieve the greatest impact? Dramatic impact is achieved through the unusual delivery of a large ball to represent a baby. It has potential to be simply basic comedy, but may be handled as a serious presentation of the ball that became the hundred sons, the Kauravas. The suggestion that the child is sacrificed should change the atmosphere in a beat to more serious in keeping with the recurring theme of destruction. Directorial approaches might include: • physicality over the birth of the ball • sound effects, performers’ reactions • choral voices, coordinated movement • slow motion, other ritualistic movements • lights and effects • contrast of final section, peaceful and luminous Band 1 Offers insight into how to direct the passage and provides a detailed and perceptive discussion of how to achieve dramatic impact. 9–10 Marks Band 2 Offers some insight into how to direct the passage and provides a range of practical ideas of how to achieve dramatic impact. 7–8 Marks Band 3 Offers understanding of how to direct the passage and provides some specific examples of how to achieve dramatic impact. 5–6 Marks Band 4 Offers some understanding of the passage and provides some simple suggestions 3–4 Marks Band 5 Offers basic understanding of the passage and general comments. 1–2 Marks Band 6 No creditable response 0 Marks 10

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 7 of 11 SECTION B Question Answer Marks 7 As a designer, how would you costume any two characters to show their difference in status? Candidates may include labelled sketches which should be credited. They may discuss fabrics or ways costumes reveal status. Joan, possibly the most popular choice, is described as ‘dressed in man’s clothes throughout’ although candidates may choose to present her as the simple peasant girl dressed as such with nowhere to hide weapons or money. Her parents might be similar. The Lords and bishops, by contrast, will be well dressed and shod, carrying weapons and protective chainmail, or draped in clerical clothes. The original stage direction that the costumes are ‘vaguely medieval’ should guide candidates. Band 1 Offers insight into the way costumes could emphasise different statuses in the selected characters. 9–10 Marks Band 2 Offers some insight into the way costumes could emphasise different statuses in the selected characters. 7–8 Marks Band 3 Offers understanding of the way costumes could illustrate status with some sense of contrast. 5–6 Marks Band 4 Offers some understanding of costume design with some sense of contrast between characters. 3–4 Marks Band 5 Offers basic understanding of some costume designs. 1–2 Marks Band 6 No creditable response. 0 Marks 10

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 8 of 11 Question Answer Marks 8 Read from line 146 [‘(smiling gently) I was meeting’] to lines 240– 241 [‘listen to this without a murmur, my lords?’]. As an actor, what techniques would you use to play JOAN in this passage to highlight its dramatic impact? Make close reference to specific lines from the passage in your answer. The full range of dramatic elements is available to the actor playing Joan. The actor’s use of voice, posture, movement and gesture, facial expressions, proxemics, should be discussed with support from specific lines. Offers a sophisticated practical understanding of acting techniques and dramatic impact • A comprehensive and effective discussion of how acting techniques can highlight dramatic impact. • Excellent, practical suggestions, applied with sustained and detailed reference to the extract. Band 1 13–15 Marks Offers detailed practical understanding of acting techniques and dramatic impact • An assured and mainly effective discussion of how acting techniques can highlight dramatic impact. • Confident practical suggestions, with consistently appropriate reference to the extract. Band 2 10–12 Marks Shows broad understanding of several acting techniques and dramatic impact • A generalised explanation of how some acting techniques may create dramatic impact. • Some practical suggestions, with some appropriate references to the extract. Band 3 7–9 Marks Offers partial understanding of some acting techniques and their impact • An uneven explanation of how some acting techniques may suggest dramatic impact. • A narrow range of practical suggestions, with occasional reference to the extract. Band 4 4–6 Marks Offers limited understanding of acting techniques and their effect * A confused, incomplete or narrative description of acting techniques and dramatic impact. • Minimal suggestions of how to approach the extract. Band 5 1–3 Marks No creditable response. Band 6 0 Marks 15

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 9 of 11 Question Answer Marks 9 Read from line 289 [‘Where had we got to?’] to line 393 [‘He strides off’]. How would you direct this passage to show the rising tension between the characters? Make close reference to specific lines from the passage in your answer. Joan is a 15 year old, innocent girl yet possesses the absolute conviction that God and the Saints have spoken and continue to speak to her. This empowers her with an inner force that must come across to others and the audience. Neither her father nor the English lords responsible for her captivity and forthcoming trial understand this. The father wishes to beat her with his belt but only threatens it (or the beating is implied from the comments by Cauchon and Warwick). There should be discussion of how to show the rising tension between the characters. Candidates may also refer to: • the conviction of Joan compared with older men • character interaction and use of voice • positioning and movement of actors • dramatic use of silence • use of eye contact/avoidance of eye contact • use of props • use of lighting/shadow. Other appropriate suggestions may be credited. Offers a sophisticated practical understanding of how to direct the passage • A comprehensive and effective discussion of how to direct the passage. • Excellent, practical suggestions to show the rising tension, with sustained and detailed reference to the passage. Band 1 13–15 Marks Offers detailed practical understanding of how to direct the passage • An assured and mainly effective discussion of how to direct the passage. • Practical suggestions to show the rising tension, with consistently appropriate reference to the passage. Band 2 10–12 Marks Offers broad understanding of how to direct the passage • A competent explanation of how to direct the passage. • Several practical suggestions to show the rising tension, with some appropriate reference to the passage. Band 3 7–9 Marks Offers partial understanding of how to direct the passage • A variable, sometimes unconvincing, explanation of how to direct the passage. • A narrow range of practical suggestions, with occasional reference to the passage. Band 4 4–6 Marks 15

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 10 of 11 Question Answer Marks 9 Offers limited understanding of how to direct the passage • A confused, incomplete or narrative description of how to direct the passage. • Minimal suggestions of how to approach the passage. Band 5 1–3 Marks No creditable response. Band 6 0 Marks SECTION C Question Answer Marks 10 Explain how you created moments of dramatic conflict in your piece during the devising process. Support your answer with examples. Candidates need to engage with the concept of collaboration. They should identify moments of dramatic tension and review how the stages of their devising process were used by the group as a whole to weave these moments into the piece. Band 1 A detailed and perceptive explanation of how the devising process was used to create moments of dramatic conflict, supported by a range of carefully considered examples. 9–10 Marks Band 2 A clear discussion of how the devising process was used to create moments of dramatic conflict, supported by a range of relevant examples. 7–8 Marks Band 3 A variable explanation of how the devising process was used to create moments of dramatic conflict, with some supporting examples. 5–6 Marks Band 4 General comments about the devising process with some reference to dramatic conflict. 3–4 Marks Band 5 Identifies an aspect of the devising process. 1–2 Marks Band 6 No creditable response. 0 Marks 10

0411/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 11 of 11 Question Answer Marks 11 Evaluate how successfully the dialogue of your devised piece revealed the tensions between characters. Make close reference to your piece to support your evaluation. The focus of the question is on the way the dialogue revealed the tension between characters and how it was performed to present a piece that held an audience. There are two aspects that should be covered: the success of the dialogue in the piece and how effective the resulting performance was. Offers a sophisticated practical analysis of how to create sustainable, credible characters and dialogue. • A comprehensive and detailed discussion of the characters’ dialogue in the piece. • Excellent, practical evaluation of the success of the devised piece with sustained and detailed reference to it. Band 1 13–15 Marks Offers detailed practical understanding of how to create sustainable, credible characters and dialogue. • An effective discussion of the characters’ dialogue in the piece. • Well–formulated practical evaluation of the success of the devised piece although there may be scope for further refinement; consistent and appropriate references to the devised piece. Band 2 10–12 Marks Offers broad understanding of how to create workable characters and dialogue. • A competent understanding of the characters’ dialogue in the piece. • Some evaluation of the success of the devised piece in performance with some reference to it. Band 3 7–9 Marks Offers partial understanding of how to make fairly credible characters and dialogue. • A variable understanding of the characters’ dialogue in the piece. • An attempt to evaluate the success of the devised piece in performance with occasional appropriate references to it. Band 4 4–6 Marks Offers limited understanding of how to share a character to others • A narrow understanding of the characters’ dialogue in the piece. • Minimal evaluation; little or no reference to the devised piece in performance. Band 5 1–3 Marks No creditable response. Band 6 0 Marks 15