Cambridge IGCSE Drama 0411 — 2022 Oct/Nov Paper 1 · Variant 3

This document has 12 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ DC (CE) 302304/3 © UCLES 2022 * 9 4 3 1 9 0 8 4 0 3 * DRAMA 0411/13 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 0411/13/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 Read the passage from line 336 [‘My eyes are blood, my beard green…’] to line 342 [‘Elephants piss with fear.’]. Suggest one way GHATOTKATCHA could physically demonstrate that he is a demon. Give a reason for your answer. … … … [2] 2 Read the passage from line 16 [‘Abhimanyu, your mother and your young wife are looking for you …’] to line 49 [‘If you succeed, you’ll be your father’s equal…’]. As an actor, identify three different physical actions that DRAUPADI could use to emphasise her fear and concern for the boy Abhimanyu. … … … … … [3] 3 Read the passage from line 74 [‘The battle begins.’] to line 112 [‘He falls to the ground, dead.’]. What advice would you give to the actor playing ABHIMANYU in this passage? … … … … … … … … … … [5]

3 0411/13/O/N/22 © UCLES 2022 [Turn over 4 Read from line 345 [‘Karna is here. He prepares to fight.’] to line 388 [‘Ghatotkatcha, my son!’]. As a director, how would you direct the actors to make the death of GHATOTKATCHA dramatically effective? … … … … … … … … … … [5] 5 Read from line 534 [‘The secret of this weapon has never been revealed.’] to line 572 [[‘They leave the battlefield.’]]. As a designer, how would you use lighting and sound in this passage for dramatic impact? … … … … … … … … … … [5]

4 0411/13/O/N/22 © UCLES 2022 6 Read from line 198 [‘Is it light?’] to lines 280–281 [‘And the sun sets for the second time.’]. As a director, how would you direct this passage to achieve the greatest dramatic impact? … … … … … … … … … … … … … … … … … … … … … … … … [10]

5 0411/13/O/N/22 © UCLES 2022 [Turn over Section B: Play extract Red Velvet by Lolita Chakrabarti This section is worth 25 marks. Answer Question 7 and EITHER Question 8 OR Question 9. 7 Suggest appropriate costumes for ELLEN and BERNARD. Give reasons for your choices. … … … … … … … … … … … … … … … … … … … … … … … … [10]

6 0411/13/O/N/22 © UCLES 2022 EITHER 8 As an actor what approach would you take to playing IRA in this extract? Make close reference to specific lines from the extract in your answer. OR 9 Read from line 372 [‘O my fair warrior!’] to the end of the extract. How would you direct this passage to show the rising tensions between the characters? Make close reference to specific lines from the passage in your answer. Question number: … … … … … … … … … … … … … … … … … … … … …

7 0411/13/O/N/22 © UCLES 2022 [Turn over … … … … … … … … … … … … … … … … … … … … … … … … … … … … [15]

8 0411/13/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 0411/13/O/N/22 © UCLES 2022 [Turn over 10 How did your group use the devising process to create effective drama in the available performing space? Support your answer with examples. … … … … … … … … … … … … … … … … … … … … … … … … … … [10]

10 0411/13/O/N/22 © UCLES 2022 11 Evaluate how successfully the physicality of your devised piece helped communicate the relationships between characters. Make close reference to your piece to support your evaluation. … … … … … … … … … … … … … … … … … … … … … … … … … …

11 0411/13/O/N/22 © UCLES 2022 … … … … … … … … … … … … … … … … … … … … … … … … … … … … [15]

12 0411/13/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 0411/13 Paper 4 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.

0411/13 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.

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 3 of 11 Question Answer Marks 1 Read the passage from line 336 [‘My eyes are blood, my beard green’] to line 342 [‘Elephants piss with fear.’]. Suggest one way GHATOTKATCHA could physically demonstrate that he is a demon. Give a reason for your answer. Ghatotkatcha is a demon, so could move in a hunched, crouched position, arms bent and hands twisted like claws, or lie on the floor and slither like a snake. His physicality should match the gist of the words of the terrifying spectacle he presents by his words. An appropriately described piece of physicality. 1 Mark An appropriate explanation of how this would show his demonic power. 1 Mark 2 2 Read the passage from line 16 [‘Abhimanyu, your mother and your young wife are looking for you’] to line 49 [‘If you succeed, you’ll be your father’s equal’]. As an actor, identify three different physical actions that DRAUPADI could use to emphasise her fear and concern for the boy Abhimanyu. DRAUPADI has attributes of caring, nurturing and protecting that drive her to try and stop the boy from going to fight. She knows he will lose, so implores, begs, holds his face close, weeps, shows physical pain from his stubbornness and could even drop on her knees. An appropriate suggestion of a physical action she could use to emphasise her fear and concern. 1 Mark A second appropriate suggestion of a physical action she could use to emphasise her fear and concern. 1 Mark A third appropriate suggestion of a physical action she could use to emphasise her fear and concern. 1 Mark 3

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 4 of 11 Question Answer Marks 3 Read the passage from line 74 [‘The battle begins’] to line 112 [‘He falls to the ground, dead.’]. What advice would you give to the actor playing ABHIMANYU in this passage? This is a boy in a man’s war who uses defiant resistance, stubborn obstinacy, arrogance and ferocious brutality in the face of reality, pacing, light, young man’s foot movement in and out of danger and varying vocal skills to fight as long as possible. As it becomes clear to him that he is surrounded and so lost, his moves change to one of resigned acceptance of his fate. Band 1 Offers detailed advice on how to play the role of ABHIMANYU in this passage. 4–5 marks Band 2 Offers broad advice on how to play ABHIMANYU in this passage with some specific examples. 2–3 marks Band 3 Offers general advice on how to play ABHIMANYU. 1 mark Band 4 No creditable response. 0 marks 5 4 Read from line 345 [‘Karna is here. He prepares to fight.’] to line 388 [‘Ghatotkatcha, my son!’] As a director, how would you direct the actors to make the death of GHATOTKATCHA dramatically effective? The main element is the death of Ghatotkatcha from his final battle and it requires staging of close combat. The demon describes how he changes shape dramatically and terrifyingly during the struggle until he sees the lance that pierces his heart, which then explodes. The actors need to use physicality, mime, proxemics, vocal skills, movement and gesture. Band 1 A detailed discussion of how a director would direct actors, supported by close reference to the passage. 4–5 marks Band 2 An explanation of how a director would direct actors, supported by some reference to the passage. 2–3 marks Band 3 A general description of how a director would direct actors. 1 mark Band 4 No creditable response. 0 marks 5

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 5 of 11 Question Answer Marks 5 Read from line 534 [‘The secret of this weapon has never been revealed.’] to line 572 [‘They leave the battlefield.’] As a designer, how would you use lighting and sound in this passage for dramatic impact? Victory is dependent on a belief that day has ended and the oath not kept, so a sense of magic must convey an unexpected eclipse of the sun. Some may see it like a nuclear explosion. There should be discussion about heightening dramatic impact over and above what is given in stage directions. There may be suggestions about coloured lights, flashing, strobe and sudden blackouts. Sound may come from live or recorded, sounds effects or instrumentation or underscoring. 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 and sound. 1 mark Band 4 No creditable response 0 marks 5

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 6 of 11 Question Answer Marks 6 Read from line 198 [‘Is it light?’] to lines 280–281 [‘And the sun sets for the second time.’] As a director, how would you direct this passage to achieve the greatest dramatic impact? This is a series of skirmishes in the battle largely reported off stage. A director might show some on a side stage or symbolically in front of the cast, use a video insert or keep it as reported news with appropriate physical response from actors on stage. There should be some discussion of what makes dramatic impact. Action may be strengthened by drums and other percussion instruments of sound effects. Real or distorted as in a nightmare. Directorial approaches might include: • physicality over each skirmish • sound effects, performers’ reactions • movement • slow motion • lights and effects • levels • proxemics of characters 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 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

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 7 of 11 SECTION B Question Answer Marks 7 Suggest appropriate costumes for ELLEN and BERNARD. Give reasons for your choices. Candidates may suggest appropriate early C19 period costumes for these two actors or suggest more modern designs with clear justification. ELLEN is young, female, quite independent and forthright. BERNARD is much older, perhaps old–fashioned in his dress, probably quite lazy. These aspects may be shown in the designs and could be explored in the reasons. Answers may be supported by a sketch but this should be labelled. Band 1 Offers insight into the two costume designs with clearly explained reasons. 9–10 Marks Band 2 Offers some insight into the two costume designs with appropriate reasons. 7–8 Marks Band 3 Offers understanding of the two costume designs with some reasons. 5–6 Marks Band 4 Offers some understanding of the two costume designs with limited use of reasons. 3–4 Marks Band 5 Offers basic understanding of costume design with little or no supporting reasons. Offers a sketch with no further explanation or comment. 1–2 Marks Band 6 No creditable response. 0 Marks 10

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 8 of 11 Question Answer Marks 8 As an actor what approach would you take to playing IRA in this extract? Make close reference to specific lines in your answer. IRA establishes his presence strongly from his entrance and responds powerfully to the various reactions he senses from the others present. He combines authority with courtesy at tense moments, but also becomes critical and confrontational at times. The actor has to manage the transitions from IRA to OTHELLO clearly and effectively. The actor’s use of voice, posture, movement and gesture, facial expressions, space and proxemics should be discussed with support from specific lines. Offers a sophisticated practical understanding of how to perform the role. • A comprehensive and effective discussion of the character and possible approaches. • Excellent, practical suggestions, applied with sustained and detailed reference to the extract. Band 1 13–15 Marks Offers detailed practical understanding of how to perform the role. • An assured and mainly effective discussion of the character and possible approaches. • Confident practical suggestions, with consistently appropriate reference to the extract. Band 2 10–12 Marks Offers broad understanding of how to perform the role. • A generalised explanation of the character and possible approaches. • Some practical suggestions, with some appropriate references to the extract. Band 3 7–9 Marks Shows partial understanding of how to perform the role. • An uneven explanation of the character and some simple approaches. • 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 the character. • Minimal suggestions of how to approach the extract. Band 5 1–3 Marks No creditable response. Band 6 0 Marks 15

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 9 of 11 Question Answer Marks 9 Read from line 372 [‘O my fair warrior!’] to the end of the extract. How would you direct this passage to show the rising tensions between the characters? Make close reference to specific lines from the extract in your answer. In this passage IRA as OTHELLO displays a much more physical and truthful style of acting than the others, including physical contact with ELLEN as DESDEMONA, who reacts in character. CHARLES is outraged and probably jealous and the dialogue becomes terse and angry. A director will need to control positioning, pacing, timing and shifts of mood in showing the developing tensions. 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 show rising tensions. • Excellent, practical suggestions, 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 show rising tensions. • Practical suggestions, 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 show rising tensions. • Several practical suggestions, with some appropriate reference to the passage Band 3 7–9 Marks Shows partial understanding of how to direct the passage • A variable, sometimes unconvincing, explanation of how to show rising tensions. • A narrow range of practical suggestions, with occasional reference to the extract. Band 4 4–6 Marks Shows limited understanding of how to direct the passage • A confused, incomplete or narrative description of the passage. • Minimal suggestions of how to approach the passage. Band 5 1–3 Marks No creditable response. Band 6 0 Marks 15

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 10 of 11 SECTION C Question Answer Marks 10 How did your group use the devising process to create effective drama in the available performing space? Support your answer with examples. Candidates need to engage with the concept of collaboration. They should describe the use of space and how they experimented within it to arrive at solutions. They should review how the stages of their devising process influenced their use of performance space to create effective drama. Band 1 A detailed and perceptive explanation of the devising process and how the space was used to create drama, supported by a range of carefully considered examples. 9–10 Marks Band 2 A clear discussion of the devising process and how the space was used to create drama, supported by a range of relevant examples. 7–8 Marks Band 3 An explanation of the devising process with some specific aspects of how the space was used to make drama with some supporting suggestions. 5–6 Marks Band 4 General comments about how the devising process and the space were used with a simple reflection on making drama. 3–4 Marks Band 5 Identifies an aspect of the devising process/ or the drama created in the space. 1–2 Marks Band 6 No creditable response. 0 Marks 10

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 11 of 11 Question Answer Marks 11 Evaluate how successfully the physicality of your devised piece helped communicate the relationships between characters. Make close reference to your piece to support your evaluation. The focus of the question is on the way their physicality was created and performed to present a piece that held an audience. There are two aspects that should be covered: the success of physicality in the piece and how effective the resulting performance was. Offers a sophisticated practical understanding of how physicalities communicated the relationships between characters. • A comprehensive and detailed discussion of the physicality 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 physicalities communicated some aspects of relationship between characters. • An effective discussion of the physicality 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 physicalities communicated a several aspects of relationships between characters. • A competent understanding of the physicality 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 the physicality and communication of relationships between characters. • A variable understanding of the physicality 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 physicality and characters. • A narrow understanding of the physicality 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