Cambridge IGCSE Drama 0411 — 2024 Oct/Nov Paper 1 · Variant 3

This document has 12 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ * 5 8 6 8 7 7 2 8 1 7 * DC (RCL (DF)) 336534/2 © UCLES 2024 DRAMA 0411/13 Paper 1 October/November 2024 2 hours 30 minutes 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 [ ]. ,










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2 0411/13/O/N/24 © UCLES 2024 Section A: Play extract Night Light by John Lazarus This section is worth 30 marks. Answer all questions in this section. 1 Suggest one way FARLEY could intimidate VICTOR. Why would it be appropriate to FARLEY’s character? … … … [2] 2 As an actor, identify three different physical actions VICTOR could use to show his relationship with TARA. … … … … [3] 3 Read from line 102 [‘Enter TARA, ready for bed ’] to line 157 [‘No I’m not.’]. How would you play the role of TARA in this passage? … … … … … … … … … … [5] * 0000800000002 * ,










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3 0411/13/O/N/24 © UCLES 2024 [Turn over 4 Read from line 213 [‘FARLEY and VICTOR, FARLEY using his soccer ball ’] to line 268 [‘VICTOR slowly gets up and exits’]. How would you direct the actors in this passage to make the audience feel sympathy for VICTOR? … … … … … … … … … … … … [5] * 0000800000003 * ,










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4 0411/13/O/N/24 © UCLES 2024 5 Suggest a costume for the MONSTER. Justify your choices with reference to the passage. … … … … … … … … … … … … … … [5] * 0000800000004 * ,










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5 0411/13/O/N/24 © UCLES 2024 [Turn over 6 Read from line 471 [‘Enter FARLEY as a semi-robot ’] to the end of the extract. How would you direct this passage to show the gradually changing power struggle between FARLEY and VICTOR? [10] … … … … … … … … … … … … … … … … … … … … … … … … * 0000800000005 * ,










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6 0411/13/O/N/24 © UCLES 2024 Section B: Play extract The Clock by Asif Currimbhoy This section is worth 25 marks. Answer Question 7 and EITHER Question 8 OR Question 9. 7 As an actor playing HENRY in this extract, how would you show his weariness, frustration and anger? Make close reference to specific lines from the extract in your answer. [10] … … … … … … … … … … … … … … * 0000800000006 * ,










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7 0411/13/O/N/24 © UCLES 2024 [Turn over EITHER 8 How would you direct the extract to show MARY as a long-suffering wife and mother? Make close reference to specific lines from the extract in your answer. [15] OR 9 As a designer, suggest suitable lighting for the room in the extract which would show the audience the atmosphere the family lives in. Make close reference to specific lines from the extract in your answer. You may make a labelled sketch if you wish. [15] Question number: … … … … … … … … … … … … … … … … … … … … * 0000800000007 * ,










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9 0411/13/O/N/24 © UCLES 2024 [Turn over Section C: Devised piece 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: * 0000800000009 * ,










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10 0411/13/O/N/24 © UCLES 2024 10 Explain the ideas that inspired your devising process and how you used them. Support your answer with examples. [10] … … … … … … … … … … … … … … … … … … … … … … … … … … * 0000800000010 * ,










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11 0411/13/O/N/24 © UCLES 2024 [Turn over 11 Evaluate how effectively you achieved your aims in the performance of your piece. Make close reference to your piece to support your evaluation. [15] … … … … … … … … … … … … … … … … … … … … … … … … … … * 0000800000011 * ,









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12 0411/13/O/N/24 © UCLES 2024 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. … … … … … … … … … … … … … … … … … … … … … … … … * 0000800000012 * ,









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This document consists of 12 printed pages. © Cambridge University Press & Assessment 2024 [Turn over Cambridge IGCSE™ DRAMA 0411/13 Paper 1 Written Paper October/November 2024 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 2024 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 2024 © Cambridge University Press & Assessment 2024 Page 2 of 12 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 descriptions 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 2024 © Cambridge University Press & Assessment 2024 Page 3 of 12 Question Answer Marks 1 Suggest one way FARLEY could intimidate VICTOR. Why would it be appropriate to FARLEY’s character? FARLEY uses the ball and his ability to grab the school bag, to read pieces of paper and gain knowledge and his physical presence as the bully. He could threaten to punch, flatten or harm VICTOR despite being smaller than his victim. Identifies one way FARLEY could intimidate VICTOR. 1 Mark An explanation of why this would be appropriate. 1 Mark 2 Question Answer Marks 2 As an actor, identify three different physical actions VICTOR could use to show his relationship with TARA. VICTOR cares for, and about, his younger sister, but her fears of the MONSTER exasperate him. He might be close and affectionate at times or distant and irritated with her at others. He finds the baby night light and gives it to her with affection. He shrugs off much of her telling him to kill FARLEY and stand up to him. His range of movement includes agitated to slow, restless to calm. An appropriate suggestion of a physical action VICTOR could use to show his relationship with TARA. 1 Mark A second appropriate and different suggestion of a physical action VICTOR could use to show his relationship with TARA. 1 Mark A third appropriate and different suggestion of a physical action VICTOR could use to show his relationship with TARA. 1 Mark 3

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 4 of 12 Question Answer Marks 3 Read from line 102 [‘Enter TARA, ready for bed.’] to line 157 [‘No I’m not.’] How would you play the role of TARA in this passage? This is our first encounter between TARA and the MONSTER. The monologue is her talking confidence up by using her doll as a protector, but as soon as a hand emerges she is yelling in terror for her mother. She could use a range of physical or vocal skills typical of a seven-year-old with night terrors, screaming, cowering, hiding in bedclothes, pressing herself to a wall. Band 1 A detailed discussion of how to play the role of TARA in this passage. 4–5 marks Band 2 A broad explanation of how to play the role of TARA in this passage. 2–3 marks Band 3 A general description of how to play TARA in this passage. 1 mark Band 4 No creditable response. 0 marks 5 Question Answer Marks 4 Read from line 213 [‘FARLEY and VICTOR, FARLEY using his soccer ball.’] to line 268 [‘VICTOR slowly gets up and exits.’] How would you direct the actors in this passage to make the audience feel sympathy for VICTOR? The director may wish to highlight FARLEY’s vicious nature, his unreasonable demands on VICTOR and his expectation that his orders will be carried out without question. There will be natural sympathy for the victim, VICTOR, but this can be heightened by using physical threats, proxemics, close face-to- face contact and a generally unpleasant disdain a bully might have for his victim. Band 1 A detailed discussion of how to direct the actors to provoke the audience’s sympathy, supported by close reference to the passage. 4–5 marks Band 2 An explanation of how to direct the actors to provoke the audience’s sympathy, supported by some reference to the passage. 2–3 marks Band 3 A general description of action in the passage. 1 mark Band 4 No creditable response. 0 marks 5

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 5 of 12 Question Answer Marks 5 Suggest a costume for the MONSTER. Justify your choices with reference to the passage. There are several references in the text to what the MONSTER looks like. There is scope for some further originality. Some may draw a sketch, but it is not mandatory. Band 1 A costume justified by detailed reference to the passage. 4–5 marks Band 2 A costume justified by some references to the passage. 2–3 marks Band 3 Identifies one costume feature. 1 mark Band 4 No creditable response 0 marks 5

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 6 of 12 Question Answer Marks 6 Read from line 471 [‘Enter FARLEY as a semi-robot.’] to the end of the extract. How would you direct this passage to show the gradually changing power struggle between FARLEY and VICTOR? At this point FARLEY still holds the upper hand against VICTOR, taking his clipboard and his watch, but there are signs that VICTOR is not as afraid as he was, that he has found a way to overcome the bully and that FARLEY has to accept that. Directorial approaches might include: • physicality, including proximity and spaces between characters • mime, non-verbal communication • the surroundings • props • voices, empathy/hostility • pauses, pace and timbre of delivery • lights and effects Band 1 Offers insight into how to direct the passage and provides a detailed and perceptive discussion of practical ideas and how to show the changing power struggle. 9–10 Marks Band 2 Offers some insight into how to direct the passage and provides a range of practical ideas of how to show the changing power struggle. 7–8 Marks Band 3 Offers understanding of how to direct the passage and provides some specific examples of how to show the changing power struggle. 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 2024 © Cambridge University Press & Assessment 2024 Page 7 of 12 SECTION B Question Answer Marks 7 As an actor playing HENRY in this extract, how would you show his weariness, frustration and anger? Make close reference to specific lines from the extract in your answer. The extract is full of examples of his weariness, frustration and anger against his wife, the kids, his job, Joe and his own pointless life. Not all candidates may refer specifically to weariness, frustration and anger but allow suggestions which would communicate these. Candidates may refer to: • physicality, movement, facial expression • gesture, mime, non-verbal communication • proxemics • use of eye contact/avoidance of eye contact • vocal tones and modulation • dramatic use of silence • use of the given props

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 8 of 12 Question Answer Marks 7 Offers a sophisticated practical understanding of how to play HENRY. • A sophisticated and effective discussion of how to play the character to show his weariness, anger and frustration. • Excellent, practical suggestions, applied with sustained and detailed reference to the extract. Band 1 9–10 Marks Offers detailed practical understanding of how to play HENRY. • A detailed and mainly effective discussion of how to play the character to show his weariness, anger and frustration. • Confident practical suggestions, with consistently appropriate reference to the extract. Band 2 7–8 Marks Offers broad understanding of how to play HENRY. • A broad explanation of how to play the character with some direct or indirect reference to his weariness, frustration and anger. • Some practical suggestions, with some appropriate references to the extract. Band 3 5–6 Marks Offers partial understanding of how to play HENRY. • A partial explanation of how to play the character. • A narrow range of practical suggestions, with occasional reference to the extract. Band 4 3–4 Marks Offers undeveloped understanding of how to play HENRY. • An undeveloped, incomplete or narrative description of how to play the character. • Minimal suggestions of how to approach the extract. Band 5 1–2 Marks No creditable response. Band 6 0 Marks 10 Question Answer Marks 8 How would you direct the extract to show MARY as a long-suffering wife and mother? Make close reference to specific lines from the extract in your answer. MARY is shown as both long-suffering and patient, tolerant of HENRY’s weaknesses and adept at making a little money go a long way in the family budget. When he tells her he has quit his job, her anger is softened a little by her immediately thinking of ways to get around it. Candidates may refer to:

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 9 of 12 Question Answer Marks 8 • directorial approach/interpretation • the use of proxemics, positioning and movement • character interactions and relationship between the actors • use of voice/dramatic use of silence • use of eye contact/avoidance of eye contact • use of props • use of lighting/shadow/effects to support the acting. Band 1 Offers a sophisticated practical understanding of how to direct the extract. • A sophisticated and effective discussion of how to direct the extract. • Excellent, practical suggestions to show MARY as a long-suffering wife and mother with sustained and detailed reference to specific lines from the extract. 13–15 Marks Band 2 Offers detailed practical understanding of how to direct the extract. • Detailed and mainly effective discussion of how to direct the extract. • Several practical suggestions to show MARY as a long-suffering wife and mother, with consistently appropriate reference to specific lines from the extract. 10–12 Marks Band 3 Offers broad understanding of how to direct the extract. • A competent explanation of how to direct the extract. • Practical suggestions to show MARY as a long-suffering wife and mother, with some appropriate reference to the extract. 7–9 Marks Band 4 Offers partial understanding of how to direct the extract • Shows some aspects of how to direct the extract. 4–6 Marks Band 5 Offers basic understanding of directing. • Offers basic understanding of some directing techniques. 1–3 Marks Band 6 No creditable response. 0 Marks 15

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 10 of 12 Question Answer Marks 9 As a designer, suggest suitable lighting for the room in the extract which would show the audience the atmosphere the family lives in. Make close reference to specific lines from the extract in your answer. You may make a labelled sketch if you wish. The room is small, shabby, with only a screen separating off the kitchen area. Everything in it speaks of a struggle with money and an atmosphere of tension between HENRY and MARY. Offers a sophisticated practical understanding of lighting design. • A comprehensive and broad explanation of lighting design. • Excellent, practical suggestions of how to design lighting to inform the audience, with detailed reference to specific lines from the extract. Band 1 13–15 Marks Offers detailed practical understanding of lighting design. • An assured and mainly effective explanation of lighting design. • Practical suggestions of how to design lighting to inform the audience, with consistently appropriate reference to specific lines from the extract. Band 2 10–12 Marks Offers broad understanding of lighting design. • A competent explanation of how to design lighting • Several practical suggestions to design lighting, with some appropriate reference to the extract. Band 3 7–9 Marks Offers partial understanding of lighting design. • A variable, sometimes unconvincing, explanation of lighting design. • A narrow range of practical suggestions, with occasional reference to the extract. Band 4 4–6 Marks Offers undeveloped understanding of lighting design. • An undeveloped or incomplete description of lighting design. • Minimal suggestions of how to approach the design. Band 5 1–3 Marks No creditable response. Band 6 0 Marks 15

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 11 of 12 SECTION C Question Answer Marks 10 Explain the ideas that inspired your devising process and how you used them. Support your answer with examples. The focus of this question is on the ideas that inspired the performance. They should identify how the stimulus and other ideas were used and review how their devising process developed as they worked towards an effective piece. Band 1 A detailed and perceptive explanation of how the initial ideas inspired the devising process and were used to create an effective piece, supported by a range of well-chosen examples. 9–10 Marks Band 2 A clear discussion of how the initial ideas inspired the devising process and were used to create an effective piece, supported by a range of relevant examples. 7–8 Marks Band 3 A variable explanation of how the initial ideas inspired the devising process and were used to create a piece, with some supporting examples. 5–6 Marks Band 4 General comments about how the initial ideas inspired the devising process with a few simple examples. 3–4 Marks Band 5 Identifies one or two ideas and/or examples 1–2 Marks Band 6 No creditable response. 0 Marks 10

0411/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 12 of 12 Question Answer Marks 11 Evaluate how effectively you achieved your aims in the performance of your piece. Make close reference to your piece to support your evaluation. The focus of the question is on the performance itself and the effectiveness of candidates’ achieving their aims in the performance. Offers a sophisticated practical evaluation of how the aims were achieved • comprehensive and detailed discussion of the aims of the piece. • Excellent, practical evaluation of the success of the performance with sustained and detailed reference to the performance. Band 1 13–15 Marks Offers detailed practical evaluation of how the aims were achieved. • A fairly comprehensive discussion of the aims of the piece. • Well-formulated practical evaluation of the success of the performance although there may be scope for further refinement; a range of references to the performance. Band 2 10–12 Marks Offers broad understanding of how the aims were achieved. • A broad understanding of some aims. • Some evaluation of the success of the performance with appropriate reference to the performance. Band 3 7–9 Marks Offers partial understanding of how the aims were achieved. • A partial understanding of a few aims. • An attempt to evaluate the success of the performance with occasional appropriate references to the performance. Band 4 4–6 Marks Offers limited understanding of the piece. • A limited understanding of aims. • Minimal evaluation; little or no reference to the performance. Band 5 1–3 Marks No creditable response. Band 6 0 Marks 15