Drama 0411 | Paper 1 Mock 01 | Written examination
Question 1 Report
Answer the following questions about the extract you have studied.
(a) Suggest two sound effects for a storm scene in a fishing village. Say why each one would work. [4]
Two marks per sound effect: identification plus contribution (max 4):
- Howling wind increasing in intensity (1) - creating a sense of growing danger and reinforcing the villagers' helplessness (1).
- Crashing waves growing louder (1) - suggesting the sea's violence and the peril faced by the fishermen (1).
- Rain hammering on rooftops (1) - establishing the severity of the storm and creating an immersive soundscape (1).
- Distant thunder rumbling (1) - punctuating the scene with sudden loud sound, keeping the audience on edge (1).
Answer Details
Two marks per sound effect: identification plus contribution (max 4):
- Howling wind increasing in intensity (1) - creating a sense of growing danger and reinforcing the villagers' helplessness (1).
- Crashing waves growing louder (1) - suggesting the sea's violence and the peril faced by the fishermen (1).
- Rain hammering on rooftops (1) - establishing the severity of the storm and creating an immersive soundscape (1).
- Distant thunder rumbling (1) - punctuating the scene with sudden loud sound, keeping the audience on edge (1).
Question 2 Report
Identify three ways an actor could use body language during a family argument. Say what each gesture would show about the character. [3]
One mark for each appropriate facial expression or physical gesture (max 3):
- Clenching fists or gripping the edge of the table to show frustration and barely-contained anger (1).
- Turning away and folding arms defensively when a painful point is raised (1).
- Softening the expression and reaching out a hand when the parent is mentioned, showing underlying love (1).
- Pointing accusingly at the other sibling to emphasise blame (1).
- Rubbing the forehead or temples to show stress and exhaustion (1).
Answer Details
One mark for each appropriate facial expression or physical gesture (max 3):
- Clenching fists or gripping the edge of the table to show frustration and barely-contained anger (1).
- Turning away and folding arms defensively when a painful point is raised (1).
- Softening the expression and reaching out a hand when the parent is mentioned, showing underlying love (1).
- Pointing accusingly at the other sibling to emphasise blame (1).
- Rubbing the forehead or temples to show stress and exhaustion (1).
Question 3 Report
Read lines 11 to 67 of the extract.
How would you use sound and music to build tension in a scene where a family waits for bad news? [10]
Award marks using a best-fit approach (max 10):
Level 3 (8-10 marks): Detailed design with clear understanding of how the set supports the dramatic action.
Level 2 (4-7 marks): Sound ideas with some understanding of how furniture, levels, and layout support the drama.
Level 1 (1-3 marks): Basic response with limited design ideas.
Indicative content:
- Arrange student desks in a semi-circle facing the teacher's desk, creating a confrontational arena.
- Place the teacher's desk on a slightly raised platform for physical advantage contrasting with lack of social authority.
- Include a door upstage for the teacher's entrance, making the walk to the desk a moment of vulnerability.
- Use the back wall for a whiteboard the teacher can turn to, creating moments with their back exposed.
- Position furniture to create sight-lines showing both the teacher's face and students' reactions.
- Leave a gap where a chair has been pulled away, suggesting a student who refuses to sit down.
Answer Details
Award marks using a best-fit approach (max 10):
Level 3 (8-10 marks): Detailed design with clear understanding of how the set supports the dramatic action.
Level 2 (4-7 marks): Sound ideas with some understanding of how furniture, levels, and layout support the drama.
Level 1 (1-3 marks): Basic response with limited design ideas.
Indicative content:
- Arrange student desks in a semi-circle facing the teacher's desk, creating a confrontational arena.
- Place the teacher's desk on a slightly raised platform for physical advantage contrasting with lack of social authority.
- Include a door upstage for the teacher's entrance, making the walk to the desk a moment of vulnerability.
- Use the back wall for a whiteboard the teacher can turn to, creating moments with their back exposed.
- Position furniture to create sight-lines showing both the teacher's face and students' reactions.
- Leave a gap where a chair has been pulled away, suggesting a student who refuses to sit down.
Question 4 Report
How much did either costume or props add to your devised piece based on 'the photograph'? In your answer, include specific examples from your devised piece. [10]
Award marks using a best-fit approach (max 10):
Level 3 (8-10 marks): Detailed evaluation with clear understanding of how the chosen design element contributed. Specific examples with strong justification.
Level 2 (4-7 marks): Sound evaluation with relevant examples. May lack depth in places.
Level 1 (1-3 marks): Basic response with limited evaluation. May describe rather than evaluate.
Indicative content:
- Specific description of the costumes or props used.
- Explanation of why these items were chosen and how they connected to the theme.
- Analysis of how the design element supported characterisation.
- Discussion of how it enhanced specific dramatic moments.
- Honest assessment of what worked well and what could have been improved.
Answer Details
Award marks using a best-fit approach (max 10):
Level 3 (8-10 marks): Detailed evaluation with clear understanding of how the chosen design element contributed. Specific examples with strong justification.
Level 2 (4-7 marks): Sound evaluation with relevant examples. May lack depth in places.
Level 1 (1-3 marks): Basic response with limited evaluation. May describe rather than evaluate.
Indicative content:
- Specific description of the costumes or props used.
- Explanation of why these items were chosen and how they connected to the theme.
- Analysis of how the design element supported characterisation.
- Discussion of how it enhanced specific dramatic moments.
- Honest assessment of what worked well and what could have been improved.
Question 5 Report
You have read an extract from a play set in a royal court.
Suggest a prop for the scene and say how it would add to the drama. [2]
One mark for the prop, one mark for the reason (max 2):
- A letter or note that reveals the betrayal (1) - it could be physically passed between characters or dropped, creating a focal point for the dramatic revelation (1).
OR
- A piece of jewellery given by the friend (1) - it could be removed and thrown down to symbolise the end of the friendship (1).
OR
- A market basket that the young woman drops on hearing the truth (1) - the scattering of its contents visually represents the disruption to her world (1).
Answer Details
One mark for the prop, one mark for the reason (max 2):
- A letter or note that reveals the betrayal (1) - it could be physically passed between characters or dropped, creating a focal point for the dramatic revelation (1).
OR
- A piece of jewellery given by the friend (1) - it could be removed and thrown down to symbolise the end of the friendship (1).
OR
- A market basket that the young woman drops on hearing the truth (1) - the scattering of its contents visually represents the disruption to her world (1).
Question 6 Report
How would you use design to create a sense of being trapped in a prison-cell scene? How would you contrast this with a scene set outside? In your answer, refer to both the rehearsal and the show. [25]
Award marks using a best-fit approach (max 25):
Level 5 (21-25 marks): Exceptional design vision demonstrating sophisticated understanding of how elements create atmosphere and contrast. Thorough, detailed, and imaginative.
Level 4 (16-20 marks): Accomplished design with clear understanding of how elements create confinement and contrast.
Level 3 (11-15 marks): Competent response with sound ideas. Identifies the need for contrast but may not fully develop all elements.
Level 2 (6-10 marks): Some relevant ideas but may lack integration or detail.
Level 1 (1-5 marks): Basic response with limited design ideas.
Indicative content:
Confinement:
- A small, enclosed set using flats or gauze walls to restrict the visible space.
- Minimal furniture: a narrow bed, a bucket, scratches on the wall marking time.
- Cold, harsh lighting with a single overhead source creating sharp shadows.
- Grey, concrete-coloured surfaces with no decoration or colour.
Contrast with visitor:
- A door opening to reveal warm, natural light from the corridor.
- The visitor bringing colour into the monochrome world through costume.
- Widening the lighting state slightly when the visitor enters.
- Adding ambient sound from outside when the door opens, contrasting with silence.
- The visitor's physical presence forcing new staging possibilities.
Answer Details
Award marks using a best-fit approach (max 25):
Level 5 (21-25 marks): Exceptional design vision demonstrating sophisticated understanding of how elements create atmosphere and contrast. Thorough, detailed, and imaginative.
Level 4 (16-20 marks): Accomplished design with clear understanding of how elements create confinement and contrast.
Level 3 (11-15 marks): Competent response with sound ideas. Identifies the need for contrast but may not fully develop all elements.
Level 2 (6-10 marks): Some relevant ideas but may lack integration or detail.
Level 1 (1-5 marks): Basic response with limited design ideas.
Indicative content:
Confinement:
- A small, enclosed set using flats or gauze walls to restrict the visible space.
- Minimal furniture: a narrow bed, a bucket, scratches on the wall marking time.
- Cold, harsh lighting with a single overhead source creating sharp shadows.
- Grey, concrete-coloured surfaces with no decoration or colour.
Contrast with visitor:
- A door opening to reveal warm, natural light from the corridor.
- The visitor bringing colour into the monochrome world through costume.
- Widening the lighting state slightly when the visitor enters.
- Adding ambient sound from outside when the door opens, contrasting with silence.
- The visitor's physical presence forcing new staging possibilities.
Question 7 Report
How well did your group work together during the devising process for your piece based on 'memories'? Refer to specific examples from the rehearsal and the show. [5]
One mark for each valid point about collaboration (max 5):
- Describe how ideas were generated and shared, with a specific contribution that shaped the piece (1).
- Discuss how disagreements were handled constructively, with an example (1).
- Evaluate the effectiveness of the group's decision-making process (1).
- Discuss how roles and responsibilities were distributed (1).
- Reflect on the balance between individual contributions and collective work (1).
Answer Details
One mark for each valid point about collaboration (max 5):
- Describe how ideas were generated and shared, with a specific contribution that shaped the piece (1).
- Discuss how disagreements were handled constructively, with an example (1).
- Evaluate the effectiveness of the group's decision-making process (1).
- Discuss how roles and responsibilities were distributed (1).
- Reflect on the balance between individual contributions and collective work (1).
Question 8 Report
How would you use voice and body to show a change from being brave to being afraid? Support your answer with reference to specific lines from the passage. [5]
One mark for each valid directorial decision with justification (max 5):
- Direct the prisoners to use exaggerated, performative gestures during the surface performance, then break into subtle expression when the officials are not watching (1).
- Create two levels of audience address: broad delivery for the officials and quiet, intense asides for the real audience (1).
- Use staging to show the prisoners exchanging meaningful glances or hidden signals during the performance (1).
- Direct the tone to shift between cheerful compliance and darker, more urgent delivery when the subversive meaning is foregrounded (1).
- Build a moment where the performance nearly breaks down because real emotion threatens to surface (1).
Answer Details
One mark for each valid directorial decision with justification (max 5):
- Direct the prisoners to use exaggerated, performative gestures during the surface performance, then break into subtle expression when the officials are not watching (1).
- Create two levels of audience address: broad delivery for the officials and quiet, intense asides for the real audience (1).
- Use staging to show the prisoners exchanging meaningful glances or hidden signals during the performance (1).
- Direct the tone to shift between cheerful compliance and darker, more urgent delivery when the subversive meaning is foregrounded (1).
- Build a moment where the performance nearly breaks down because real emotion threatens to surface (1).
Question 9 Report
What was the most important role in your devised piece based on the stimulus 'a door closes, another opens'? How did you bring that role to life? In your answer, make detailed reference to the devising and performance process. [25]
Award marks using a best-fit approach (max 25):
Level 5 (21-25 marks): Exceptional response with sophisticated analysis of the role and its performance. Thorough, detailed examples with genuine insight.
Level 4 (16-20 marks): Accomplished response with clear analytical skills and specific examples.
Level 3 (11-15 marks): Competent response identifying the role's significance with some supporting examples.
Level 2 (6-10 marks): Some relevant observations but may be superficial or lack specific examples.
Level 1 (1-5 marks): Limited response with little genuine analysis.
Indicative content:
- Clear identification of the role and why it was the most significant.
- Analysis of how the character functioned within the dramatic structure.
- Discussion of vocal skills: tone, pace, projection.
- Analysis of physical skills: movement, gesture, facial expression, use of space.
- How the actor interacted with other characters and the ensemble.
- Specific moments where the actor's choices were particularly effective.
- Honest evaluation of what worked and what could have been stronger.
Answer Details
Award marks using a best-fit approach (max 25):
Level 5 (21-25 marks): Exceptional response with sophisticated analysis of the role and its performance. Thorough, detailed examples with genuine insight.
Level 4 (16-20 marks): Accomplished response with clear analytical skills and specific examples.
Level 3 (11-15 marks): Competent response identifying the role's significance with some supporting examples.
Level 2 (6-10 marks): Some relevant observations but may be superficial or lack specific examples.
Level 1 (1-5 marks): Limited response with little genuine analysis.
Indicative content:
- Clear identification of the role and why it was the most significant.
- Analysis of how the character functioned within the dramatic structure.
- Discussion of vocal skills: tone, pace, projection.
- Analysis of physical skills: movement, gesture, facial expression, use of space.
- How the actor interacted with other characters and the ensemble.
- Specific moments where the actor's choices were particularly effective.
- Honest evaluation of what worked and what could have been stronger.
Question 10 Report
Answer the following question about your devised piece.
How did the stimulus shape the ideas you used to create your devised piece based on 'crossroads'? Give examples. [5]
One mark for each valid point linking stimulus to artistic choices (max 5):
- Explain how the stimulus was interpreted by the group and how this shaped the content (1).
- Describe a specific scene directly inspired by the stimulus (1).
- Discuss how the stimulus influenced structural decisions such as a turning point or moment of choice (1).
- Explain how design elements were chosen to reflect the stimulus theme (1).
- Evaluate how successfully the stimulus was communicated to the audience (1).
Answer Details
One mark for each valid point linking stimulus to artistic choices (max 5):
- Explain how the stimulus was interpreted by the group and how this shaped the content (1).
- Describe a specific scene directly inspired by the stimulus (1).
- Discuss how the stimulus influenced structural decisions such as a turning point or moment of choice (1).
- Explain how design elements were chosen to reflect the stimulus theme (1).
- Evaluate how successfully the stimulus was communicated to the audience (1).
Question 11 Report
Read the extract and answer the following question.
How would you design the set for a scene in a school classroom to support the drama of the action? [3]
One mark for each valid make-up change with explanation (max 3):
- Add lines around the eyes and mouth using shading, gradually deepening them, to show natural wrinkle development (1).
- Lighten the hair using temporary colour or a wig, progressing from natural colour to grey then white, as a recognisable sign of ageing (1).
- Pale the complexion and add age spots using stipple sponge techniques, showing the change in skin tone (1).
- Thin the eyebrows and add hollows to the cheeks using contouring, suggesting loss of fullness (1).
Answer Details
One mark for each valid make-up change with explanation (max 3):
- Add lines around the eyes and mouth using shading, gradually deepening them, to show natural wrinkle development (1).
- Lighten the hair using temporary colour or a wig, progressing from natural colour to grey then white, as a recognisable sign of ageing (1).
- Pale the complexion and add age spots using stipple sponge techniques, showing the change in skin tone (1).
- Thin the eyebrows and add hollows to the cheeks using contouring, suggesting loss of fullness (1).
