2024_AQA: A-level DRAMA AND THEATRE Component 1 Drama and Theatre (Merged Question paper and marking scheme): Thursday 6 June 2024 A-level

2024_AQA: A-level DRAMA AND THEATRE Component 1 Drama and Theatre (Merged Question paper and marking scheme): Thursday 6 June 2024 A-level DRAMA AND THEATRE Component 1 Drama and theatre Thursday 6 June 2024 Materials For this paper you must have:  an Insert with the prescribed extracts  an AQA 16-page answer book Morning Time allowed: 3 hours  a copy of the set plays you have studied. These texts must not be annotated and must not contain additional notes. Instructions  Use black ink or black ball-point pen. Use pencil only for sketches and diagrams.  Write the information required on the front of your answer book. The Paper Reference is 7262/W.  Answer three questions: one from Section A, one from Section B and one from Section C.  The questions in Section B are split into three parts. You should answer all parts of your chosen question.  For Section B, refer to the Insert provided with this paper.  You must not answer on both Butterworth’s Jerusalem and Teale’s Brontë.  For Section C, you must answer on a different play to the plays you answer on in Section A and Section B.  Do all rough work in your answer book. Cross through any work you do not want to be marked. Information  The marks for each question are shown in brackets.  The maximum mark for this paper is 80.  Section A carries 25 marks and Section B carries 30 marks; Section C carries 25 marks.  For the purpose of this examination, a ‘section’ is defined as a continuous unit of action, interaction, monologue or dialogue extending beyond a single page of text.  All questions require answers in continuous prose. However, where appropriate, you should support your answers with sketches and/or diagrams.  You will be marked on your ability to: – use good English – organise information clearly – use specialist vocabulary where appropriate. IB/H/Jun24/7262/W 3 A-level Drama and Theatre Component 1 – Drama and Theatre Key Areas to Revise for Thursday 6 June 2025 Overview: Component 1 of A-level Drama and Theatre is an exam that assesses your understanding of the key concepts of drama and theatre, including the study of plays, performance analysis, and the application of theatre skills. You will be required to engage critically with the texts studied and demonstrate knowledge of theatre making, including acting, design, directing, and the impact of performance on the audience. The exam will test your theoretical knowledge, as well as your ability to apply that knowledge in practical contexts. Key Areas to Revise: 1. The Study of Set Texts:  Understanding the Set Texts: o You will need to be familiar with the play texts you have studied in-depth, as these form the core of your exam. Review the key themes, characters, plot structure, and key scenes. You should also be aware of the playwright’s intentions, historical context, and critical reception of the play. o For example, if you have studied plays such as “A Doll's House” by Henrik Ibsen or “The Curious Incident of the Dog in the Night-time” by Simon Stephens, ensure you can discuss their themes (e.g., social issues, psychological aspects, power dynamics) and how these are presented on stage.  Contextual Understanding: o Review the social, historical, and cultural contexts in which the plays were written. Understanding the context can help explain the characters' actions and the playwright's intent. For example, when studying a modern play, you might need to consider societal norms and political influences at the time of its writing. 2. Performance Skills and Analysis:  The Role of the Director: o Understand how directors interpret scripts and bring them to life on stage. Focus on the director’s role in staging, blocking, and working with actors to convey meaning. o Consider how directors might approach different scenes differently, emphasizing elements such as staging, lighting, and actor movement to enhance the impact of the performance.  Acting and Characterization:  Design and Technical Aspects: o Understand the role of the designer in theatre, including set design, costume, lighting, sound, and props. Review how different design elements can enhance the themes of a play. 3. Theatre History and Movements:  Theatre Styles and Movements: o Be familiar with different styles of theatre, such as realism, naturalism, absurdism, and physical theatre, and how they influence the way performances are staged and interpreted.  Influential Theatre Practitioners: 4. Practical Application in a Performance Context:  Role of the Designer: o In the exam, you may be asked to discuss how you would approach the design elements for a set text. Be prepared to describe how you would design costumes, lighting, and sets for a specific scene and explain why these choices would be effective.  Directorial Approach: o Be prepared to discuss how you would direct a particular scene or play. What choices would you make regarding acting, staging, and use of space to communicate the meaning of the play? IB/H/Jun24/7262/W 4 Section A: Drama through the ages Answer one question from this section. For the purposes of this examination, a ‘section’ is defined as a continuous unit of action, interaction, monologue or dialogue extending beyond a single page of text. You are reminded that you must not answer on both Butterworth’s Jerusalem and Teale’s Brontë. Sophocles: Antigone EITHER 0 1 As a designer, or as a performer playing Antigone, discuss how your contribution to two sections of the play would help to achieve a cathartic experience for your audience. You should refer to two sections that occur after Haemon’s exit. You must make specific reference to the social, cultural and/or historical context of Antigone in your answer. OR [25 marks] 0 2 As a director, discuss how your direction of the Chorus would help the audience to understand the play’s main issues in two or three sections of the play. You must make specific reference to the social, cultural and/or historical context of Antigone in your answer. [25 marks] IB/H/Jun24/7262/W 5 Shakespeare: Much Ado About Nothing OR 0 3 As a director or as a costume designer, discuss the methods you would use to highlight the contrasting characters of the cousins, Hero and Beatrice, in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of Much Ado About Nothing in your answer. OR [25 marks] 0 4 As a performer, discuss how you would create comedy for your audience from your interpretation of Dogberry in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of Much Ado About Nothing in your answer. [25 marks] Goldoni: A Servant to Two Masters OR 0 5 As a director or as a designer, discuss your ideas for facilitating the fast-paced action and creation of comedy in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of A Servant to Two Masters in your answer. OR [25 marks] 0 6 As a performer, discuss how you would play the role of Truffaldino in two or more separate sections of the play to demonstrate different aspects of his character. You must make specific reference to the social, cultural and/or historical context of A Servant to Two Masters in your answer. [25 marks] IB/H/Jun24/7262/W Turn over ► 6 Ibsen: Hedda Gabler OR 0 7 As a director, or as a designer, discuss how you would highlight Hedda’s cold and destructive nature in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of Hedda Gabler in your answer. OR [25 marks] 0 8 As a performer, discuss how you would play the role of Judge Brack in two or more separate sections to reveal his transformation from Hedda’s flirtatious friend to a dangerous predator. You must make specific reference to the social, cultural and/or historical context of Hedda Gabler in your answer. [25 marks] Brecht: The Caucasian Chalk Circle OR 0 9 As a performer playing the Governor’s Wife, or as a costume designer, discuss how you would highlight social inequalities between the ruling class and the working class in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of The Caucasian Chalk Circle in your answer. OR [25 marks] 1 0 As a director, discuss how you would achieve your dramatic intentions in the presentation of two of the characters listed below. Choose a separate section for each character:  The Corporal  Aniko, Grusha’s sister-in-law  Grusha’s mother-in-law (Yussup’s mother)  Yussup. You must make specific reference to the social, cultural and/or historical context of The Caucasian Chalk Circle in your answer. [25 marks] IB/H/Jun24/7262/W 7 Fo: Accidental Death of an Anarchist OR 1 1 As a director or as a designer, discuss your ideas for facilitating the fast-paced action of the play and creating its cartoon style in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of Accidental Death of an Anarchist in your answer. OR [25 marks] 1 2 As a performer playing the role of Feletti, discuss how you would achieve your intended effects for the audience in two sections of the play. You must make specific reference to the social, cultural and/or historical context of Accidental Death of an Anarchist in your answer. [25 marks] Butterworth: Jerusalem OR 1 3 As a director, or as a designer of set and costume, discuss how your ideas would convey the extremism of Johnny’s ‘alternative’ lifestyle to the audience in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of Jerusalem in your answer. OR [25 marks] 1 4 As a performer, discuss how you would perform the role of Phaedra in two sections of the play to convey your interpretation of her character to the audience. You must make specific reference to the social, cultural and/or historical context of Jerusalem in your answer. [25 marks] Turn over for Section B IB/H/Jun24/7262/W Turn over ► 8 Section B: 20th and 21st century drama Answer one question from this section. Answer all three parts of the question. You are reminded of the requirement to make reference in your answers to the social, cultural and/or historical context of your selected play text. You are reminded that you must not answer on both Butterworth’s Jerusalem and Teale’s Brontë. The extracts for this section are printed in the attached booklet. The questions for this section are printed in the following order: Question number and set play: 15. Lorca: Yerma 16. Williams: The Glass Menagerie 17. Berkoff: Metamorphosis 18. Wertenbaker: Our Country’s Good 19. Churchill: Cloud Nine 20. Teale: Brontë 21. Ellams: Three Sisters 22. Gurira: The Convert IB/H/Jun24/7262/W 9 Question 15 Lorca: Yerma Answer all parts of this question in reference to the extract printed in the enclosed Insert. You must make specific reference to the social, cultural and/or historical context of Yerma in your answers and ensure that your interpretative ideas are appropriate to the play as a whole. The extract is taken from Act One, Scene Two. 1 5 . 1 Explain and justify how you would direct the actors playing Yerma and Pagan Woman from line 8 to line 50 to convey their contrasting attitudes towards life. [10 marks] 1 5 1 5 . 2 As a performer, explain and justify how you would perform the role of Yerma, from line 51 to the end of the extract to achieve your preferred audience response to her character at this point in the play. [10 marks] . 3 As a designer, explain and justify how your designs for set and lighting or for lighting and sound would create a suitable setting and atmosphere for the extract, which takes place outdoors. [10 marks] Turn to page 15 for Section C IB/H/Jun24/7262/W Turn over ► 10 Question 16 Williams: The Glass Menagerie Answer all parts of this question in reference to the extract printed in the enclosed Insert. You must make specific reference to the social, cultural and/or historical context of The Glass Menagerie in your answers and ensure that your interpretative ideas are appropriate to the play as a whole. The extract is taken from Scene Seven. 1 6 . 1 Explain and justify how you would direct the actor playing Amanda from the start of the extract to line 41 to demonstrate the character’s attempts to conceal her annoyance with Tom and to charm ‘the gentleman caller’. [10 marks] 1 6 1 6 . 2 As a performer, explain and justify how you would perform the role of Jim from line 56 to the end of the extract to achieve your preferred audience response to his character. [10 marks] . 3 As a costume designer, outline your costume ideas for Laura and Jim. Explain and justify why they would be appropriate for the characters at this point in the play. [10 marks] Turn to page 15 for Section C IB/H/Jun24/7262/W 11 Question 17 Berkoff: Metamorphosis Answer all parts of this question in reference to the extract printed in the enclosed Insert. You must make specific reference to the social, cultural and/or historical context of Metamorphosis in your answers and ensure that your interpretative ideas are appropriate to the play as a whole. The extract is taken from the end of the scene, ‘Next scene – evening’ and the beginning of the scene, ‘New scene, almost sub-titled ‘Optimism’. 1 7 . 1 Explain and justify how you would direct your cast from line 33 to line 62, to achieve your intended effects. [10 marks] 1 7 1 7 . 2 As a performer of the role of Mrs Samsa, explain and justify how you would play the character, at selected moments from the extract, to convey her maternal feelings towards Gregor, despite his transformation. [10 marks] . 3 As a designer, explain and justify how your designs for set and/or technical elements would be appropriate to the style of the play. [10 marks] Turn to page 15 for Section C IB/H/Jun24/7262/W Turn over ► 12 Question 18 Wertenbaker: Our Country’s Good Answer all parts of this question in reference to the extract printed in the enclosed Insert. You must make specific reference to the social, cultural and/or historical context of Our Country’s Good in your answers and ensure that your interpretative ideas are appropriate to the play as a whole. The extract is taken from Act One, Scene Eight. 1 8 . 1 Explain and justify how you would direct your cast from line 37 to the end of the extract to achieve your preferred effects for the audience. [10 marks] 1 8 1 8 . 2 As a performer, explain and justify how you would perform the role of Dabby from the start of the extract to line 55 to convey your interpretation of her character to the audience. [10 marks] . 3 As a designer, outline your ideas for costume and make-up for Liz and Ketch, and explain and justify how these would be appropriate for the characters and the action at this point in the play. [10 marks] Turn to page 15 for Section C IB/H/Jun24/7262/W 13 Question 19 Churchill: Cloud Nine Answer all parts of this question in reference to the extract printed in the enclosed Insert. You must make specific reference to the social, cultural and/or historical context of Cloud Nine in your answers and ensure that your interpretative ideas are appropriate to the play as a whole. The extract is taken from Act Two, Scene Four. 1 9 . 1 Explain and justify how you would direct the actors in selected moments from the extract to highlight Churchill’s message about gender and sexuality in this closing section of the play. [10 marks] 1 9 1 9 . 2 As a performer, explain and justify how you would perform the role of Betty from line 67 to the end of the extract to achieve your preferred audience response to her character. [10 marks] . 3 As a costume designer, explain and justify how your designs for two or three of the characters would be suitable for the chosen characters and appropriate to the action at this point in the play. [10 marks] Turn to page 15 for Section C IB/H/Jun24/7262/W Turn over ► 14 Question 20 Teale: Brontë Answer all parts of this question in reference to the extract printed in the enclosed Insert. You must make specific reference to the social, cultural and/or historical context of Brontë in your answers and ensure that your interpretative ideas are appropriate to the play as a whole. The extract is taken from Act Two. 2 0 . 1 Explain and justify how you would direct the actors playing the Brontë sisters from the start of the extract to line 79 to demonstrate their attitudes towards their brother at this point in the play. [10 marks] 2 0 2 0 . 2 As a performer, explain and justify how you would perform the role of Branwell in selected moments from the extract to achieve your preferred audience response to the character. [10 marks] . 3 As a designer, explain and justify how your ideas for costume and make-up for two or more characters would be appropriate for each character and for the action at this point in the play. [10 marks] Turn to page 15 for Section C IB/H/Jun24/7262/W 15 Question 21 Ellams: Three Sisters Answer all parts of this question in reference to the extract printed in the enclosed Insert. You must make specific reference to the social, cultural and/or historical context of Three Sisters in your answers and ensure that your interpretative ideas are appropriate to the play as a whole. The extract is taken from the middle part of Act One. 2 1 . 1 Explain and justify how you would direct the scene from the start of the extract to line 83 to convey the nature of the relationship between Dimgba and his three sisters. [10 marks] 2 1 2 1 . 2 As a performer, explain and justify how you would perform the role of Ikemba in this extract to convey your interpretation of his character. [10 marks] . 3 As a designer of costumes and accessories, explain and justify how your design ideas for Udo and Onyinyechukwu would be appropriate for them at this point in the play. [10 marks] Turn to page 15 for Section C IB/H/Jun24/7262/W Turn over ► 16 Question 22 Gurira: The Convert Answer all parts of this question in reference to the extract printed in the enclosed Insert. You must make specific reference to the social, cultural and/or historical context of The Convert in your answers and ensure that your interpretative ideas are appropriate to the play as a whole. The extract is taken from Act Two, Scene Two. 2 2 . 1 Explain and justify how you would direct the scene from the start of the extract to line 76 to achieve your preferred effects for the audience. [10 marks] 2 2 2 2 . 2 As a performer, explain and justify how you would perform the role of Mai Tamba in this extract to convey your interpretation of her character. [10 marks] . 3 As a designer, explain and justify how your set design ideas would reflect Chilford’s position in society and his reverence for English culture and customs. [10 marks] Turn to page 15 for Section C IB/H/Jun24/7262/W 17 Section C: Live theatre production Answer one of the following questions with reference to one live theatre production that you have seen. At the beginning of your answer you must state: the name of the piece; the name of the company and/or director; the date that you saw the production; and the venue you attended. You should also state the medium of the production:  live theatre or  live theatre streamed or  digital theatre. For Section C, you must answer on a different play to the plays you answer on in Section A and Section B. EITHER 2 3 Briefly explain how lighting and sound were used in combination at particular moments to create dramatic impact for the audience. Analyse and evaluate the contribution of these combined elements to the total dramatic effectiveness of the production. OR [25 marks] 2 4 Briefly explain how an interesting or imaginative set supported the action at particular moments. Analyse and evaluate the contribution that was made by the set design to the total dramatic effectiveness of the production. [25 marks] OR 2 5 Briefly explain how one performer used their performance skills at particular moments to portray more than one character. Analyse and evaluate the contribution that was made by this multi-roling performer to the total dramatic effectiveness of the production. OR [25 marks] 2 6 Briefly explain how two or more performers used their movement and physical skills, at particular moments, to bring about a change of atmosphere on stage. Analyse and evaluate the contribution of these performers to the total dramatic effectiveness of the production. [25 marks] END OF QUESTIONS IB/H/Jun24/G4001/E6 18 IB/H/Jun24/7262/W There are no questions printed on this page Copyright information For confidentiality purposes, acknowledgements of third-party copyright material are published in a separate booklet. This booklet is published after each live examination series and is available for free download from Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright-holders may have been unsuccessful and AQA will be happy to rectify any omissions of acknowledgements. If you have any queries please contact the Copyright Team. Copyright © 2024 AQA and its licensors. All rights reserved. A-Level DRAMA AND THEATRE 7262/W Component 1 Drama and theatre Mark scheme June 2024 Version: 1.0 Final MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students’ responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students’ scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Examiner. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. No student should be disadvantaged on the basis of their gender identity and/or how they refer to the gender identity of others in their exam responses. A consistent use of ‘they/them’ as a singular and pronouns beyond ‘she/her’ or ‘he/him’ will be credited in exam responses in line with existing mark scheme criteria Further copies of this mark scheme are available from Copyright information AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the centre. Copyright © 2024 AQA and its licensors. All rights reserved. 2 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 A-LEVEL DRAMA AND THEATRE (7262/W) Shorthand/symbols for Examiners Examiners may use these recognised symbols in the left-hand margin of candidates’ scripts or in the body of the answers, against relevant points or errors: Relevant or good point = Very good point = Dubious point = ? Possible = () Omission = ᶺ ᶺ Point needs development = and…..? Argument difficult to follow/confusion/muddle = } Evidence of knowledge = kn Evidence of understanding = und Evidence of practical theatre awareness = prac Wrong-headed/silly argument or suggestion = ! Repetition = R Irrelevance = I Narrative = N Factually wrong = X Contradiction = C Practical detail missing = How? Losing focus on question = Q? Unattributed quotation = source? Wrong word used = ww Poor expression = E Spelling error = rehursal or Example needed = eg? rehersal [underline or ring] 3 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Generalised = G Specialist terminology needed = term? Social, cultural, historical context = SCH Total, dramatic effectiveness = TDE Examiners may still make fuller comments, as appropriate, in the body or margin of the script and should ALWAYS put a summative comment, at the end of each answer, which relates clearly to the individual AOs. 4 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Level of response marking instructions Level of response mark schemes are broken down into levels, each of which has a descriptor. The descriptor for the level shows the average performance for the level. There are marks in each level. Before you apply the mark scheme to a student’s answer read through the answer and annotate it (as instructed) to show the qualities that are being looked for. You can then apply the mark scheme. Step 1 Determine a level Start at the lowest level of the mark scheme and use it as a ladder to see whether the answer meets the descriptor for that level. The descriptor for the level indicates the different qualities that might be seen in the student’s answer for that level. If it meets the lowest level then go to the next one and decide if it meets this level, and so on, until you have a match between the level descriptor and the answer. With practice and familiarity you will find that for better answers you will be able to quickly skip through the lower levels of the mark scheme. When assigning a level you should look at the overall quality of the answer and not look to pick holes in small and specific parts of the answer where the student has not performed quite as well as the rest. If the answer covers different aspects of different levels of the mark scheme you should use a best fit approach for defining the level and then use the variability of the response to help decide the mark within the level, ie if the response is predominantly level 3 with a small amount of level 4 material it would be placed in level 3 but be awarded a mark near the top of the level because of the level 4 content. Step 2 Determine a mark Once you have assigned a level you need to decide on the mark. The descriptors on how to allocate marks can help with this. The exemplar materials used during standardisation will help. There will be an answer in the standardising materials which will correspond with each level of the mark scheme. This answer will have been awarded a mark by the Lead Examiner. You can compare the student’s answer with the example to determine if it is the same standard, better or worse than the example. You can then use this to allocate a mark for the answer based on the Lead Examiner’s mark on the example. You may well need to read back through the answer as you apply the mark scheme to clarify points and assure yourself that the level and the mark are appropriate. Indicative content in the mark scheme is provided as a guide for examiners. It is not intended to be exhaustive and you must credit other valid points. Students do not have to cover all of the points mentioned in the Indicative content to reach the highest level of the mark scheme. An answer which contains nothing of relevance to the question must be awarded no marks. 5 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Examiners are reminded that a student must not answer:  on both Butterworth’s Jerusalem and Teale’s Brontë  Section C on the same play they answered on for either Section A or B. These scenarios constitute a rubric infringement and must be treated as such. Section A: Drama through the ages This mark scheme applies to all questions from Section A. Students are to answer one question from Section A. Qu Marking guidance AO3 Demonstrate knowledge and understanding of how drama and theatre is developed and performed. Total Marks 25 In order to meet AO3 the student should demonstrate knowledge and understanding of:  the theatrical processes, practices and techniques involved in interpreting and performing theatre  ideas that are compatible with the content/action of the specified section  strategies that have the potential to convey meaning to an audience  textual illustrations that are appropriate  the social, cultural, and/or historical context of the text (in part 1 of each question). Band Marks Description 5 21–25 The student’s response is assured and perceptive. The student’s answer will be characterised by:  assured knowledge and perceptive understanding of the theatrical processes, practices and techniques involved in interpreting and performing theatre  highly creative responses to the focus of the question  coherent and creative overview of the chosen play  plentiful strategies that have the potential to be highly effective for conveying meaning to an audience  a discriminating selection of textual illustrations and/or sketches and diagrams that are entirely appropriate to the set task  purposeful reference to the social or cultural or historical context of the text in relation to the focus of the question. Answers will be detailed, compelling and fluently structured, demonstrating complete command of subject specific terminology. 4 16–20 The student’s response is focused and considered. The student’s answer will be characterised by:  focused knowledge and considered understanding of the theatrical processes, practices and techniques involved in interpreting and performing theatre  quite creative responses to the focus of the question 6 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 7  quite a unified creative overview of the chosen play  several strategies that have the potential to be quite effective for conveying meaning to an audience  a considered selection of textual illustrations and/or sketches and diagrams that are appropriate to the set task  considered reference to the social or cultural or historical context of the text in relation to the focus of the question. Answers will be detailed, considered and well-structured, demonstrating a strong knowledge of subject specific terminology. 3 11–15 The student’s response is straightforward and pertinent. The student’s answer will be characterised by:  straightforward knowledge and pertinent understanding of the theatrical processes, practices and techniques involved in interpreting and performing theatre  occasionally creative responses to the focus of the question  a slightly disjointed creative overview of the chosen play  some strategies for conveying meaning to an audience that have the potential to create some effects  a selection of textual illustrations and/or sketches and diagrams loosely appropriate to the set task  useful reference to the social or cultural or historical context of the text in relation to the focus of the question. Answers will be clear and simply structured with some thought and detail, demonstrating good knowledge of subject specific terminology. 2 6–10 The student’s response is generalised with limited coherence. The student’s answer will be characterised by:  generalised knowledge and limited coherent understanding of the theatrical processes, practices and techniques involved in interpreting and performing theatre  limited creativity in their responses to the focus of the question  a fragmented over-view of the chosen play  a few ill-considered strategies with limited potential to create effects for conveying meaning to an audience  a selection of textual illustrations and/or sketches and diagrams which may be scanty and/or inappropriate to the set task  limited reference to the social or cultural or historical context of the text in relation to the focus of the question. Answers will lack detail and thought and may require greater clarity of expression and organisation at times. Answers will demonstrate reasonable knowledge of subject specific terminology. 1 1–5 The student’s response shows little relevance and little understanding. The student’s answer will be characterised by: MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024  little relevant knowledge and little understanding of the theatrical processes and practices involved in interpreting and performing theatre  lack of creativity in their responses to the focus of the question  a restricted overview of the chosen play  negligible strategies for conveying meaning to an audience 0  insufficient or completely inappropriate support for their responses to the set task  little or no reference to the social or cultural or historical context of the text in relation to the focus of the question. Answers will have very little structure, detail or thought, demonstrating little knowledge of subject specific terminology. 0 A mark of 0 (zero marks) is awarded if there is nothing worthy of credit/nothing written. 8 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Indicative content Indicative content is provided for each of the set plays. Please see the table below to find the page number for the set play for Section A (list A). Section A: Drama through the ages Play Question Page for Indicative content Sophocles: Antigone 1 p. 10–11 Sophocles: Antigone 2 p. 12–13 Shakespeare: Much Ado About Nothing 3 p. 14–15 Shakespeare: Much Ado About Nothing 4 p. 16 Goldoni: A Servant to Two Masters 5 p. 17–18 Goldoni: A Servant to Two Masters 6 p. 19 Ibsen: Hedda Gabler 7 p. 20–21 Ibsen: Hedda Gabler 8 p. 22 Brecht: The Caucasian Chalk Circle 9 p. 23–24 Brecht: The Caucasian Chalk Circle 10 p. 25–26 Fo: Accidental Death of an Anarchist 11 p. 27–28 Fo: Accidental Death of an Anarchist 12 p. 29 Butterworth: Jerusalem 13 p. 30–31 Butterworth: Jerusalem 14 p. 32 9 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Qu Indicative content Sophocles: Antigone Total Marks 01 As a designer, or as a performer playing Antigone, discuss how your contribution to two sections of the play would help to achieve a cathartic experience for your audience. You should refer to two sections that occur after Haemon’s exit. You must make specific reference to the social, cultural and/or historical context of Antigone in your answer. Students must demonstrate an understanding of the demands of Question 01 which are, depending upon the chosen focus:  a designer’s or a performer’s perspective  a clear focus on the creation of a cathartic experience in two sections of the play  design or performance ideas calculated to achieve a cathartic experience for the audience  reference to the social, cultural and/or historical context of the play. Additionally, in common with all questions in this section the question demands:  a creative overview  appropriate selection of textual illustrations. In meeting the demands of Question 01 and the assessment objective AO3 students are expected to make reference to some of the following: From a designer’s perspective, strategies for achieving a cathartic experience for the audience through, for example:  set design: o choice of an appropriate period setting or justified alternative, depicting a state in the aftermath of civil war and on the brink of a new disaster o the staging form chosen, for example: arena, proscenium, thrust, studio, to increase audience proximity or distance from the unfolding tragedy o design fundamentals: scale, texture, shape, colour, materials o use of levels, ramps; focus on dramatic entrances and exits o symbolic or representational setting to suggest the palace/throne of state, the altar, classical architecture, falling/crumbling pillars or façade o original features of classical Greek staging: skene, parados, proskenion, ekkyklema o discrete area for the Chorus from which to influence the audience experience of the tragedy.  costume design: o costume design/make-up to reflect, for example, the receding power and authority of Creon; his ultimate despair, Antigone’s changed fortunes and/or attitudes as the reality of her death becomes clear to her, Creon’s ultimate collapse o period and style of costumes: cut, condition, fit, fabric, colour, ornamentation 25 10 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 o classical Greek costume or justified alternative o footwear, headgear o make-up o use of props and accessories.  lighting: o lighting design ideas to generate catharsis, intensifying moments of emotion, anticipating reversals, altering the prevailing mood o intensity, angle, colour, choice of lanterns o gobos, lenses, gels, barn doors, irises o lasers, holograms, strobes, UV light o wash, hard/soft edged light o blackout, fades, cross-fades.  projection, if chosen: o projection design ideas to generate catharsis, supporting the action, illustrating off-stage action, affecting the prevailing mood o positioning of screens; scale of images o use of colour/monochrome images o use of film or stills.  sound design including: o sound design ideas to generate catharsis, intensifying moments of emotion, thrilling or disturbing the audience, accompanying action, affecting the prevailing mood o diegetic and non-diegetic sound o use of microphones, amplifiers, direction o sound levels, reverb, echo, recorded sound effects, fades, soundscapes.  from a performer’s perspective, strategies for achieving a cathartic experience for the audience through, for example: o Antigone’s physical appearance and costume, altered appearance in the latter half of the play o the performer’s use of space and interaction with Creon and with the Chorus o Antigone’s delivery of the apostrophes – to her brother and to the gods o delivery of lines; use of pause, pitch, pace and climax o movement and gesture, posture and demeanour o achievement of catharsis.  social, cultural or historical context might include, for example: o concepts of Greek tragedy – hamartia, hubris, peripeteia, anagnorisis, catharsis o staging/design terminology: skene, parados, proskenion, ekkyklema o structure of play: prologue, episode, stasimon, exodos o structure of dialogue: stichomythia, strophe and antistrophe, Choral odes, Kommos o role and function of Chorus o elements that reflect Greek design – pillars, levels, altar. Students are expected to include sketches and/or diagrams in answers to design questions. 11 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Qu Indicative content Sophocles: Antigone Total Marks 02 As a director, discuss how your direction of the Chorus would help the audience to understand the play’s main issues in two or three sections of the play. You must make specific reference to the social, cultural and/or historical context of Antigone in your answer. Students must demonstrate an understanding of the demands of Question 02, which are:  a director’s perspective  directorial ideas calculated to help the audience to understand the play’s main issues in two or three sections of the play  reference to the social, cultural and/or historical context of the play. Additionally, in common with all questions in this section the question demands:  a creative overview  appropriate selection of textual illustrations. In meeting the demands of Question 02 and the assessment objective AO3 students are expected to make reference to some of the following:  the play’s main issues which might include, for example: o conflict between the state and the individual o conflict between human justice and divine laws o conflict between the experience (cynicism) that comes with age and the idealism that is a feature of youth o family obligations to the living and to the dead o inequalities between men and women o themes of betrayal and loyalty o themes of love and hate – friend and foe.  the function of the Chorus, to help the audience understand the play’s main issues, for example: o by giving information to the audience o by watching and judging the action o by setting the mood and rhythm of different parts of the play o by interacting with the other characters through the Chorephaeus o by making comparisons between Antigone and Danae.  the number and make up of the Chorus in terms of gender and social status  the physical appearance of the Chorus, age, height, build, colouring, facial features - a homogenous group appearance or a collection of individualised characters  costume and/or mask to distinguish the Chorus from the characters – defining the Chorus members as a synchronised group or as individuals within it  vocal qualities, Choral speech, pitch, pace, tone, accent, delivery of the Stasima in terms of vocal and physical expression 25 12 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024  delivery of specific, significant lines: interaction with one another (physical) and with others  eye contact, spatial relationships, physical contact  movement, gesture, gait, posture, energy, demeanour and facial expressions  style/use of costume, make-up; of props and accessories  use of space  use of props  social, cultural and/or historical context might include, for example: o reference to Ancient Greek performance conventions; o the wearing of masks/cothurni; the use of only male actors o staging terminology: skene, parados, proskenion o structure of play: prologue, parodos, stasima and episodes, finishing with the exodus. 13 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Qu Indicative content Shakespeare: Much Ado About Nothing Total Marks 03 As a director or as a costume designer, discuss the methods you would use to highlight the contrasting characters of the cousins, Hero and Beatrice, in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of Much Ado About Nothing in your answer. Students must demonstrate an understanding of the demands of Question 03 which are:  a director’s or a costume designer’s perspective  a clear focus on highlighting the contrasting characters of Hero and Beatrice in two separate sections  reference to the social, cultural and/or historical context of the play. Additionally, in common with all questions in this section the question demands:  a creative overview  appropriate selection of textual illustrations. In meeting the demands of Question 03 and the assessment objective AO3 students are expected to make reference to some of the following:  the contrasting characters of Hero and Beatrice: o Hero is ultra-feminine, romantic, demure, delicate, compliant and conventional o Beatrice is more feisty, is an independent thinker, shows some cynicism, speaks her mind and has a sharp wit.  from a director’s perspective, contrast may be highlighted through, for example: o the physical appearance of the cousins, Hero and Beatrice: their relative ages, height, build, colouring, facial features – the contrasting appearances may reflect their contrasting natures o contrasting vocal qualities: volume, pitch, pace, tone, accent o delivery of specific lines: interaction with each other, eye contact, spatial relationships, physical contact o use of space o movement, gesture, gait, posture, demeanour and facial expressions o style, use of costume, make-up to distinguish between the cousins’ characters o use of props and accessories.  from a costume designer’s perspective, contrast may be highlighted through, for example:  contrasting styles of costume to match their characters; Elizabethan attire or justified transposition  contrasting colour palettes, for example, Hero wears pastels while Beatrice wears primary colours or monochrome designs  contrasting types of fabric for the cousins 25 14 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024  cut, fit, condition  ornamentation  accessories  footwear, headgear  make-up.  social, cultural or historical context might include, for example:  the role of women in Elizabethan society; expectations of their behaviour  Elizabethan staging conventions  conventions of Elizabethan comedy  Elizabethan performance conventions – use of aside, declamatory style. Students are expected to include sketches and/or diagrams in answers to design questions. 15 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Qu Indicative content Shakespeare: Much Ado About Nothing Total Marks 04 As a performer, discuss how you would create comedy for your audience from your interpretation of Dogberry in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of Much Ado About Nothing in your answer. Students must demonstrate an understanding of the demands of Question 04 which are:  a performer’s perspective  a clear focus on the creation of comedy in two separate sections of the play  reference to the social, cultural and/or historical context of the play. Additionally, in common with all questions in this section the question demands:  a creative overview  appropriate selection of textual illustrations. In meeting the demands of Question 04 and the assessment objective AO3, students are expected to make reference to some of the following:  Dogberry’s comical physical appearance, age, height, build, colouring, facial features  his civic pride and pomposity  the comical style and use of costume, accessories and/or props  application of comic method: timing, rule of three, speed of cues  vocal qualities: pitch, volume, pace, tone, accent  delivery of specific lines; Dogberry’s ‘malapropisms’ and combination of bumptiousness and ignorance  interaction with others, eye contact, spatial relationships, physical contact; use of space  comical contrast between Dogberry’s ridiculous ‘authoritarian’ interaction with other members of the Watch and his interaction with members of the nobility  movement, gesture, gait, posture, energy, demeanour and facial expressions  social, cultural or historical context might include, for example: o Elizabethan law enforcement o Shakespeare’s practice of creating comedy from lower class/uneducated characters o Elizabethan staging conventions o Elizabethan performance conventions 25 16 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Qu Indicative Content Goldoni: A Servant to Two Masters Total Marks 05 As a director or as a designer, discuss your ideas for facilitating the fast- paced action and creation of comedy in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of A Servant to Two Masters in your answer. Students must demonstrate an understanding of the demands of Question 05 which are:  a director’s or a designer’s perspective  a clear focus on facilitating the fast-paced action and creation of comedy in two separate sections of the play  directorial or design ideas calculated to facilitate the fast-paced action and comedy  reference to the social, cultural and/or historical context of the play. Additionally, in common with all questions in this section the question demands:  a creative overview  appropriate selection of textual illustrations. In meeting the demands of Question 05 and the assessment objective AO3 students are expected to make reference to some of the following:  from a director’s perspective, ideas for facilitating the fast-paced action and creation of comedy through, for example: o casting decisions for the actors in the chosen sections to exploit comic potential o direction of the cast, to facilitate the fast-paced action, including inventive use of space, interaction of characters, delivery of lines o application of comic methods; use of slapstick, lazzi o vocal qualities, range, accent, volume, pitch, pace, pause o use of direct address to the audience, to create comedy, if appropriate to the chosen sections o fast-paced movement, agility, acrobatic performance (Truffaldino) comical gesture, gait, posture, demeanour and facial expressions o use of props and accessories o style, use of costume, make-up o choice of staging elements.  from a designer’s perspective, ideas for set, costume and sound are the most likely to create comedy with set and sound the most likely to facilitate fast-paced action  from a set designer’s perspective: o design fundamentals: scale, style, period, materials, use of levels o provision of areas where the two masters come close to meeting, to create comedy o functional scenic devices with the potential to create comedy 25 17 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 o spaces for stage fights and sections of physical comic routines o creation of cartoon style, to create a parody of Venice.  from a costume designer’s perspective, for example: o style and use of Beatrice’s costume and make-up creating comedy from an unconvincing disguise o costume to exaggerate the stock characters’ conventional qualities for example: Truffaldino dressed as a harlequin for comic effect, Pantalone and Lombardi as Vecchi, Clarice and Silvio as lovers o costumes designed for facility of movement such as acrobatics (Truffaldino).  sound design with the potential to create comedy including: o diegetic and non-diegetic sound o use of microphones, amplifiers, direction o sound levels, reverb, echo, recorded sound effects, fades, soundscapes o sounds/music to announce characters or accompany acts of ‘comic’ violence/beatings of Truffaldino.  social, cultural and/or historical context might include, for example: o references to original staging of commedia dell’arte o outdoors performances/painted backdrops o suggestions of period and Venetian setting, if selected, in design ideas. o conventions of physical theatre/comedy within commedia dell’arte. Students are expected to include sketches and/or diagrams in answers to design questions. 18 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Qu Indicative content Goldoni: A Servant to Two Masters Total Marks 06 As a performer, discuss how you would play the role of Truffaldino in two or more separate sections of the play to demonstrate different aspects of his character. You must make specific reference to the social, cultural and/or historical context of A Servant to Two Masters in your answer. Students must demonstrate an understanding of the demands of Question 06, which are:  a performer’s perspective  clear focus on demonstrating different aspects of Truffaldino’s character in two or more sections of the play  performance suggestions calculated to demonstrate different aspects  reference to the social, cultural and/or historical context of the play. Additionally, in common with all questions in this section the question demands:  a creative overview  appropriate selection of textual illustrations. In meeting the demands of Question 06 and the assessment objective AO3 students are expected to make reference to some of the following:  aspects of Truffaldino’s character, which might include, for example, his confidence, his capacity for deceit, his greed, his lust, his romantic qualities, his enthusiasm, his wiliness, his humour  Truffaldino’s physical appearance, age, height, build, colouring, facial features  vocal qualities, pitch, pace, tone, accent, idiosyncrasy  delivery of specific lines: interaction with Pantalone, with Beatrice and Florindo, with Smeraldina, eye contact, spatial relationships, physical contact; exchange of witty banter  movement, gesture, gait, posture, energy, demeanour and facial expressions; use of lazzi  style/use of costume/make-up; of props and accessories; use of space  specific performance ideas clearly calculated to demonstrate different aspects of Truffaldino's character.  social, cultural or historical context might include, for example: o reference to the commedia conventions surrounding masters and servants o Goldoni’s move from stock characters to more rounded ones o cultural conventions of servitude; ownership; right to exercise physical/corporal punishment within the prevailing class system o the convention of the cheeky servant. 25 19 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Qu Indicative Content Ibsen: Hedda Gabler Total Marks 07 As a director, or as a designer, discuss how you would highlight Hedda’s cold and destructive nature in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of Hedda Gabler in your answer. Students must demonstrate an understanding of the demands of Question 07 which are, depending upon the chosen focus:  a directorial or design perspective  a clear focus on highlighting Hedda’s cold and destructive nature in two separate sections of the play  directorial or design ideas calculated to achieve this. Additionally in common with all questions in this section, the question demands:  a creative overview  appropriate selection of textual illustrations. In meeting the demands of question 07 and the assessment objective AO3 students are expected to make reference to some of the following: From a director’s perspective, strategies for highlighting Hedda's cold and destructive nature, for example:  casting decisions for the aristocratic, unempathetic, cold-hearted Hedda  costume ideas, to emphasise, for example, Hedda’s masculine side, her coldness and lack of nurturing tendencies  exploitation of Ibsen’s use of symbolism to emphasise Hedda's cold and destructive nature, for example: o staging ideas that place Hedda close to the portrait of General Gabler suggesting that her father's military background impinged on her upbringing o staging ideas that emphasise the prominence of the guns; Hedda’s familiarity with and fondness for them  Hedda’s dismissive attitude towards Tesman’s Aunt  Hedda’s distorted relish in the competition between Tesman and Loevborg for the professorship  Hedda’s destructive goading of Loevborg to drink to prove himself  Hedda's threat to burn off Thea’s hair  Hedda’s symbolic murder of the ‘child’ as she manically burns Loevborg’s manuscript  choice and use of staging configuration to highlight these moments  direction of the cast including use of space, interaction of characters, delivery of lines  choice of staging elements  style, use of costume, make-up. From a designer’s perspective, strategies for highlighting Hedda’s cold, destructive nature, for example: 25 20 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024  creation of a smart, if sterile-looking, setting for the action; use of cold colours or ‘dangerous’ combinations of colours such as red and black  an appropriate period setting or justified alternative – attention to creating an ‘unhomely’ setting  the staging form chosen for example proscenium, thrust, studio  design fundamentals: scale, texture, shape, colour  costume design to emphasise Hedda’s cold and destructive nature, reflected in choice of colour palette, shape, fabric style  technical design to emphasise Hedda’s cold and destructive nature, for example, through harsh lighting and/or expressionistic suggestion of flames at key moments of action.  social, cultural and/or historical context might include, for example: o adherence to the social mores of the period o demonstration of naturalistic acting techniques o use of appropriate period costume, props and accessories o naturalistic setting: action in one room. Students are expected to include sketches and/or diagrams in answers to design questions. 21 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Qu Indicative Content Ibsen: Hedda Gabler Total Marks 08 As a performer, discuss how you would play the role of Judge Brack in two or more separate sections to reveal his transformation from Hedda’s flirtatious friend to a dangerous predator. You must make specific reference to the social, cultural and/or historical context of Hedda Gabler in your answer. Students must demonstrate an understanding of the demands of Question 08 which are:  a performance perspective  clear focus on revealing Judge Brack's transformation from friend to dangerous predator in two or more separate sections of the play  performance ideas calculated to demonstrate the transformation  reference to the social, cultural and/or historical context of the play. Additionally in common with all questions in this section, the question demands:  a creative overview  appropriate selection of textual illustrations. In meeting the demands of question 08 and the assessment objective AO3 students are expected to make reference to some of the following:  performance ideas to include for example: o Judge Brack’s physical appearance, age, height, build, colouring, facial features o vocal qualities, pitch, pace, tone, accent o delivery of specific lines: interaction with others, principally with Hedda; eye contact, spatial relationships, physical contact; use of space o his changing relationship with Hedda from friendly ‘co-conspirator’ in life to bullying predator o his growing salacious interest in Hedda; light-hearted flirtation turning to dangerous manipulation o his jealousy of Loevborg and desire for control over Hedda o his scorn of any opposition/impediment to fulfilling his desires o movement, gesture, gait, posture, demeanour and facial expressions o style, use of costume, make-up o use of props and accessories.  social, cultural and/or historical context might include, for example: o adherence to the social mores of the period o demonstration of naturalistic acting techniques o use of appropriate period costume, props and accessories o naturalistic setting: action in one room. 25 22 MARK SCHEME – A-LEVEL DRAMA AND THEATRE – 7262/W – JUNE 2024 Qu Indicative Content Brecht: The Caucasian Chalk Circle Total Marks 09 As a performer playing the Governor’s Wife, or as a costume designer, discuss how you would highlight social inequalities between the ruling class and the working class in two separate sections of the play. You must make specific reference to the social, cultural and/or historical context of The Caucasian Chalk Circle in your answer. Students must demonstrate an understanding of the demands of Question 09 which are:  a costume designer’s or a performer’s perspective  a clear focus on highlighting social inequalities between the ruling class and the working class in two separate sections of the play  reference to the social, cultural and/or historical context of the play. Additionally, in common with all questions in this section, the question demands:  a creative overview  appropriate selection of textual illustrations. In meeting the demands of Question 09 and the assessment objective AO3 students are expected to make reference to some of the following:  from a costume designer’s perspective, strategies for highlighting social inequalities between the ruling class and the working class, for example: o costume design fundamentals, style, period, shape, colour, fabric o costume to highlight class differences; colour, fabric, cut, fit, condition o use of colour and texture in costume to underline ruling/working classes o use of make-up to suggest dirt/poverty o lack of warm or good clothes for the working classes; ornamentation/finery for the rich o selection of appropriate props/accessories o use of mask/half mask o Brechtian approach to design o design consonant with the action of the play and with Brecht’s political or social message.  from a performer’s perspective, strategies for highlighting social inequalities between the ruling class and the working class, through the presentation of the Governor’s Wife through, for example: o the harsh physical appearance of the Governor’s Wife in terms of, for example: age, height, build, colouring, facial features o her use of extravagant costume; elaborate make-up or mask/half-mask; bright colours, use of gold colo