CAMBRIDGE INTERNATIONAL EXAMINATIONS General Certificate of Education Advanced Subsidiary Level Drama 8286/02 (New Zealand based syllabus)

CAMBRIDGE INTERNATIONAL EXAMINATIONS
General Certificate of Education Advanced Subsidiary Level

Drama 8286/02 (New Zealand based syllabus)

Additional materials:
Answer paper


Sample Paper
(This subject will first be examined in 2005)




Time allowed: 2 hours
Total marks: 60




INSTRUCTIONS TO CANDIDATES

Answer two questions on two different texts. Each question is worth 30 marks.

Each answer must refer to one of the following theatre genres or periods which MUST NOT be duplicated in the other answer:

Classical tragedy
Mediaeval mystery or morality plays
Elizabethan and Jacobean drama
Comedy of manners
Epic Theatre
New Zealand Theatre: the Maori voice
Contemporary New Zealand Theatre: looking at ourselves

Indicate your choice of theatre genre or period by stating clearly the question number and part for each answer.

All questions require answers in continuous prose. You are reminded of the need for good English and clear presentation in your answers.

You may support your answers with sketches and diagrams.


Select TWO questions and answer ONE part from each question.


Question 1 CLASSICAL TRAGEDY
Antigone Sophocles
EITHER
(a) How would you want your audience to respond to Creon? Explain how you would perform the role in order to achieve your aims.
OR
(b) Outline a stage design for Antigone and describe the ways in which the actors and chorus could use the space and other features of your design during Antigone’s first scene of conflict with Creon.
OR
(c) As a director, discuss the ways in which your knowledge of performance practice in Sophocles’ time could influence your proposed modern performance of Antigone.


Question 2 MEDIAEVAL MYSTERY OR MORALITY PLAYS
Everyman Anonymous
EITHER
(a) Describe how you would use vocal and physical skills to create the character of Everyman and engage your audience.
OR
(b) Describe what effects you want to create for your audience at the beginning of Everyman. Explain how you would use costumes, make up and/or set to achieve your aims.
OR
(c) As a director, discuss the ways in which your knowledge of performance practice in 15th century England could influence your proposed modern performance of Everyman.


Question 3 ELIZABETHAN and JACOBEAN DRAMA
A Midsummer Night’s Dream Shakespeare
EITHER
(a) Describe how you want your audience to respond to the characters of Helena and Hermia. Explain how you would direct the actors to achieve your aims.
OR
(b) Describe what effects you want to create for your audience in the fairy scenes of the play. Explain the staging ideas you would use to create these effects.
OR
(c) As a director, discuss the ways in which your knowledge of performance practice in Shakespeare’s time could influence your proposed modern performance of A Midsummer Night’s Dream.

Question 4 COMEDY OF MANNERS
The Importance of Being Earnest Oscar Wilde
EITHER
(a) Describe how you would perform the role of either Lady Bracknell or Algernon Moncrieff in order to create comedy for your audience.
OR
(b) Outline a stage design for The Importance of Being Earnest and describe the ways in which the actors could use the space and other features of your design during Acts 1 and 2 of the play.
OR
(c) The Importance of Being Earnest has echoes of several different genres of drama: well-made play, naturalism, farce and melodrama. As a director, discuss the ways in which one or more of these genres could influence your proposed performance of The Importance of Being Earnest.


Question 5 EPIC THEATRE
The Resistible Rise of Arturo Ui Bertolt Brecht
EITHER
(a) Describe how you would integrate Brecht’s concepts into your performance of the role of Emanuele Giri.
OR
(b) Choose two or three sections of the play and explain how and why you would exploit their comic potential in order to communicate Brecht’s serious purpose.
OR
(c) As a director, explain how your ideas for staging The Resistible Rise of Arturo Ui would communicate the play’s political message to your audience.


Question 6 NEW ZEALAND THEATRE: THE MAORI VOICE
Briar Grace-Smith
EITHER
(a) Describe how you would use vocal and physical skills to create the role of Kui/Aggie Rose and engage your audience.
OR
(b) Describe the atmosphere you want to create in three specific, contrasting scenes of and explain how your design ideas for set and/or lighting would assist in the creation of that atmosphere.
OR
(c) As a director, discuss the ways in which cultural and social issues could influence your proposed performance of .


[Turn over

Question 7 NEW ZEALAND THEATRE: LOOKING AT OURSELVES
Children of the Poor Mervyn Thompson
(an adaptation of the novel by John A. Lee)
EITHER
(a) Explain how you would play the role of Albany Porcello in order to gain the sympathies of your audience.
OR
(b) Describe how you would use a range of chorus techniques to create the world of the play.
OR
(c) As a director, explain how your ideas for staging Children of the Poor would communicate themes and issues of the play to your audience.