General Certificate of Secondary Education

2024

Drama

*G9263*
Component 3

Knowledge and Understanding of Drama

G9263
[G9263]
WEDNESDAY 15 MAY, AFTERNOON

TIME
1 hour 30 minutes.

INSTRUCTIONS TO CANDIDATES
Write your Centre Number and Candidate Number on the Answer Booklet provided.
Write your answers in the Answer Booklet.
Answer all questions on your chosen play.

INFORMATION FOR CANDIDATES

The total mark for this paper is 80.
Figures in brackets printed down the right-hand side of pages indicate the marks awarded to
each question or part question.
Quality of written communication will be assessed in all questions.
You may use a clean copy of your set text for this examination.

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 BLANK PAGE

14229 2
List of prescribed texts

The following is a list of set texts for this examination.

Turn to the page relevant to the text that you have studied.

Choose only one text from the list below.

The number of lines and the extract of text printed in Question 3 might vary according to the
version of the text used.

Write your answers to Questions 1, 2 and 3 in the Answer Booklet provided.

Text Page

Shakespeare: A Midsummer Night’s Dream 4

O’Casey: Juno and the Paycock 6

Miller: The Crucible 8

Friel: Philadelphia, Here I Come! 10

Reid: Tea in a China Cup 12

Russell: Blood Brothers 14

Lingard/Neville: Across the Barricades 16

Ridley: Sparkleshark 18

14229 3 [Turn over

Shakespeare: A Midsummer Night’s Dream

1 Spend about 20 minutes on questions 1(a) and 1(b).

(a) Briefly outline the ideas which you have researched for a production of A Midsummer
Night’s Dream with reference to:

 three aspects of the historical context; and

 three aspects of the structure of the play. [6]

(b) With reference to a live or recorded theatre event which you have seen, suggest a
MULTIMEDIA idea which you could include in your production.

 Write down the title of the theatre event which you saw;
 describe the idea from this event;
 analyse how you could use this idea in your set text; and
 evaluate what you hope to achieve for your audience. [12]

2 Spend about 30 minutes on questions 2(a) and 2(b).

(a) Draw and label a costume sketch for Oberon when he enters in Act 2 Scene 1.

You should make reference to:

 colour, shape, materials, make-up; and

 any appropriate accessories and personal properties (props). [12]

(b) Justify your choice of ideas presented in part (a).

You should include:

 the period in which the play is set;

 the social status of the character; and
 one appropriate quotation to support your answer. [12]

14229 4
3 Spend about 40 minutes on questions 3(a), 3(b) and 3(c).

Look at the lines between Hermia and Helena in Act 1 Scene 1.

HELENA O, that your frowns would teach my smiles such

skill!
HERMIA I give him curses, yet he gives me love.
HELENA O, that my prayers could such affection move!
HERMIA The more I hate, the more he follows me.
HELENA The more I love, the more he hateth me.
HERMIA His folly, Helena, is no fault of mine.
HELENA None, but your beauty: would that fault were
mine!
HERMIA Take comfort: he no more shall see my face;
Lysander and myself will fly this place.
Before the time I did Lysander see,
Seem’d Athens as a paradise to me.
O, then, what graces in my love do dwell,
That he hath turn’d a heaven unto a hell! (15 lines of text)

(a) Draw and label a stage plan for the extract which includes:

 the set;
 the exits and entrances;
 the position of the audience; and
 the positions of the characters on the opening lines. [10]

(b) As a director, give the actors some advice on how they could rehearse the extract for
performance. In your answer refer to:

 the mood and context;

 the use of one rehearsal idea; and
 the application to the text. [14]

(c) As an actor playing Hermia, give examples of how you would use voice in your
performance of the extract. Refer directly to the text. [14]

14229 5 [Turn over

O’Casey: Juno and the Paycock

1 Spend about 20 minutes on questions 1(a) and 1(b).

(a) Briefly outline the ideas which you have researched for a production of Juno and the
Paycock with reference to:

 three aspects of the historical context; and

 three aspects of the structure of the play. [6]

(b) With reference to a live or recorded theatre event which you have seen, suggest a
MULTIMEDIA idea which you could include in your production.

 Write down the title of the theatre event which you saw;
 describe the idea from this event;
 analyse how you could use this idea in your set text; and
 evaluate what you hope to achieve for your audience. [12]

2 Spend about 30 minutes on questions 2(a) and 2(b).

(a) Draw and label a costume sketch for Mrs Boyle when she enters in Act 1.

You should make reference to:

 colour, shape, materials, make-up; and

 any appropriate accessories and personal properties (props). [12]

(b) Justify your choice of ideas presented in part (a).

You should include:

 the period in which the play is set;

 the social status of the character; and
 one appropriate quotation to support your answer. [12]

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3 Spend about 40 minutes on questions 3(a), 3(b) and 3(c).

Look at the lines between Boyle and Joxer at the beginning of Act 2.

BOYLE (leaping up, takes a pen in his hand and busies himself with
papers) Come along, Joxer, me son, come along.
JOXER (putting his head in) Are you be yourself?
BOYLE Come on, come on; that doesn’t matther; I’m
masther now, an’ I’m goin’ to remain masther.
(Joxer comes in)
JOXER How d’ye feel now, as a man o’money?
BOYLE (solemnly) It’s a responsibility, Joxer, a great responsibility.
JOXER I suppose ’tis now, though you wouldn’t think it.
BOYLE Joxer, han’ me over that attackey case on the table
there. (Joxer hands the case) Ever since the Will was
passed I’ve run hundreds o’ dockyments through me hans –
I tell you, you have to keep your wits about you.
(He busies himself with papers)
JOXER Well, I won’t disturb you; I’ll dhrop in when …
BOYLE (hastily) It’s all right, Joxer, this is the last one to
be signed to-day. (14 lines of text)

(a) Draw and label a stage plan for the extract which includes:

 the set;
 the exits and entrances;
 the position of the audience; and
 the positions of the characters on the opening lines. [10]

(b) As a director, give the actors some advice on how they could rehearse the extract for
performance. In your answer refer to:

 the mood and context;

 the use of one rehearsal idea; and
 the application to the text. [14]

(c) As an actor playing Boyle, give examples of how you would use voice in your
performance of the extract. Refer directly to the text. [14]

14229 7 [Turn over

Miller: The Crucible

1 Spend about 20 minutes on questions 1(a) and 1(b).

(a) Briefly outline the ideas which you have researched for a production of The Crucible
with reference to:

 three aspects of the historical context; and

 three aspects of the structure of the play. [6]

(b) With reference to a live or recorded theatre event which you have seen, suggest a
MULTIMEDIA idea which you could include in your production.

 Write down the title of the theatre event which you saw;
 describe the idea from this event;
 analyse how you could use this idea in your set text; and
 evaluate what you hope to achieve for your audience. [12]

2 Spend about 30 minutes on questions 2(a) and 2(b).

(a) Draw and label a costume sketch for Proctor at the beginning of Act 2.

You should make reference to:

 colour, shape, materials, make-up; and

 any appropriate accessories and personal properties (props). [12]

(b) Justify your choice of ideas presented in part (a).

You should include:

 the period in which the play is set;

 the social status of the character; and
 one appropriate quotation to support your answer. [12]

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3 Spend about 40 minutes on questions 3(a), 3(b) and 3(c).

Look at the lines between Parris and Abigail near the beginning of Act 1.

PARRIS There is a faction that is sworn to drive me from my

pulpit. Do you understand that?
ABIGAIL I think so, sir.
PARRIS Now then, in the midst of such disruption, my
own household is discovered to be the very centre of
some obscene practice. Abominations are done in the
forest –
ABIGAIL It were sport, uncle!
PARRIS (pointing at Betty) You call this sport? (She lowers her
eyes. He pleads.) Abigail, if you know something that may
help the doctor, for God’s sake tell it to me. (She is silent.) I
saw Tituba waving her arms over the fire when I came on
you. Why was she doing that? And I heard a screeching and
gibberish coming from her mouth. She were swaying like a
dumb beast over that fire! (15 lines of text)

(a) Draw and label a stage plan for the extract which includes:

 the set;
 the exits and entrances;
 the position of the audience; and
 the positions of the characters on the opening lines. [10]

(b) As a director, give the actors some advice on how they could rehearse the extract for
performance. In your answer refer to:

 the mood and context;

 the use of one rehearsal idea; and
 the application to the text. [14]

(c) As an actor playing Parris, give examples of how you would use voice in your
performance of the extract. Refer directly to the text. [14]

14229 9 [Turn over

Friel: Philadelphia, Here I Come!

1 Spend about 20 minutes on questions 1(a) and 1(b).

(a) Briefly outline the ideas which you have researched for a production of
Philadelphia, Here I Come! with reference to:

 three aspects of the historical context; and

 three aspects of the structure of the play. [6]

(b) With reference to a live or recorded theatre event which you have seen, suggest a
MULTIMEDIA idea which you could include in your production.

 Write down the title of the theatre event which you saw;
 describe the idea from this event;
 analyse how you could use this idea in your set text; and
 evaluate what you hope to achieve for your audience. [12]

2 Spend about 30 minutes on questions 2(a) and 2(b).

(a) Draw and label a costume sketch for Con Sweeney in Episode 2.

You should make reference to:

 colour, shape, materials, make-up; and

 any appropriate accessories and personal properties (props). [12]

(b) Justify your choice of ideas presented in part (a).

You should include:

 the period in which the play is set;

 the social status of the character; and
 one appropriate quotation to support your answer. [12]

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3 Spend about 40 minutes on questions 3(a), 3(b) and 3(c).

Look at the lines between Madge and Public Gar in Episode 1.

MADGE He’ll have something to say then, you’ll see. And

maybe he’ll slip you a couple of extra pounds.
PUBLIC Whether he says good-bye to me or not, or
whether he slips me a few miserable quid or not,
it’s a matter of total indifference to me, Madge.
MADGE Aye, so. Your tea’s on the table –
but that’s a matter of total indifference to me.
PUBLIC Give me time to wash, will you?
MADGE And another thing: just because he doesn’t say much doesn’t mean that he
hasn’t feelings like the rest of us.
PUBLIC Say much? He’s said nothing!
MADGE He said nothing either when your mother died.
It must have been near daybreak when he got to sleep last night. I could hear
his bed creaking.
PUBLIC Well to hell with him – (15 lines of text)

(a) Draw and label a stage plan for the extract which includes:

 the set;
 the exits and entrances;
 the position of the audience; and
 the positions of the characters on the opening lines. [10]

(b) As a director, give the actors some advice on how they could rehearse the extract for
performance. In your answer refer to:

 the mood and context;

 the use of one rehearsal idea; and
 the application to the text. [14]

(c) As an actor playing Madge, give examples of how you would use voice in your
performance of the extract. Refer directly to the text. [14]

14229 11 [Turn over

Reid: Tea in a China Cup

1 Spend about 20 minutes on questions 1(a) and 1(b).

(a) Briefly outline the ideas which you have researched for a production of Tea in a
China Cup with reference to:

 three aspects of the historical context; and

 three aspects of the structure of the play. [6]

(b) With reference to a live or recorded theatre event which you have seen, suggest a
MULTIMEDIA idea which you could include in your production.

 Write down the title of the theatre event which you saw;
 describe the idea from this event;
 analyse how you could use this idea in your set text; and
 evaluate what you hope to achieve for your audience. [12]

2 Spend about 30 minutes on questions 2(a) and 2(b).

(a) Draw and label a costume sketch for Maisie when she first enters in Act 1.

You should make reference to:

 colour, shape, materials, make-up; and

 any appropriate accessories and personal properties (props). [12]

(b) Justify your choice of ideas presented in part (a).

You should include:

 the period in which the play is set;

 the social status of the character; and
 one appropriate quotation to support your answer. [12]

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3 Spend about 40 minutes on questions 3(a), 3(b) and 3(c).

Look at the lines between Beth and Sarah near the beginning of Act 1.

BETH You promised to stay in bed till I got back.

SARAH The bands have been out practisin’ for the Twelfth, came right past the
house, so they did. You should have heard those boyos play.
BETH You could have fallen.
SARAH I took it slowly.
BETH You’ve exhausted yourself, your face is all flushed.
SARAH It’s the sound of the flute bands … always gets the oul Protestant blood going.
I tell you, a daily dose of the True Blue Defenders would do me more good
than them hateful transfusions they give me up at the hospital … how long is
it now till the Twelfth?
BETH Ten days.
SARAH I’ll see it one more time before I go, if God spares me.
BETH You’ll have a ringside seat at that window. (13 lines of text)

(a) Draw and label a stage plan for the extract which includes:

 the set;
 the exits and entrances;
 the position of the audience; and
 the positions of the characters on the opening lines. [10]

(b) As a director, give the actors some advice on how they could rehearse the extract for
performance. In your answer refer to:

 the mood and context;

 the use of one rehearsal idea; and
 the application to the text. [14]

(c) As an actor playing Sarah, give examples of how you would use voice in your
performance of the extract. Refer directly to the text. [14]

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Russell: Blood Brothers

1 Spend about 20 minutes on questions 1(a) and 1(b).

(a) Briefly outline the ideas which you have researched for a production of Blood Brothers
with reference to:

 three aspects of the historical context; and

 three aspects of the structure of the play. [6]

(b) With reference to a live or recorded theatre event which you have seen, suggest a
MULTIMEDIA idea which you could include in your production.

 Write down the title of the theatre event which you saw;
 describe the idea from this event;
 analyse how you could use this idea in your set text; and
 evaluate what you hope to achieve for your audience. [12]

2 Spend about 30 minutes on questions 2(a) and 2(b).

(a) Draw and label a costume sketch for Edward when he first enters in Act 1.

You should make reference to:

 colour, shape, materials, make-up; and

 any appropriate accessories and personal properties (props). [12]

(b) Justify your choice of ideas presented in part (a).

You should include:

 the period in which the play is set;

 the social status of the character; and
 one appropriate quotation to support your answer. [12]

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3 Spend about 40 minutes on questions 3(a), 3(b) and 3(c).

Look at the scene between Mr and Mrs Lyons in the second half of Act 1.

MR LYONS For God’s sake Jennifer, I told you on the phone,

he’ll just be out playing somewhere.
MRS LYONS But where?
MR LYONS Outside somewhere, with friends. Edward …
MRS LYONS But I don’t want him out playing.
MR LYONS Jennifer, he’s not a baby. Edward …
MRS LYONS I don’t care, I don’t care …
MR LYONS For Christ’s sake, you bring me home from work in
the middle of the day, just to say you haven’t seen him for an
hour. Perhaps we should be talking about you getting
something for your nerves.
MRS LYONS There’s nothing wrong with my nerves. It’s just …
just this place … I hate it. Richard, I don’t want to stay here
any more. I want to move.
MR LYONS Jennifer! Jennifer, how many times … the factory is here, my work is here …
(15 lines of text)

(a) Draw and label a stage plan for the extract which includes:

 the set;
 the exits and entrances;
 the position of the audience; and
 the positions of the characters on the opening lines. [10]

(b) As a director, give the actors some advice on how they could rehearse the extract for
performance. In your answer refer to:

 the mood and context;

 the use of one rehearsal idea; and
 the application to the text. [14]

(c) As an actor playing Mr Lyons, give examples of how you would use voice in your
performance of the extract. Refer directly to the text. [14]

14229 15 [Turn over

Lingard/Neville: Across the Barricades

1 Spend about 20 minutes on questions 1(a) and 1(b).

(a) Briefly outline the ideas which you have researched for a production of Across the
Barricades with reference to:

 three aspects of the historical context; and

 three aspects of the structure of the play. [6]

(b) With reference to a live or recorded theatre event which you have seen, suggest a
MULTIMEDIA idea which you could include in your production.

 Write down the title of the theatre event which you saw;
 describe the idea from this event;
 analyse how you could use this idea in your set text; and
 evaluate what you hope to achieve for your audience. [12]

2 Spend about 30 minutes on questions 2(a) and 2(b).

(a) Draw and label a costume sketch for Mr Blake in Scene 11.

You should make reference to:

 colour, shape, materials, make-up; and

 any appropriate accessories and personal properties (props). [12]

(b) Justify your choice of ideas presented in part (a).

You should include:

 the period in which the play is set;

 the social status of the character; and
 one appropriate quotation to support your answer. [12]

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3 Spend about 40 minutes on questions 3(a), 3(b) and 3(c).

Look at the lines between Kevin and Sadie in Scene 7.

KEVIN Sadie?
SADIE Oh, you gave me a fright …
KEVIN No better than the rest of them, am I?
SADIE Kevin, I didn’t mean it.
KEVIN It was all pretty silly, I’m sorry.
SADIE So am I. Thanks for coming back.
KEVIN Did you think I was just going to leave you sitting all alone on
the sands? Come on, let’s go and find some shelter …
(They move and sit on the other side of the acting area)
SADIE There’s something really special about Bangor, I don’t know
what, I just love being here …
KEVIN It’s a sort of escape, isn’t it? Just think, we’ve spent the whole
day here with no one to bother us …
SADIE It’s safe …
KEVIN It’s been a good day right enough …
SADIE I don’t want to go home. (15 lines of text)

(a) Draw and label a stage plan for the extract which includes:

 the set;
 the exits and entrances;
 the position of the audience; and
 the positions of the characters on the opening lines. [10]

(b) As a director, give the actors some advice on how they could rehearse the extract for
performance. In your answer refer to:

 the mood and context;

 the use of one rehearsal idea; and
 the application to the text. [14]

(c) As an actor playing Sadie, give examples of how you would use voice in your
performance of the extract. Refer directly to the text. [14]

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Ridley: Sparkleshark

1 Spend about 20 minutes on questions 1(a) and 1(b).

(a) Briefly outline the ideas which you have researched for a production of Sparkleshark
with reference to:

 three aspects of the historical context; and

 three aspects of the structure of the play. [6]

(b) With reference to a live or recorded theatre event which you have seen, suggest a
MULTIMEDIA idea which you could include in your production.

 Write down the title of the theatre event which you saw;
 describe the idea from this event;
 analyse how you could use this idea in your set text; and
 evaluate what you hope to achieve for your audience. [12]

2 Spend about 30 minutes on questions 2(a) and 2(b).

(a) Draw and label a costume sketch for Russell when he first enters the play.

You should make reference to:

 colour, shape, materials, make-up; and

 any appropriate accessories and personal properties (props). [12]

(b) Justify your choice of ideas presented in part (a).

You should include:

 the period in which the play is set;

 the social status of the character; and
 one appropriate quotation to support your answer. [12]

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3 Spend about 40 minutes on questions 3(a), 3(b) and 3(c).

Look at the lines when Natasha first enters and speaks to Polly.

NATASHA How did I? Oh, just my usual after-school abseiling. What d’ya
mean, how did I get here, you silly cow? I walked up the bloody stairs. The
last two flights need a bloody government health warning. Thought the
boys’ toilets at school were bad enough. (She takes perfume from her
handbag and sprays herself)
POLLY How d’you know I was up here, Natasha?
NATASHA Your brother told me. Well, “told”’s a bit of an exaggeration.
“Where’s Polly, Finn?” “Uggghh!” (She points up) “What? She’s in her
bedroom?” “Uggghh!” (She points up) Finally, I work out it’s either
heaven or the roof. (She takes lipstick and face compact from her handbag
and starts to re-touch her make-up) And, Polly – please don’t take this the
wrong way – but your brother stinks. The state of his hair should be
punishable by law. And as for his breath! Phew! It could strip nail varnish
at twenty paces. (She starts to climb down the stairs) (13 lines of text)

(a) Draw and label a stage plan for the extract which includes:

 the set;
 the exits and entrances;
 the position of the audience; and
 the positions of the characters on the opening lines. [10]

(b) As a director, give the actors some advice on how they could rehearse the extract for
performance. In your answer refer to:

 the mood and context;

 the use of one rehearsal idea; and
 the application to the text. [14]

(c) As an actor playing Natasha, give examples of how you would use voice in your
performance of the extract. Refer directly to the text. [14]

14229 19
 ources

hree lays uno and the aycock, hadow of a unman, lough and the tars by ean Casey I ublished by an
Classics,
he Crucible by Arthur Crucible I ublished by einemann Educational ublishers,
hiladelphia, ere I Come by rian riel. I ublished by aber and aber,
oyriders ea in a China Cup by Christina eid I ublished by ethuen ublishing,
lood rothers by illy ussell I ublished by ethuen rama,
Across the arricades by oan ingard and avid Ian eville I ublished by ford niversity ress,
parkleshark by hilip idley I ublished by amuel rench,

THIS IS THE END OF THE QUESTION PAPER

Permission to reproduce all copyright material has been applied for.

In some cases, efforts to contact copyright holders may have been unsuccessful and CCEA
will be happy to rectify any omissions of acknowledgement in future if notified.

G9263/6
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