NATIONAL 5 DRAMA EXAMINATION STUDY GUIDE

Transcription

1 NATIONAL 5 DRAMA EXAMINATION STUDY GUIDE

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3 Question Areas Characterisation practical drama techniques you used to create characters, including rehearsal techniques. Performance or Design Concepts concepts you created to enhance your Drama. This may be in relation to target audience, mood and atmosphere, setting, genre, theme etc. Appropriate terminology should be used for the production skill being discussed. Style/Genre/Form Scripted Presentation, naturalistic/non naturalistic/comedy, romance, horror, thriller, action Setting where and when your drama is set. Staging/Venue What staging, venue and set design you would use in order to make this setting clear. Themes/issues and message what are the themes/issues of your drama? You may also be asked to identify and justify dramatic message. Mood and Atmosphere you must be able to explain the mood and atmosphere of your drama. Target Audience you must be able to identify, justify and discuss the target audience s reaction to your drama.

4 Exam Checklist Please ensure you have revised all of the areas listed below. Use this as a revision guide. If you understand all of these areas you are on track with revision. 1. Plot and setting a. What happens in the drama? b. Where and when is it set? c. You must be able to discuss what venue, staging and set design you would employ in order to make clear this setting. 2. Themes and message a. You must be able to identify, justify and explain 2 or more themes b. You may also be asked to identify and justify dramatic message. 3. Voice and movement terminology a. Terminology must be used when discussing performing a character or presenting a key moment between two or more characters. b. A question on directing would also require discussion of voice and movement techniques in terms of directing one or more actors on stage. 4. Mood and Atmosphere a. You must be able to state what the mood and atmosphere will be at vaying points in the drama. b. You may also be asked how you could use theatre production skills such as sound and lights to highlight this mood or atmosphere for the audience. 5. Character and Character Relationships a. Personality/Status /objective/motivation/purpose. b. You will be asked how you would use acting techniques to communicate this character to an audience. c. You may also be asked how you could use other theatre production skills such as costume, make-up, props, etc. to highlight this character. 6. Turning Point/Key Moments identify and justify. 7. Target Audience identify and justify. 8. Practical Activities that you did/could undertake in order to understand a character/relationships/explore setting/theme/ message/mood, etc. what did you learn?

5 a. Must be able to explain more than one activity. b. Must be able to say how the activity helped you explore and understand areas such as setting/themes/mood and atmosphere/how you would play a certain character etc. 9.Language what does the language of the extract add to the plot? What does it reveal about the characters? How does it add to the mood and atmosphere of the drama?

6 National 5 Vocabulary Make sure that you know ALL of the vocabulary on this page, including the meaning of the words and what heading they come under. If you are asked a question on any of these areas you will have to use the correct vocabulary to gain marks. General Terms Movement Voice Conventions Form Stimulus Characterisation Target Audience Mood Atmosphere Directing Design Concepts Purpose Focus Time period (historical) Language Special effects Performance concepts Rehearsal activities Status Tension Dramatic Irony Mime Body language Facial expression Gesture Naturalistic Stylised Eye contact Posture Balance Speed Timing Use of levels Use of space Positioning Mannerisms Rhythm Stance Use of Direction Accent Pace Volume Clarity Emphasis Pitch Pace Pause Articulation Fluency Intonation Register Flashback Flashforward Freeze frame Frozen picture Mime Monologue Movement Slow motion Narration Voice over Aside Soliloquy Tableau Split Stage A play, scripted or improvised Dance drama Mime Monologue Movement Musical Pantomime Forum Genre Structure Style Characterisation Techniques Production Areas Comedy Tragedy Crime drama Docudrama Melodrama Commedia dell arte Farce Tragicomedy Satire Linear Non-linear Naturalistic Non-naturalistic Character cards Improvisation Role play Hot seating Voices in the head Writing in role Thought tracking Thought tunnel Set Sound Lighting Costume Makeup props

7 General Drama Vocabulary List You should be familiar with all of this vocabulary. In particular pay attention to the staging vocabulary and the technical vocabulary. A Accent Way of speaking used in a local area or country Articulation Clear pronunciation of words Aside A remark to the audience only Audience People watching a drama Auditorium The area for the audience, generally filled with seats Avenue Audience seated on two sides of the acting area B Backcloth Canvas cloth which covers the back of the stage: can be painted Backstage Non-acting area behind the stage Balance Keeping an even distribution of weight Barndoors Adjustable metal flaps attached to the front of a fresnel spotlight for shaping the beam of light Blackout The acting area is not lit Slow fade to The lighting/sound is faded out slowly Fast fade to The lighting/sound is faded out quickly Snap to Blackout is achieved instantly Blocking Deciding where and when actors will move on stage Body Language Messages given by the position or movement of the body C Centre Stage (CS) The centre area of the stage Centre Stage Left The left hand centre side of the acting area as the actor faces (CSL) the audience Centre Stage Right The right hand centre side of the acting area as the actor (CSR) faces the audience Character Specific person in a drama Characterisation The process of fully developing a character Clarity Clearness of the voice Comedy A drama which is funny/comical Conventions Alternative ways of presenting parts of a drama Costume Clothes worn by actors for their character Creating The process of developing a drama s content and roles through practical exploration, experimentation and problem solving Crossfade To change from one lighting cue to another with no blackout in between, or to change from one sound cue to another with no silence in between Cue A signal for an actor to do or say something, or for a lighting or sound effect to begin or end Cyclorama The back wall of the stage which can be painted or lit D

8 Dance Drama A drama presented through dance moves Dialogue A conversation between two or more characters Docu-drama A documentary style drama, including reconstructions of events Down Stage Centre The middle part of the stage nearest the audience (DSC) Down Stage Left The part of the stage nearest the audience on the left as the actor (DSL) faces the audience Down Stage Right The part of the stage nearest the audience on the right as the actor (DSR) faces the audience Dramatic Irony Actions or remarks whose significance is not realised by all the characters Dress rehearsal Final rehearsal of a drama with all the theatre arts E Emphasis The stress on a word or phrase End on Audience seated at one end acting area at the other Enter To come on stage Evaluate To judge the strengths and weaknesses of a drama Exit To leave the acting area F Facial expression Look on face which shows emotion Flashback Acting out an event in the past Flashforward Acting out of a future or imagined event Flats Wooden frames, joined together and covered with canvas, which can be painted door flat Frames into which a door is built window flat Frames into which a window is built Flies Area above the stage from where scenery/actors are flown in on pulleys Flood Lantern giving a wide spread of light Fluency Natural, flowing speech Focus Key moment, scene, character, relationship or event in a drama Focussing Positioning the lanterns to get the desired lighting Follow spot Powerful profile used to follow actors around the acting area Form The overall style of a drama Forum Theatre The audience suggest changes to a drama in order to affect outcomes Freeze frame The action is frozen in time Fresnel Spot Lantern giving a soft edged beam of light Front of House (FOH) Any job in the theatre which involves dealing with the audience e.g. box office, refreshments, usher Frozen picture Foundation word for tableau G Gauze See-through material which cannot be seen through when lit from the front, but can be seen through when lit from behind G-clamp Clamp used to secure lantern to lighting bar or stand

9 Gel Film placed in front of a lantern to change the colour of the beam Gesture Movement of the hand or arm which communicates a meaning or emotion Gobo Thin metal plate cut out in a pattern and placed in a lantern to project pattern or shape into the acting area Ground plan Bird s eye view of the set showing what is on the set, entrances/exits and the position of the audience H Hot-seating Questioning a character in role I Intonation Rising and falling of voice in speech K Key Explanation of symbols on a ground plan M Make-up Worn by actors for their character Masking One actor unintentionally preventing another from being seen by the audience Masks Covering for all, or part, of the face Mime Stylised form of movement which creates an illusion of reality Mixing desk Control desk for sound effect being used in a drama Monologue A character speaks their thoughts aloud Movement Use of the body as a means of communication Musical Drama which includes song and/or music N Narration Part(s) of the drama are told as a story by a narrator P Pace Speed of speech or movement Pantomime Christmas theatrical entertainment usually based on a fairy tale Pause A break in speaking; period of silence Performance Presentation of a drama to an audience Personal prop An item carried or worn by a character e.g. glasses, handbag, wallet Pitch How high or low the voice is Play Another word for a drama Playwright Person who has written the play Plot Storyline of the drama Posture Position of the body how it is held Presenting The results of the Creating process, including performance and evaluation Profile spot Lantern giving a hard-edged beam of light Promenade Audience follows the action on foot, moving from one location to another Prompt To supply forgotten lines to an actor

10 Prompt copy Master copy of the script with all moves and technical effects included Prompt side Left hand side of the stage where prompter and stage manager sit during performance Props Short for properties - objects used by an actor Proscenium Arch Stage within an enclosing arch Pyrotechnics Stage fireworks R Rake Slope of stage (to allow actors to be seen) Register Appropriate speech for the person being spoken to, or for the situation Rehearsal Practice or preparation of a drama Rehearsed Improvisation Drama devised/created without a script which is rehearsed before presentation Revolving stage Stage which turns in a circle Rhythm Movements which follow a pattern or beat Role Part played by an actor / attitude adopted Role-play A means of exploring attitudes and beliefs Rostra Blocks or platforms used to create levels S Safety chain Used to attach a lantern to the lighting bar for safety Scenario Outline of the plot of a drama, including changes in time or place Scene Section of a drama, set in one place at one time Scenery Resources used to create the setting where a drama takes place, e.g. backcloth, flats, rostra, furniture. Script The written words of a drama Set (1) Scenery used to show where a drama takes place Set (2) To place a drama in a certain time or place Set prop An item placed on the set, usually part of it e.g. a lamp, clock, picture Sight lines What the audience sees of the stage from where they are sitting Slow motion Movement performed at a slowed down speed Soliloquy A single lengthy speech, made when no other characters are on stage Special effects Used to create a mood or atmosphere on stage e.g. strobe light, mirror ball, smoke machine Spontaneous Improvisation Drama created on the spot without a script or plan Spotlight Beam of light created by a lantern for a person or place on the acting area Stage directions Written or spoken advice on how to act a drama Stage whisper A loud whisper intended to be heard by the audience Staging The position of the acting area relative to the audience Stance Attitude or position of the body Status Importance relative to others Stereotype An exaggerated portrayal of a type of person Stimulus Anything which suggests ideas which can be developed into a drama Strike To remove all the set from the acting area Structure Way in which time, place and action are sequenced

11 T Tableau A stage picture, held without movement Tabs Curtains Target Audience A specific group of people at whom a drama is aimed Tension Build up of excitement Theatre Arts The collective name for lighting, sound, costume, props, make-up and set Theatre in the round Audience seated all around the acting area Thought tracking An aid to characterisation: the character speaks their thoughts out loud Thought tunnel Character(s) walk past other characters who comment on their situation Thrust Audience seated on three sides of the acting area Timing Speaking, moving or pausing at exactly the right moment Tone Change of voice to express emotion Tragedy A drama about unhappy events and with a sad ending Trapdoor Door in a floor Treads Stairs Truck Piece of scenery on wheels for ease of movement U Up Stage Centre (USC)The middle part of the stage furthest away from the audience Up Stage Left (USL) The left hand part of the stage furthest away from the audience as the actor faces the audience Up Stage Right (USR) The right hand part of the stage furthest away from the audience as the actor faces the audience V Venue Place where a drama is presented Voice-over Recorded speech played during a drama Voices in the head Recall of words said by others about a character or situation Volume Loudness or quietness of the voice W Wings Sides of a theatre stage THE THEATRE STAGE Proscenium Arch Stage within an enclosing arch Apron Part of the stage in front of the curtain Auditorium The area for the audience, generally filled with seats Backcloth Canvas cloth which covers the back of the stage: can be painted Backstage Non-acting area behind the stage Balcony Areas of seating above the stalls Blacks Drapes which curtain off the sides, or back, of the stage Cyclorama The back wall of the stage which can be painted or lit

12 (Dress) Circle Area of seating above the stalls and below the balcony Front of House (FOH) Any job in the theatre which involves dealing with the audience e.g. box office, refreshments, usher Flies Area above the stage from where scenery/actors are flown in on pulleys Gauze See-through material which cannot be seen through when lit from the front, but can be seen through when lit from behind Green room Area in which actors wait when not on stage during a performance Prompt side Left hand side of the stage where prompter and stage manager sit during performance Pyrotechnics Stage fireworks Rake Slope of stage (to allow actors to be seen) Revolving stage Stage which turns in a circle Stalls Lowest area of seating, not above stage height Trapdoor Door in a floor Treads Stairs Truck Piece of scenery on wheels for ease of movement Wings Sides of a theatre stage LIGHTING Blackout The acting area is not lit Slow fade to The lighting/sound is faded out slowly Fast fade to The lighting/sound is faded out quickly Snap to Blackout is achieved instantly Crossfade To change from one lighting cue to another with no blackout in between Fade up/down To brighten or dim the lighting Flood Lantern giving a wide spread of light Gel Film placed in front of a lantern to change the colour of the beam Spotlight Beam of light created by a lantern for a person or place on the acting area Focussing Positioning the lanterns to get the desired lighting Follow spot Powerful profile used to follow actors around the acting area Fresnel spot Lantern giving a soft edged beam of light LFX The quick way to write lighting effects Lighting Desk Control board for lighting Profile spot Lantern giving a hard edged beam of light Wash The whole acting area is evenly lit Barndoors Adjustable metal flaps attached to the front of a fresnel spotlight for shaping the beam of light G-clamp Clamp used to secure lantern to lighting bar or stand Gobo Thin metal plate cut out in a pattern and placed in a lantern to project pattern or shape into the acting area Pyrotechnics Stage fireworks Safety chain Used to attach a lantern to the lighting bar for safety Special effects Used to create a mood or atmosphere on stage e.g. strobe light, mirror ball, smoke machine SOUND

13 Cue A signal for an actor to do or say something, or for a lighting or sound effect to begin or end Fade in To bring the volume up Fade out To bring the volume down Crossfade To change from one sound cue to another, with no silence in between Live (SFX) An SFX is operated on cue during the performance e.g. a doorbell, a phone ring, a knock Pre-recorded (SFX) An SFX is recorded on tape and played on cue during the performance SFX The quick way to write sound effects Mixing desk Control desk for sound COSTUME Costume Clothes worn by actors for their character Hats Items worn on head in keeping with the character being played Jewellery Items worn on ears, neck or wrists in keeping with costume worn Wigs Artificial hair in a variety of colours and styles for any character part Costume list A list of all costumes for each character in a drama Period costume Costume which reflects clothing from a time in history PROPS (PROPERTIES) Personal prop An item carried or worn by a character e.g. glasses, handbag, wallet Props (short for properties) items used or carried by an actor, or items on the set Set prop An item placed on the set, usually part of it e.g. a lamp, clock, picture Props table Table in the wings on which all props are placed for actors to collect as they enter, and replace as they exit MAKE-UP Fake Blood Powder, liquid or capsules which create the effect of bleeding Foundation The basic skin colour Liners Sticks of make-up in different colours used to create lines, bruises, shading, highlighting etc. Pencils Soft pencils in different colours which are easily smudged and blended Scarring Scars created with make-up, putty or scarring material Stipple sponge Used to create an unshaven look or the appearance of cracked veins Tooth varnish Used to create the look of a missing tooth by blacking out an existing one Crepe hair Plaits of artificial hair which can be cut and trimmed to form eyebrows, moustaches and beards Highlighting Using light colours to make face areas stand out Shading Using colours to make facial areas look shrunken Spirit gum Glue used to attach hair to the face Latex Liquid rubber which can be used to make skull cap moulds and false noses Nose putty Type of clay used for altering the shape of the nose or chin and/or making warts and wounds Skull cap Plastic head-shaped covering to give appearance of baldness

14 SET Acting area That part of the available space occupied by the set and/or used by actors when acting Centre Stage (CS) The centre area of the stage Centre Stage Left (CSL) The left hand centre side of the acting area as the actor faces the audience Centre Stage Right (CSR)The right hand centre side of the acting area as the actor faces the audience Down Stage Centre (DSC)The middle part of the stage nearest the audience Down Stage Left (DSL) The part of the stage nearest the audience on the left as the actor faces the audience Down Stage Right (DSR) The part of the stage nearest the audience on the right as the actor faces the audience End on Audience seated at one end - acting area at the other Ground plan Bird s eye view of the set showing what is on the set, entrances/exits and the position of the audience Key Explanation of symbols on a ground plan Rostra Blocks or platforms used to create levels Set (1) Scenery used to show where a drama takes place Set prop An item placed on the set, usually part of it e.g. a lamp, clock, picture Sight lines What the audience sees of the stage from where they are sitting Staging The position of the acting area relative to the audience Theatre in the round Audience seated all round the acting area Thrust Audience seated on three sides of the acting area Up Stage Centre (USC) The middle part of the stage furthest away from the audience Up Stage Left (USL) The left hand part of the stage furthest away from the audience as the actor faces the audience Up Stage Right (USR) The right hand part of the stage furthest away from the audience as the actor faces the audience Avenue Audience seated on two sides of the acting area Dress the set Add soft furnishings such as tablecloth, cushions, pictures and pre- set props Portable staging Lightweight frames and boards for creating levels Proscenium Arch Stage within an enclosing arch Promenade Audience follows the action on foot, moving from one location to another

15 We keep being asked about Performance/Design Concepts, but what are they????? We hear you cry! Well... In terms of acting, a performance concept may include: social and cultural influences on ideas from the stimulus/text influence of form, structure, genre on acting style characterisation character relationships actor/audience relationship staging planned use of voice planned use of movement In summary, it is the overall interpretation of the character/text/stimulus that you want to achieve in performance. In terms of technical, a production concept may include: social and cultural influences on ideas from the stimulus/text influence of form, structure, genre on design elements staging design concepts theatrical effects In summary, it the overall interpretation of the technical skill in relation to the characters/ text/stimulus/other technical areas to achieve a certain look or feel for the performance.

16 Target Audience A Target Audience is the group of people for whom you intend to present your drama. If you want to identify an age group be specific about their age! For instance, state older generation between 60 and 80 who may have immigrated to Great Britain around the time that the drama is set not old people DO NOT give a negative answer i.e. do not say who wouldn t like a presentation of this drama. You will also be expected to give reasons for your answer. E.G The target audience for a performance of this drama would be High school pupils who are studying World War II in History. This would be the case as it would explore the situation in a German occupied country during the war. It also looks at issues such as the Holocaust which would be interesting and informative to this audience. The characters are also mostly children so this would help a young audience relate to what they are seeing. Venue Venue refers to the type of theatre building that you would choose to present this drama. Venue does not mean type of staging e.g. theatre in the round, although the type of staging the theatre building has will be a consideration. It is better to identify a specific theatre e.g. Eastwood Park Theatre. Here are some reasons why Eastwood Park would be a good venue: 1. Due to the small amount of characters a smaller, more intimate venue would probably be advisable for a presentation of this extract. Eastwood Park theatre has a capacity of only 300, a perfect size audience for an intimate piece of theatre. 2. Eastwood Park Theatre has a proscenium arch stage which would allow the use of flats and backdrops that you may need to convey the setting. 3. As a community venue, close to a school you would be able to publicise and market the presentation amongst the local community and would have a audience from schools close by in the surrounding area, like the pupils studying English or Drama.

17 Mood and Atmosphere You need to be able to identify the mood and atmosphere of the drama. You should be able to state what the mood and atmosphere is like at the beginning of the drama, how it changes towards the middle and then what kind of mood and atmosphere we are left with at the end of the drama. If a question asks you about LANGUAGE you need to do more than quote the dialogue. you need to discuss the features of language used. Features of language use includes: Language used e.g. colloquial Scots or Standard English Specific word choice Punctuation Structure of sentences i.e. short, snappy lines or large monologues Formal or colloquial language Use of metaphor or simile If you are asked about mood and atmosphere it is highly likely that you will be asked about how actors and/ or any member of the design team could help highlight the mood and atmosphere to the audience. If the question asks As an actor how would you then discuss one character. If it asks As a director, you should discuss more than one character. In any case you must discuss all three of the following 1. stage positioning (e.g. lying on floor DSL) 2. vocal technique 3. movement technique If the question asks about technical aspects to enhance mood and atmosphere, you should discuss more than one or choose relevant areas from a list provided.

18 Preparation for Theatre Arts/Production Areas Questions Remember, when discussing lighting and sound explain in terms of: % brightness Use of gels or no gels? Wash (general coverage) Fresnel/Flood/Profile Spotlight What area of the stage is lit? What volume? What moment? Snap on/off Fade up/down When considering costume, set design, props or make-up, discuss in terms of: Colour Condition Fabric/materials Fit Positioning of furniture and props Style of clothes/furniture etc

19 Key Moments In your exam you may be asked to describe and explore any one or more of these: Key moment Turning point Climax of the extract Most important or significant moment Opening of the drama End of the drama Some of these areas could be one and the same but they may not be i.e. the opening moment could be the most important. For your final exam it is a good idea to know the significance of the opening, closing and another important moment. You Must: Define the opening/ closing line of dialogue or moment. Justify in terms of the questions Audience response This should/ could include: How it may make them feel What they may learn from it How they may have developed a feeling regarding a theme or message How the mood created may make them think or feel about the characters Its purpose - How it reflects the message or theme, introduces or develops character etc. Be able to say how these moments or desired impact on audience could be shown by actors or any member of the technical team (lighting designer, set designer etc.) Moment Information: There has to be a build up of tension before the turning point/key moment/climax. It is important to note that the climax may not be the same moment as the turning point however you need to be able to explain and justify any moment that they ask you to discuss.

20 The climax is likely to be towards the end of the drama and is where the conflict and tension rises to its highest point. It is likely that if you are asked about a key moment/climax etc. that you will also have to consider how you could use the actor, director and/or members of the theatre production team to highlight this as a key moment to the audience. NOTE: If asked about a MOMENT, you must discuss a MOMENT. This is a VERY SHORT amount of time seconds. This is NOT a section of dialogue! Highlighting an important moment to the audience: If the question is from the perspective of the Actor (discuss 1 character) If the question is from the perspective Actors (discuss all on stage at the moment mentioned) If the question is from the perspective of Director (discuss all on stage at the moment mentioned) YOU MUST USE VOICE AND MOVEMENT TERMINOLOGY. USE YOUR IMAGINATION VISUALISE THE ACTORS ON STAGE! Vocal techniques Movement techniques Stage notation (the areas of the stage (CS, USL etc.) You MUST say where the action happens, positioning of the characters is very important. You may also be asked how to use the technical team to show key moments OR Ensure an appropriate or desired audience response

21 Practical Activities You must be able to say how the use of practical activities helped (or could help) the actors explore and understand the drama. This could be in terms of developing characters, exploring setting, understanding themes or atmosphere, etc. You can write about ANY activities but you must ensure the ones you choose are the best examples to answer the question you are asked. You can write about activities like: Improvisation Role play Hot seating Research Status Exercises Movement exercises: the walk of the character or turning the plot into tableaux Character building tasks Characters Cards Role on the wall Practical activity questions can be asked from a number of different angles. You may be asked what you would do as an actor or what you could do as a director if designing a workshop for the actors. You will also be asked to justify what you would learn about the drama or what you would want others to learn in terms of, one or more of the following - Character Character relationships Themes Message Setting Understanding of key moment/ turning point/moment of tension/ climactic moment Mood and atmosphere You have to take what you would do and fit it to the answer. As long as you describe the activity accurately AND what you would learn about the drama then you will get the marks! Remember that practical activities DO NOT include reading through or acting out the drama

22 Model Paper Questions Evaluation 1a. Who would be the ideal target audience for your drama? Explain your answer. 1b. What range of emotions did you want the audience to feel when they were watching the performance? Explain your answer. 2. Evaluate the effectiveness of your final performance. If you were an actor you should include comments on performance concepts and the mood/atmosphere created. If you were in a production role you should include comments on design concepts and the mood/atmosphere created. 3a. Describe the main problem you had when preparing your drama. 3b. Explain how you solved this problem. 4. Evaluate the effectiveness of your final performance. If you were an actor you should include comments on performance concepts and impact on the audience. If you were in a production role you should include comments on design concepts and impact on the audience. 5a. If you had been given the choice between the target audiences below, which would you have chosen? Justify your answer year olds OR year olds. 5b. Describe two problems which you encountered when preparing for this performance. What solution did you find for each problem? 6. Consider your final performance. Describe two changes you would make in relation to your contribution. If you were an actor you should include comments on performance concepts. If you were in a production role you should include comments on design concepts. 7. Explain how your role improved the performance. 8. How successful was your role? Justify your answer. 9. Consider a moment in your final performance that created a strong impact on the audience. Describe that strong impact and, if you were an actor, how you achieved this. You should include in your answer a range of performance concepts. If you were in a production role, describe that impact and how you achieved it. You should include in your answer a range of design concepts.

23 Practice Stimuli Stimulus A First they came for the Socialists, and I did not speak out-- Because I was not a Socialist. Then they came for the Trade Unionists, and I did not speak out-- Because I was not a Trade Unionist. Then they came for the Jews, and I did not speak out-- Because I was not a Jew. Then they came for me--and there was no one left to speak for me. Stimulus B Prologue Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross d lovers take their life; Whole misadventured piteous overthrows Do with their death bury their parents' strife. The fearful passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend.

24 Stimulus C Stimulus D

25 Stimulus E The American Dream The American Dream is a national ethos of the United States, a set of ideals in which freedom includes the opportunity for prosperity and success, and an upward social mobility achieved through hard work. In the definition of the American Dream by James Truslow Adams in 1931, life should be better and richer and fuller for everyone, with opportunity for each according to ability or achievement regardless of social class or circumstances of birth.

26 Stimulus F With a ragged diamond of shattered plate-glass a young man and his girl are falling backwards into a shop-window. The young man's face is bristling with fragments of glass and the girl's leg has caught on the broken window and spurts arterial blood over her wet-look white coat. Their arms are starfished out braced for impact, their faces show surprise, shock, and the beginning of pain. The two youths who have pushed them are about to complete the operation reaching into the window to loot what they can smartly. Their faces show no expression. It is a sharp clear night in Sauchiehall Street. In the background two drivers keep their eyes on the road. Stimulus G

27 Stimulus H Ginger Store: two weeks later. Lucia and Hughie fixing ginger boxes to play schools. Lucia in charge: Hughie reluctant. HUGHIE: You got going the teacher last time. LUCIA: Whose Uncle Massimo s ginger boxes are they? HUGHIE: (resigned) Yours. Lucia picks up something to use as a pointer: LUCIA: Right, sit up straight. Fold your arms. Hughie obliges. LUCIA: Two and two? HUGHIE: Four. LUCIA: Three and two? HUGHIE: Five. LUCIA: Six and three? HUGHIE: Nine. I mean eight. No, nine I mean. LUCIA: Seven and five? HUGHIE: Eh Eh That s a hard one. LUCIA: It s not hard for all the other wee boys and girls. Is it boys and girls? Seven and five? Hughie starts counting on his fingers. LUCIA: Come on, come on, seven and five? HUGHIE: Seven and five? LUCIA: You heard. Pokes him with pointer. HUGHIE: Seven ADD ON five you mean? LUCIA: You heard.

28 Pokes him with pointer. Hughie trying to count on fingers, mouthing figures, gets to seven then to ten : Lucia makes him lose count: jabs him with her pointer. LUCIA: Too long! I can t spend all day with one child. I ve got all these other little children to see to as well you know. Little SCOTTISH boys and girls. I think they deserve some of teacher s time too. You should have done these sums last night, Franco. Why didn t you? HUGHIE: Eh, well, I forgot. LUCIA: Oh you forgot did you. Do you hear that, boys and girls, little Franco forgot. Sure you weren t too busy serving the shop? HUGHIE: No, miss. LUCIA: Or maybe you don t have pencils in your house. Or maybe you don t have a house. Have you got a house? HUGHIE: Yes, miss. LUCIA: No use telling fibs, now is it, Franco? We all know you live in a shop. Now don t laugh boys and girls. It s not Franco s fault he lives in a shop. HUGHIE: Twelve. LUCIA: Oh, so there s twelve of you living there. My oh my! Not all in the same bed I hope. Now stop laughing, boys and girls, it s not funny. HUGHIE: Seven and five is twelve. LUCIA: Oh, you re too late now. I don t know what you re doing in this class in the first place. A little ruffian like you. A sleekit little, greasy little, smelly little It s gone too far. Hughie jumps up, knocks away his ginger box. HUGHIE: I don t like this game. LUCIA: Well, I don t like it either.

29 Stimulus I And so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: We hold these truths to be self-evident, that all men are created equal. Stimulus J

30 Stimulus J Stimulus K Betrayal

31 Model Paper Questions - Character 1a. As an actor, consider a character in your drama who you think would be a challenge to portray and explain why. 1b. Describe the relationship this character has with one other character in your drama. 1c. Describe two rehearsal activities that could help establish and or/ develop the relationship you have just described, and explain why these would be helpful. 2a. Outline a character that you want your target audience to feel strongly about. Justify why you have chosen this character. 2b. Explain why you think your target audience would react strongly to this character Your explanations could refer to personality, purpose in the drama, relationships with other characters, status etc. You should justify your answer. 2c. Choose and describe an important moment in your drama where this character appears. Explain why you consider it to be an important moment for this character. 3a. Choose one other character from your drama who has a low status. Outline the main purpose of this character. 3b. As a director, explain how you would want an actor to use voice in order to portray this character s low status. 3c. As a director, explain how you would want an actor to use movement in order to portray his character s low status. 4a. Choose one character from your drama. Outline this character s personality and overall purpose in the drama. 4b. If you were to act this character, how would you communicate this personality to an audience, making reference to a range of performance concepts. 5a. Think about the main character in your drama. Describe this character s purpose in the drama. 5b. In what ways would you show an audience that this was the main character? (You may wish to consider acting techniques, theatre arts, status etc.)

32 Model Paper Questions Design/Mood and Atmosphere 1a. Choose and describe a key moment in your drama. Explain why you consider it to be a key moment. 1b. Think again about that key moment. As a designer, how would you use two production areas to highlight/enhance this key moment? Give reasons for each production area you have chosen. Use a blank page for any drawings/diagrams. 2a. What mood and atmosphere would you want to create in your opening scene of your drama? Give reasons for your choice. 2b. Think about two production areas that could help establish this mood and atmosphere. Describe how each production area could help achieve the mood/atmosphere you wish to create. 3a. Describe in detail the set the audience would see as your drama starts. 3b. How might you use theatre arts to make the set clear and interesting for an audience? You should give a detailed explanation of how you could use at least two theatre arts from the following list: Lighting; Sound; Props; Set Dressings. Justify your answer. 4a. As a designer, explain and justify how you would use two production areas to highlight your overall genre to an audience. A blank page is provided for any drawings/diagrams.

33 Model Paper Questions - General 1a. Describe a time period in which you would choose to set your drama and explain your choice. 1b. Think about the purpose or message of your drama. How will the plot and setting help to communicate this purpose or message? 1c. Name two conventions you would use in your drama, and, for each one, explain the advantage of using it. 2a. Who would you consider a suitable target audience for your drama? Give reasons for your answer. 2b. What emotional reaction(s) do you think this audience would have when watching your drama? 3. Give a brief outline of your drama indicating any changes to time and place. 4a. Conflict and tension are the essence of drama. Describe what the conflict and /or tension would be in your drama. 4b. As a director, in what ways could you help your actors understand this conflict and/or tension in rehearsal? 5. What form would your drama take? 6a. The director decides to end your drama with a tableau. Describe how the end of your drama could be turned into a tableau. 6b. Do you think a tableau at the end of your drama would be successful? Justify your answer.