AQA GCSE Drama Paper W June 2024 question paper

B Theatre in the Round C Proscenium Arch

A Centre stage B Downstage right C Upstage left

A All of the audience have a similar view of the action. B The audience feels more involved as they are closer to the action. C Backdrops can be used, as there is no audience on one side of the stage.

The Crucible

Read the following extract and answer Question 5 on page 7.

From Act One

Hale Abigail, what sort of dancing were you doing with her in the forest? Abigail Why – common dancing is all. Parris I think I ought to say that I – I saw a kettle in the grass where they were dancing. Abigail That were only soup. Hale What sort of soup were in this kettle, Abigail? Abigail Why, it were beans – and lentils, I think, and – Hale Mr Parris, you did not notice, did you, any living thing in the kettle? A mouse, perhaps, a spider, a frog –? Parris (fearfully) I – do believe there were some movement – in the soup. Abigail That jumped in, we never put it in! Hale (quickly) What jumped in? Abigail Why, a very little frog jumped – Parris A frog, Abby! Hale (grasping ABIGAIL) Abigail, it may be your cousin is dying. Did you call the Devil last night? Abigail I never called him! Tituba, Tituba … Parris (blanched) She called the Devil? Hale I should like to speak with Tituba. Parris Goody Ann, will you bring her up? (MRS PUTNAM exits)

MRS PUTNAM enters with TITUBA, and instantly ABIGAIL points at TITUBA. Abigail She made me do it! She made Betty do it! Tituba (shocked and angry) Abby! Abigail She makes me drink blood! Parris Blood!!

Question 5: The Crucible

Read the extract on page 6. Answer parts 05.1, 05.2 and 05.3. Then answer either part 05.4 or 05.5.

Question 5

0 5. 1 You are designing a setting for a performance of this extract.

The setting must reflect the context of The Crucible, set in a Puritan community in the late 17th century. Describe your design ideas for the setting.

You are performing the role of Hale.

Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create.

‘ (grasping Abigail) Abigail, it may be your cousin is dying. Did you call the Devil last night?’

You are performing the role of Hale.

Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Abigail to show the audience Hale’s determination to get the truth.

And either

You are performing the role of Abigail.

Describe how you would use your acting skills to interpret Abigail’s character.

Explain why your ideas are appropriate for:

this extract

the performance of your role in the play as a whole.

Blood Brothers

Read the following extract and answer Question 6 on page 9.

From Act One

MRS JOHNSTONE hums a few bars of the song, and dances a few steps, as she makes her way to her place of work – MRS LYONS’ s house. During the dance she acquires a brush, dusters and a mop bucket. MRS LYONS’ s house, where MRS JOHNSTONE is working. MRS LYONS enters carrying a parcel. Mrs Lyons Hello, Mrs Johnstone, how are you? Is the job working out all right for you?

Mrs Lyons Actually, Mrs J, we bought such a large house for the – for the children – we thought children would come along. Mrs Johnstone Well, y’ might still be able to … Mrs Lyons No, I’m afraid … We’ve been trying for such a long time now … I wanted to adopt but … Mr Lyons is … well, he says he wanted his own son, not someone else’s. Myself, I believe that an adopted child can become one’s own. Mrs Johnstone Ah yeh … yeh. ’Ey, it’s weird though, isn’t it? Here’s you can’t have kids, an’ me, I can’t stop havin’ them. Me husband used to say that all we had to do was shake hands and I’d be in the club. He must have shook hands with me before he left. I’m havin’ another one, y’ know. Mrs Lyons Oh, I see … Mrs Johnstone Oh but look, look, it’s all right, Mrs Lyons, I’ll still be able to do me work. Havin’ babies, it’s like clockwork to me. I’m back on me feet an’ workin’ the next day, y’ know. If I have this one at the weekend I won’t even need to take one day off. I love this job, y’ know. We can just manage to get by now –

Question 6: Blood Brothers

Read the extract on page 8. Answer parts 06.1, 06.2 and 06.3. Then answer either part 06.4 or 06.5.

Question 6

0 6. 1 You are designing a costume for Mrs Johnstone to wear in a performance of this extract.

The costume must reflect the context of Blood Brothers, set in a Liverpudlian community in the 1950s. Describe your design ideas for the costume.

You are performing the role of Mrs Johnstone.

Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create.

‘Oh but look, look, it’s all right, Mrs Lyons, I’ll still be able to do me work.’

You are performing the role of Mrs Johnstone.

Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Mrs Lyons to show the audience Mrs Johnstone’s fear.

And either

You are performing the role of Mrs Lyons.

Describe how you would use your acting skills to interpret Mrs Lyons’ character

Explain why your ideas are appropriate for:

this extract

the performance of your role in the play as a whole.

You are performing the role of Captain Von Darius.

Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create.

‘No! Out of the question – such a long journey with such a little boat? And at this time of year?’

You are performing the role of Captain Von Darius.

Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Fogg to show the audience the Captain’s changing response to Fogg’s request.

And either

You are performing the role of Fogg.

Describe how you would use your acting skills to interpret Fogg’s character.

Explain why your ideas are appropriate for:

this extract

the performance of your role in the play as a whole.

Things I Know To Be True

Read the following extract and answer Question 8 on page 13.

From Winter

what’s just been inelegantly revealed.

Bob And I put my foot in it. Mark You did, Dad, yeah. Bob Are you telling us that you’re one of those men who wants to be a woman? Mark That’s the gist of it. Bob Is it that you like to put on women’s clothing in the privacy of your own home because there was Uncle Trevor on my mother’s side or are you talking about the whole shebang here? Mark Okay. This is something that I have known about myself for many years. It is something I have fought and hidden. It has made me very unhappy. And it has cost me a relationship with a woman I loved very much. Fran Well, you can understand her point of view. Mark Yes, Mum. I can. Taylor’s point of view is very clear. But right now we’re talking about mine… This is hard, you know.

Question 8: Things I Know To Be True

Read the extract on page 12. Answer parts 08.1, 08.2 and 08.3. Then answer either part 08.4 or 08.5.

Question 8

0 8. 1 You are designing a costume for Mark to wear in a performance of this extract.

The costume must reflect the context of this scene in Things I Know to Be True, set in a contemporary working-class Australian suburb. Describe your design ideas for the costume.

You are performing the role of Mark.

Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create.

‘Okay. This is something that I have known about myself for many years. It is something I have fought and hidden.’

You are performing the role of Mark.

Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Fran to show the audience Mark’s anger.

And either

You are performing the role of Fran.

Describe how you would use your acting skills to interpret Fran’s character.

Explain why your ideas are appropriate for:

this extract

the performance of your role in the play as a whole.

Noughts & Crosses

Read the following extract and answer Question 9 on page 15.

From Act One, Scene Six

The dining hall melts away, leaving CALLUM alone. Callum (to audience). I walked out of the food hall and out of the building and out of the school, my steps growing ever faster and more frantic – until by the time I was out of the school I was running. Running until my back ached and my feet hurt and my heart was ready to burst and still I kept running. I ran all the way out of the town and down to the beach. CALLUM collapses on the sand and punches his bag, over and over. (Shouting.) SEPHY! SEPHY! SEPHY! SEPHY approaches. She stares at CALLUM , full of anger. Sephy Turning your back on me like that. Some best friend.

Callum (to audience). Why had my life suddenly become so complicated? For the last year all I could ever think about was going to school. Sephy’s school. I was so busy concentrating on getting into Heathcroft that I didn’t give any thought to what it’d be like when I actually got there.

Question 9: Noughts & Crosses

Read the extract on page 14. Answer parts 09.1, 09.2 and 09.3. Then answer either part 09.4 or 09.5.

Question 9

0 9. 1 You are designing a costume for Sephy to wear in a performance of this extract.

The costume must reflect the conventions of contemporary dystopian theatre used in Noughts & Crosses. Describe your design ideas for the costume.

You are performing the role of Sephy.

Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create.

‘You’re a snob, Callum. And I never realised it until now. I thought you were better than that.’

You are performing the role of Sephy.

Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Callum to show the audience Sephy’s anger.

And either

You are performing the role of Callum.

Describe how you would use your acting skills to interpret Callum’s character.

Explain why your ideas are appropriate for:

this extract

the performance of your role in the play as a whole.

Romeo and Juliet

Read the following extract and answer Question 10 on page 17.

From Act Two, Scene Four

Question 10: Romeo and Juliet

Read the extract on page 16. Answer parts 10.1, 10.2 and 10.3. Then answer either part 10.4 or 10.5.

Question 10

1 0. 1 You are designing a costume for Juliet to wear in a performance of this extract.

The costume must reflect the context of Romeo and Juliet, set in late 16th century Verona. Describe your design ideas for the costume.

You are performing the role of Juliet.

Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create.

‘No, no. But all this did I know before. What says he of our marriage? What of that?’

You are performing the role of Juliet.

Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing the Nurse to show the audience Juliet’s impatience.

And either

You are performing the role of the Nurse.

Describe how you would use your acting skills to interpret the Nurse’s character

Explain why your ideas are appropriate for:

this extract

the performance of your role in the play as a whole.

A Taste of Honey

Read the following extract and answer Question 11 on page 19.

From Act One, Scene One

Question 11: A Taste of Honey

Read the extract on page 18. Answer parts 11.1, 11.2 and 11.3. Then answer either part 11.4 or 11.5.

Question 11

1 1. 1 You are designing a costume for Peter to wear in a performance of this extract.

The costume must reflect the context of A Taste of Honey, set in working-class Salford in the late 1950s. Describe your design ideas for the costume.

You are performing the role of Peter.

Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create.

‘ … blow a few of those cobwebs out of your head. You can’t afford to lose a man like me.’

You are performing the role of Peter.

Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Helen to show the audience Peter’s relationship with Helen.

And either

You are performing the role of Helen.

Describe how you would use your acting skills to interpret Helen’s character.

Explain why your ideas are appropriate for:

this extract

the performance of your role in the play as a whole.

The Empress

Read the following extract and answer Question 12 on page 21.

From Act One: 1887, Scene Eleven

Question 12: The Empress

Read the extract on page 20. Answer parts 12.1, 12.2 and 12.3. Then answer either part 12.4 or 12.5.

Question 12

1 2. 1 You are designing a costume for Abdul to wear in a performance of this extract.

The costume must reflect the context of The Empress, set in the last fourteen years of Queen Victoria’s rule. Describe your design ideas for the costume.

You are performing the role of Abdul.

Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create.

‘Ma’am, I am keen to communicate the news to my father in Agra … he is an old man now …’

You are performing the role of Abdul.

Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Queen Victoria to show the audience Abdul’s growing frustration.

And either

You are performing the role of Queen Victoria.

Describe how you would use your acting skills to interpret Queen Victoria’s character.

Explain why your ideas are appropriate for:

this extract

the performance of your role in the play as a whole.

The Great Wave

Read the following extract and answer Question 13 on page 23.

From Part One

Etsuko I think about the life she might have had. The things we might have done. She’d have driven me crazy I’m sure. Boyfriends I’d disapprove of. The way she’d always change her mind at the last minute. Her stubbornness. (Becoming upset.) Her smile. How kind she could be. I think about all the arguments we’d have had. (Laughs.) All the times we’d have made up. REIKO is deeply affected by what ETSUKO is saying. Etsuko The thought that she’d be a woman now. Pause. But you. There’s still a chance. I’d like to see you do something other than this. Reiko I have to. Putting up these posters is what I’m meant to do. HANAKO goes and sits down at the table. Etsuko Please don’t waste your life. Reiko I’m not. Etsuko It’s been six years. I want you to be happy. Darling. I want that more than anything. REIKO wipes her eyes. She can’t look at her mother. Long pause. Etsuko Let her go.

Question 13: The Great Wave

Read the extract on page 22. Answer parts 13.1, 13.2 and 13.3. Then answer either part 13.4 or 13.5.

Question 13

1 3. 1 You are designing a costume for Reiko to wear in a performance of this extract.

The costume must reflect the context of The Great Wave, set in Japan in the mid-1980s. Describe your design ideas for the costume.

You are performing the role of Reiko.

Describe how you would use your vocal and physical skills to perform the line below and explain the effects you want to create.

‘I have to. Putting up these posters is what I’m meant to do.’

You are performing the role of Reiko.

Focus on the shaded part of the extract. Explain how you might use the performance space and interact with the actor playing Etsuko to show the audience Reiko’s regrets.

And either

You are performing the role of Etsuko.

Describe how you would use your acting skills to interpret Etsuko’s character.

Explain why your ideas are appropriate for:

this extract

the performance of your role in the play as a whole.

Analyse and evaluate how successful they were in bringing their character to life for the audience.

You could make reference to:

• vocal skills, for example, pitch, pace and tone of voice

• physical skills, for example, body language and facial expression

• a scene or section and/or the production as a whole.

Analyse and evaluate how successful the costume design was in communicating key ideas for the audience.

You could make reference to:

• materials, style, cut and fit

• colour, texture and condition

• a scene or section and/or the production as a whole.

Analyse and evaluate how successful either the lighting or sound design was in creating memorable moments for the audience.

Lighting – you could make reference to:

• colour, intensity, angle and focus

• any special effects

• a scene or section and/or the production as a whole.

Sound – you could make reference to:

• volume, direction and amplification

• live or recorded sound

• a scene or section and/or the production as a whole.