SECTION A
Answer ALL questions that relate to the ONE performance text studied for examination
purposes. There are five questions in total for each performance text.
Text studied Question/Extract Page
A Doll’s House
...
SECTION A
Answer ALL questions that relate to the ONE performance text studied for examination
purposes. There are five questions in total for each performance text.
Text studied Question/Extract Page
A Doll’s House Questions 1a to 1c Go to page 3
Extract Go to page 5
An Inspector Calls Questions 2a to 2c Go to page 8
Extract Go to page 10
Antigone Questions 3a to 3c Go to page 13
Extract Go to page 15
Government Inspector Questions 4a to 4c Go to page 18
Extract Go to page 20
The Crucible Questions 5a to 5c Go to page 23
Extract Go to page 25
Twelfth Night Questions 6a to 6c Go to page 28
Extract Go to page 30
SECTION B
Questions 7a and 7b – Answer BOTH questions in
relation to ONE performance you have seen. Go to page 33
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SECTION A: BRINGING TEXTS TO LIFE
A Doll’s House, Henrik Ibsen (adapted by Tanika Gupta)
Answer ALL questions.
You are involved in staging a production of this play. Please read the extract on pages 5–7.
1 (a) There are specific choices in this extract for performers.
(i) You are going to play Dr Rank. Explain two ways you would use non-verbal
skills to play this character in this extract.
(4)
(ii) You are going to play Niru. She is frightened.
As a performer, give three suggestions of how you would use performance
skills to show this.
You must provide a reason for each suggestion.
(6)
(b) There are specific choices in this extract for a director.
(i) As a director, discuss how you would use one of the production elements
below to bring this extract to life for your audience.
You should refer to the context in which the text was created and
first performed.
Choose one of the following:
• costume
• set
• staging.
(9)
(ii) Das is being intimidating.
As a director, discuss how the performer playing this role might demonstrate
this to the audience in this extract and in the complete play.
You must consider:
• voice
• physicality
• stage directions and stage space.
(12)
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(c) There are specific choices in this extract for designers.
Discuss how you would use one of the design elements below to enhance the
production of this extract for the audience.
Choose one of the following:
• lighting
• props/stage furniture
• sound.
(14)
(Total for Question 1 = 45 marks)
TOTAL FOR SECTION A = 45 MARKS
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A Doll’s House, Henrik Ibsen (adapted by Tanika Gupta)
This play was first performed in 1879 at the Royal Theatre Copenhagen. This adaptation had its first
professional performance at the Lyric Theatre, Hammersmith in September 2019.
This extract is taken from Act 2, Scene 2.
Dr Rank I am not ashamed at all for what I’ve said. But, perhaps I should leave – and
never come back?
Niru Not at all. You must visit as always. Tom would miss you terribly.
Dr Rank What about you?
Niru I am always happy to see you.
Dr Rank You confuse me. I have often felt that you prefer my company to Tom’s. You
misled me.
Niru I think there are those people that you love and others that you would almost
rather be with.
Dr Rank I suppose there’s a truth in that.
Niru As a young girl, I loved my father the best, of course.
But any chance I got, I would slip into the maids’ quarters. I loved their company best
because they never lectured me, and they always talked about such interesting and
exciting things.
Dr Rank So, I’m like your maids? Charming!
Niru Oh, my dear, kind Dr Rank, I didn’t mean that. But you can see that being with Tom
is a little like being with my father.
Uma enters in a hurry.
Uma Memsahib . . .
Niru Uma-di?
Uma May I have a word?
Niru Of course.
Uma (whispers) There’s visitor for you – he left his card.
Uma hands over a card.
Niru Oh!
Dr Rank Anything wrong?
Niru No . . . no . . . it’s a surprise for Tom.
Dr Rank Was that your big secret that you needed my advice on?
Niru Yes, that was it. Just go in and see him, Doctor, will you? Keep him away for a bit.
Please?
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Dr Rank As you please. Dr Rank exits reluctantly.
Niru (urgent) Where is he?
Uma I told him you were busy, but he insisted. Said he wouldn’t go until he’d seen you.
Niru Uma-di. Don’t tell anyone he’s here. Please.
Uma Yes, Niru. Are you alright? You look . . . frightened.
Niru Don’t tell anyone but send him in.
Uma exits. The light fades a little as the sun sets. Niru paces anxiously.
Das enters.
Niru Mr Das. Why are you here?
Das You know I’ve been sacked?
Niru I tried my best. I pleaded your case but . . .
Das Doesn’t you husband care about you? He knows what I can do to you and yet he still . . .
Niru He doesn’t know anything.
Das Didn’t think he did. Most uncharacteristic of my old friend Mr Tom Helmer to show
such courage.
Niru Please try and show my husband some respect.
Das Like he’s shown me respect? Given your urge for secrecy, I take it you’re a little bit
clearer about how much trouble you’re in?
Niru Very clear. What do you want of me now?
Das Just wanted to see how you were. I’ve been thinking about you. Even a despicable
money lender like me has some empathy.
Niru Show your empathy then. Have pity on my young children.
Das Just as you and your husband have shown me and my children mercy. I won’t start
proceedings yet. Nobody needs to know. We can settle it between the three of us.
Niru I don’t want my husband to know.
Das Can you make good the debt?
Niru Not immediately.
Das Maybe you could get hold of some of the money in the next few days.
Niru I can’t.
Das Ha! To be honest, it wouldn’t be much help if you did. Even if you were standing
there with the money in your hands and more to spare, you still wouldn’t get back your
IOU from me now.
Niru What are you going to do with it?
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Das Keep it. I hope you’re not thinking about any desperate behaviour.
Like running away.
Or anything worse.
Niru How did you guess?
Das Most of us think of that to begin with. I did too but I was too cowardly to see it
through.
Niru I am too.
Das It would be a stupid thing to do. I have a letter in my pocket here to Mr Helmer.
Niru And you’ve told him everything?
Das Everything, in as diplomatic a way as possible.
Niru Tear it up. Please, don’t give him the letter. I’ll find the money somehow.
Das I’ve told you . . .
Niru I’m not talking about the debt, I’m asking you about how much money you’re
asking from my husband.
Das I don’t want his money.
Niru What is it you want – then?
Das I want a way out of my degraded life – to be respected. For the last eighteen
months I haven’t turned my hand to anything dishonest. It’s been a long hard road and I
was getting somewhere. I was a good clerk in the Tax Office, my work was praised. I was
climbing that ladder step by step.
This is what they do to us, Mrs Helmer.
Niru They?
Das The English. Oh they’re very nice to us when they need our help. When they want
us to do things for them. But the minute we ask for what is due to us – they invent some
scandal, or say that we are not worthy, not clever enough, sub-intelligent because of our
race.
Niru You’re blaming everyone except for yourself.
Das Sometimes, my children don’t eat at night. And I lay the blame entirely at their feet.
The English! They are demons. I want to get back in the office again in a higher position
and your husband will create a new post for me.
Niru He won’t do that.
Das I think he will. I know his sort. He’ll do anything to keep his name, to stay up there
on his high horse, looking down at all us dirty heathens. Within a year, I’ll rise through
the ranks, be his right-hand man and then it’ll be me, an Indian, calling the shots. He’ll do
whatever I tell him to do. You’ll see.
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SECTION A: BRINGING TEXTS TO LIFE
An Inspector Calls, J B Priestley
Answer ALL questions.
You are involved in staging a production of this play. Please read the extract on pages 10–12.
2 (a) There are specific choices in this extract for performers.
(i) You are going to play Sheila. Explain two ways you would use non-verbal
skills to play this character in this extract.
(4)
(ii) You are going to play the Inspector. He is controlling the interview.
As a performer, give three suggestions of how you would use performance
skills to show this.
You must provide a reason for each suggestion.
(6)
(b) There are specific choices in this extract for a director.
(i) As a director, discuss how you would use one of the production elements
below to bring this extract to life for your audience.
You should refer to the context in which the text was created and first
performed.
Choose one of the following:
• costume
• set
• staging.
(9)
(ii) Mrs Sybil Birling (Mrs B) is defensive.
As a director, discuss how the performer playing this role might demonstrate
this to the audience in this extract and in the complete play.
You must consider:
• voice
• physicality
• stage directions and stage space.
(12)
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(c) There are specific choices in this extract for designers.
Discuss how you would use one of the design elements below to enhance the
production of this extract for the audience.
Choose one of the following:
• lighting
• props/stage furniture
• sound.
(14)
(Total for Question 2 = 45 marks)
TOTAL FOR SECTION A = 45 MARKS
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An Inspector Calls, J B Priestley
This play had its first performance at the Kamerny Theatre, Moscow in 1945.
The first performance in Britain was at the New Theatre, London in October 1946.
This extract is taken from Act Two.
BIRLING Is there any reason why my wife should answer
questions from you, Inspector?
INSPECTOR Yes, a very good reason. You’ll remember that Mr
Croft told us – quite truthfully, I believe – that he
hadn’t spoken to or seen Eva Smith since last
September. But Mrs Birling spoke to and saw her
only two weeks ago.
SHEILA (astonished) Mother!
BIRLING Is this true?
MRS B. (after a pause) Yes, quite true.
INSPECTOR She appealed to your organization for help?
MRS B. Yes.
INSPECTOR Not as Eva Smith?
MRS B. No. Nor as Daisy Renton.
INSPECTOR As what then?
MRS B. First, she called herself Mrs Birling—
BIRLING (astounded) Mrs Birling!
MRS B. Yes, I think it was simply a piece of gross
impertinence — quite deliberate — and naturally that was one
of the things that prejudiced me against her case.
BIRLING And I should think so! Damned impudence!
INSPECTOR You admit being prejudiced against her case?
MRS B. Yes.
SHEILA Mother, she’s just died a horrible death — don’t forget.
MRS B. I’m very sorry. But I think she had only herself to
blame.
INSPECTOR Was it owing to your influence, as the most
prominent member of the committee, that help
was refused the girl?
MRS B. Possibly.
INSPECTOR Was it or was it not your influence?
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MRS B. (stung) Yes, it was. I didn’t like her manner. She’d
impertinently made use of our name, though she
pretended afterwards it just happened to be the
first she thought of. She had to admit, after I began
questioning her, that she had no claim to the
name, that she wasn’t married, and that the story
she told at first — about a husband who’d deserted
her — was quite false. It didn’t take me long to get
the truth — or some of the truth — out of her.
INSPECTOR Why did she want help?
MRS B. You know very well why she wanted help.
INSPECTOR No, I don’t. I know why she needed help. But as I
wasn’t there, I don’t know what she asked from
your committee.
MRS B. I don’t think we need discuss it.
INSPECTOR You have no hope of not discussing it, Mrs Birling.
MRS B. If you think you can bring any pressure to bear
upon me, Inspector, you’re quite mistaken. Unlike
the other three, I did nothing I’m ashamed of or
that won’t bear investigation. The girl asked for
assistance. We were asked to look carefully into
the claims made upon us. I wasn’t satisfied with
the girl’s claim — she seemed to me to be not a
good case — and so I used my influence to have it
refused. And in spite of what’s happened to the
girl since, I consider I did my duty. So if I prefer
not to discuss it any further, you have no power to
make me change my mind.
INSPECTOR Yes I have.
MRS B. No you haven’t. Simply because I’ve done nothing
wrong — and you know it.
INSPECTOR (very deliberately) I think you did something terribly
wrong — and that you’re going to spend the rest of
your life regretting it. I wish you’d been with me
tonight in the Infirmary. You’d have seen—
SHEILA (bursting in) No, no, please! Not that again. I’ve
imagined it enough already.
INSPECTOR (very deliberately) Then the next time you imagine
it, just remember that this girl was going to have a
child.
SHEILA (horrified) No! Oh — horrible — horrible! How
could she have wanted to kill herself?
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INSPECTOR Because she’d been turned out and turned down
too many times. This was the end.
SHEILA Mother, you must have known.
INSPECTOR It was because she was going to have a child that
she went for assistance to your mother’s committee.
BIRLING Look here, this wasn’t Gerald Croft—
INSPECTOR (cutting in, sharply) No, no. Nothing to do with
him.
SHEILA Thank goodness for that! Though I don’t know
why I should care now.
INSPECTOR (to MRS BIRLING) And you’ve nothing further to tell
me, eh?
MRS B. I’ll tell you what I told her. Go and look for the
father of the child. It’s his responsibility.
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SECTION A: BRINGING TEXTS TO LIFE
Antigone, Sophocles (adapted by Roy Williams)
Answer ALL questions.
You are involved in staging a production of this play. Please read the extract on pages 15–17.
3 (a) There are specific choices in this extract for performers.
(i) You are going to play Antigone (Tig). Explain two ways you would use
non-verbal skills to play this character in this extract.
(4)
(ii) You are going to play Creo. He is defensive.
As a performer, give three suggestions of how you would use performance
skills to show this.
You must provide a reason for each suggestion.
(6)
(b) There are specific choices in this extract for a director.
(i) As a director, discuss how you would use one of the production elements
below to bring this extract to life for your audience.
You should refer to the context in which the text was created and
first performed.
Choose one of the following:
• costume
• set
• staging.
(9)
(ii) Tyrese is being truthful.
As a director, discuss how the performer playing this role might demonstrate
this to the audience in this extract and the complete play.
You must consider:
• voice
• physicality
• stage directions and stage space.
(12)
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(c) There are specific choices in this extract for designers.
Discuss how you would use one of the design elements below to enhance the
production of this extract for the audience.
Choose one of the following:
• lighting
• props/stage furniture
• sound.
(14)
(Total for Question 3 = 45 marks)
TOTAL FOR SECTION A = 45 MARKS
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Antigone, Sophocles (adapted by Roy Williams)
This play was first performed around 440 BC in the Theatre of Dionysus. This adaptation had
its first professional performance at the Derby Theatre in September 2014.
This extract is taken from scene nine.
Tig You’re jokers and a half, Did you know that? You nuttin but bastards, the
lot of yer, sick idle bastards! Are you having fun? Having a good time at the
way we are carrying on? Who’s displeasing you the most right now, Creo or me?
Or do you not even care? You can’t, you can’t care. You would have done
something by now, not just me, but everyone, you can see what’s going on,
how people are living. You don’t care, so why should I business about you? Cos
I don’t. I didn’t do it in your name, let’s make that clear. I am of my own
mind, I did it for me, not because you would let me go otherwise, you’d make
Creo see, before it’s too late, then you would let me go, let me get on with my
life, you would! You would. Wouldn’t you? Waiting? Why? Why me, why do I
have to die as well? My mum and dad weren’t enough for you, so you took my
brothers, was that supposed to be funny, rub my nose in it? So what am I, for
good measure? Probably just as well cos if Creo let me go, I would have gone
after you lot as well, believe me, I would gone to town on you, tell everyone
how it is, our beloved gods! Who’s up next in the firing line, Esme? She’s not as
weak as you think. She’ll fight you. Dead me, and I promise you she will fight.
Them people, they are tougher than you think. They will see the light soon
enough one day. And when they do, yer done.
Tyrese enters, being led in by a young boy. Creo returns from the bar.
Creo Tyrese! You dat? Come on in, you wurtless old fart!
Tyrese Look pon me now Creo, how one can see for two. Boy, set me down here.
Creo Man, are you a sight.
Tyrese Sight? You mek joke?
Creo To you? Nuh man, no, never! I’m glad yer here, man.
Tyrese You called, so I come.
Creo You have to help me.
Tyrese I know. That is the only why I came.
Creo Back in the day, you was a soldier, you saw shit, you did shit, you know
what it means to stand tall, get respect, lay down the law on people.
Tyrese I did.
Creo Everything I do, I learn from brers like you, you
understand, yeah?
Tyrese I do.
Creo You lose your eyes for what you believ
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