Pearson Edexcel Level 1 /Level 2 GCSE (9-1 ) Time 1 hour 45 minutes Drama COMPONENT 3: Paper reference 1 DRO/3B Theatre Makers in Practice

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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 100 Questions 1a to 1c Go to page 3 Extract Go to page 5 1984 Questions 2a to 2c Go to page 8 Extract Go to page 10 Blue Stockings Questions 3a to 3c Go to page 13 Extract Go to page 15 DNA Questions 4a to 4c Go to page 19 Extract Go to page 21 The Free9 Questions 5a to 5c Go to page 24 Extract Go to page 26 Gone Too Far! Questions 6a to 6c Go to page 29 Extract Go to page 31 SECTION B Questions 7a and 7b – Answer BOTH questions in relation to ONE performance you have seen. Go to page 34  3 Turn over P73610A SECTION A: BRINGING TEXTS TO LIFE 100, Diene Petterle, Neil Monaghan and Christopher Heimann 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 the Guide. Explain two ways you would use non-verbal skills to play this character in this extract. (4) (ii) You are going to play Alex. He doesn’t know how to choose. 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) Nia realises what she must do. 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)  4 P73610A (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  5 Turn over P73610A 100, Diene Petterle, Neil Monaghan and Christopher Heimann. This play had its first performance at the Soho Theatre, London in February 2003. This extract is taken from the final section of the play. Guide Things would be a little impractical if we were all towering geniuses. (Pushing ALEX.) Besides, how would the world survive without its fools? We always need someone to make fun of. 75, 76, 77 . . . Alex (fighting back) Hey, I’m doing the best I can, alright?! A slight pause. Nia (a sudden thought) That’s right! The other two turn to look at her. Why does it matter . . . that our memories aren’t earthshattering? (Realising.) The things that were really important to me weren’t like that . . . They were . . . tiny . . . almost insignificant. Things no one else ever saw. Alex Like what? Nia Remember the time we had that totally pointless row in the middle of Regent’s Park? Suddenly we both realised how stupid we were being . . . and then I felt your hand, so warm . . . and we just hugged. Alex Is that enough for you? Would you want to live eternity in that moment? Guide Be thankful you have even that! Alex What? Guide (mysteriously) Nothing. Alex (to SOPHIE) Won’t we get bored of it? Guide It doesn’t work like that. As I understand it, it’s a sort of loop . . . new to you every time. Nia (to ALEX) So what are we going to do? Guide Choose . . . you must choose quickly! Alex Why so quickly? Guide Because . . . it all decays! All your precious memories . . . everything you are . . . everything you think you are . . . you cannot hang on to it . . . it fades . . . until there is just a vague smudge of what you were. Choose, while it is still real to you! 5 10 15 20 25 30  6 P73610A They look at the GUIDE who appears very anxious. ALEX looks at NIA. Alex I never took the time to think about us. Nia What’s there to think about . . . it’s a feeling. Alex . . . She concentrates on the thought. When I met you I thought you were a sexy guy . . . and maybe you’d . . . (Quoting him.) ‘be the one’. I never actually decided you were the love of my life. (She smiles.) But it seems you were. ALEX smiles. Alex I don’t know what to choose. There are just too many things . . . Nia I know! I remember my favourite Sunday. Alex You have a favourite Sunday? Nia It was the day after the carnival. Alex Yes, of course . . . (Recalling.) I’d got very drunk . . . Nia Margaritas at that Salsa club . . . Shall I choose for us? Alex Am I going to be spending eternity with a hangover? Nia You were OK. Alex (warmly) OK. (Affirmatively.) OK, let’s do it! The lights slowly change. Nia’s memory Nia I remember . . . It was a Sunday afternoon in my bedroom. I was sharing with that ageing socialist and his hippy wife at the time. ALEX lies down. Alex Yeah, and wafting up from the kitchen there’s a smell of that awful mung bean broth they insist on making. NIA lies down. Nia I open my eyes . . . it’s bright out . . . we haven’t left the bed all day. Pause. A ticking clock. The atmosphere is very lazy. Nia Hey you . . . don’t I get any of the bed? (She pushes ALEX to the side.) 35 40 45 50 55 60 65  7 Turn over P73610A Alex It’s not my fault, this thing was built for midgets. Pause. A ticking clock. Nia What do you want to do today? Alex (enjoying being in bed) I’m already doing it. NIA gets up and crosses the room. Nia Yes . . . NIA opens a window. We hear birdsong outside. NIA breathes in the fresh air, before returning to ALEX. Let’s do absolutely nothing. NIA drops into ALEX’s lap. Alex Good. Nia Good. A pause. The clock ticks, birds sing. (Narrates.) And somewhere in the haze of that utterly lazy afternoon . . . it was all there. Sound of heartbeat. I can feel your heartbeat . . . and my own. Second heartbeat joins the first. (Narrates.) And then you said it so quietly . . . as if I wasn’t meant to hear . . . Like it’s a thought you’d accidentally said aloud. Alex (whispers) I love you. Nia I love you. Sound of heartbeat. The camera flashes. Blackout. 70 75 80 85 90  8 P73610A SECTION A: BRINGING TEXTS TO LIFE 1984, George Orwell, Robert Icke and Duncan Macmillan 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 Charrington. Explain two ways you would use non-verbal skills to play this character in this extract. (4) (ii) You are going to play Winston. He becomes emotional. 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) Julia is excited. 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)  9 Turn over P73610A (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  10 P73610A 1984, George Orwell, Robert Icke and Duncan Macmillan This play had its first performance at Nottingham Playhouse in September 2013. This extract is taken from the middle section of the play. We’re back in the antique shop. CHARRINGTON moves to the cord and pulls it: the lights illuminate. CHARRINGTON The one place in the world where the past still exists. My shop. Antiques. As was, anyway: no-one wants old things any more. There’s another room in the back. Not even a telescreen in there: never bothered. WINSTON No telescreen? CHARRINGTON It’s just for storage, now, after all. There’s a little yard too. It’s ragged, but it’s discreet. Used to be our garden. Are you alright? WINSTON Yes. I’ve / been here before CHARRINGTON You’ve been here before. Bought the / diary. WINSTON Keepsake album. , CHARRINGTON I’ll rent it to you for very little. The room. If you need somewhere. Everyone needs a bit of privacy sometimes. WINSTON looks around. , WINSTON Yes. Yes I’d like that. Thank you. CHARRINGTON Follow me then and we’ll settle up. No paperwork. No need to leave records. CHARRINGTON gestures to the cupboard as before. You’ll do with a light. It’s just through there. Along the corridor. It’s the only door. WINSTON opens the cupboard door, which now opens onto a corridor. He walks through the door. CHARRINGTON calls after him. 5 10 15 20 25 30  11 Turn over P73610A Those pictures in there were wedding presents. Couldn’t bear to part with them. And there’s a bed. All antiques. Keep hold of that key and you can come and go as it suits you. WINSTON enters a small room full of beautiful antiques. Old furniture, a threadbare carpet, peeling walls. A bed. WINSTON Thank you. He looks out of the window. He jumps on the bed. No mics. No telescreen! He looks up and sees JULIA, smiling. JULIA The size of the bed. For two people at once! I’ve got a surprise. Here. She unloads a toolbox. Concealed in the base of it are various tins and paper packets which she throws to WINSTON. Fresh bread. Jam. Milk. Real sugar! WINSTON How did you — JULIA Tea. There’s been a lot of it about lately. They’ve captured India or something. He tickles her, she laughs and wriggles free. And this is the one I’m most proud of! She holds a package to WINSTON’s face. Real coffee from the Inner Party! TWO bags of — She holds up a second bag, and coffee grains pour out. They’ve chewed right through the paper! The city’s swarming with rats. They’re everywhere. WINSTON (Quietly.) Stop it. JULIA When hungry or agitated, rats can strip all the flesh from a human face in a matter of minutes. They show astonishing intelligence in knowing when someone is helpless. WINSTON (Louder.) Stop it stop it can you please stop it please please stop! WINSTON is breathing heavily. He’s trying not to vomit. JULIA What? Winston, what? 35 40 45 50 55 60 65  12 P73610A WINSTON Anything but rats. Anything. JULIA moves towards him and he flinches. JULIA Winston. You’re shaking. She puts her arms around him, cradling his head. WINSTON Anything. Anything but rats. Anything but rats. Please. Please. Anything. JULIA Look at me. They won’t come in here. I’ll plaster up every crack if necessary. We’re alright here. We’re alone. We’re safe. She sings to him, softly. ‘Oranges and lemons’, say the bells of St. Clement’s. ‘You owe me three farthings’ say the bells of St Martins. ‘When will you pay me?’ say the bells of Old Bailey. WINSTON That song… JULIA I’ve seen oranges. They’re a kind of fruit with a thick skin. I wonder what a lemon was. WINSTON How do you know that song? JULIA I’ve always known it. WINSTON But I didn’t show you did I? The object, the — you weren’t with me when — JULIA My grandfather sang it to me. WINSTON Your grandfather? JULIA Yes. WINSTON What else did / he — ? JULIA He was unpersoned when I w [Show More]

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