Free Pearson Edexcel GCSE Drama (1DR0) Exam Questions and Answers

An Inspector Calls, J. B Priestley. You are involved in staging a production of this play. Please read the extract on pages 12–13. There are specific choices in this extract for performers. You are going to play Eric. Explain two ways you would use physical skills to play this character in this extract.

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An Inspector Calls, J. B Priestley. You are involved in staging a production of this play. Please read the extract on pages 12–13. There are specific choices in this extract for performers. You are going to play Sheila. She feels guilty about the death of Eva Smith, known as Daisy Renton. As a performer, give three suggestions of how you would use performance skills to show this. You must provide a reason for each suggestion.

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An Inspector Calls, J. B Priestley. You are involved in staging a production of this play. Please read the extract on pages 12–13. There are specific choices in this extract for performers. There are specific choices in this extract for a director. 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: • staging • costume • sound.

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An Inspector Calls, J. B Priestley. You are involved in staging a production of this play. Please read the extract on pages 12–13. There are specific choices in this extract for performers. Gerald questions the Inspector’s identity. 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.

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An Inspector Calls, J. B Priestley. You are involved in staging a production of this play. Please read the extract on pages 12–13. There are specific choices in this extract for performers. 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 • set.

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The Crucible, Arthur Miller. You are involved in staging a production of this play. Please read the extract on pages 22–23. 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 • set.

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DNA, Dennis Kelly. You are involved in staging a production of this play. Please read the extract on pages 26–28. There are specific choices in this extract for performers. You are going to play Leah. Explain two ways you would use physical skills to play this character in this extract.

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DNA, Dennis Kelly. You are involved in staging a production of this play. Please read the extract on pages 26–28. There are specific choices in this extract for performers. You are going to play Brian. He doesn’t understand the ‘experiment’. As a performer, give three suggestions of how you would use performance skills to show this. You must provide a reason for each suggestion.

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DNA, Dennis Kelly. You are involved in staging a production of this play. Please read the extract on pages 26–28. There are specific choices in this extract for a director. 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: • staging • costume • sound.

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DNA, Dennis Kelly. You are involved in staging a production of this play. Please read the extract on pages 26–28. There are specific choices in this extract for a director. Phil says, ‘I’m in charge’. 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.

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