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Exam help, Year 13

Timings for the Mock Exam (and real thing!)

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Here is some essential information about the written exam.

Timing advice

Overall length – 3 hours / 180 minutes [unless you have extra time!]

Overall marks = 80

Suggested time allocation:

Section A: [On the set text ‘The Servant of Two Masters’]

Do ONE question from a choice of two.

Suggested time: 50 mins (5 mins planning and 45 writing)

Total Marks = 25

Focus can be Actor / Director / Designer [you can’t do the designer question as we haven’t covered it in class]

Section B: [On the set text ‘Metamorphosis’]

3 compulsory questions all worth 10 marks EACH based on the extract given you in the INSERT booklet.

Each question focuses on a GIVEN extract with Line numbering. ACTING, DIRECTING & DESIGN are covered (*a labelled diagram for the DESIGN Q is usually expected.)

Tackle in any order BUT put Question number in margin

60 mins writing (20 mins per question

+ 10 mins reading, marking up and planning question.)

Total Marks = 30

Section C: [LIVE Theatre production]

Do ONE question from a choice of FOUR

Suggested time: 50 mins (5 mins planning and 45 writing)

Total Marks = 25

Focus can be Actor / Director / Designer [you can’t do the designer question as we haven’t covered it in class]

5 mins left to check your work – correct errors – check sense.

Section C: [‘Live Theatre Production’]

Do ONE question from a choice of FOUR.

Suggested time: 50 mins (5 mins planning and 45 writing)

Total Marks = 25

Focus is on describing a production from the point of view of either a Performer / Designer or Director

REMEMBER TO READ THE QUESTION AT LEAST TWICE – this allows you to rest your hand!

Remember to PLAN the longer essay-style questions (5 min plans)

Berkoff answers: you have 10 mins to read, mark up and plan your answer.

Remember to RE-READ your work after EACH paragraph to check you are still answering the question.

Commedia-Servant, Exam help, Year 13

Performer focused questions

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Examiner’s say the Indicative content for a performer focused question could include [remember you wouldn’t be expected to cover it all!!]

  • physical appearance, age, height, build, colouring, facial features
  • vocal qualities, pitch, pace, tone, accent
  • delivery of specific lines: interaction with others, eye contact, spatial relationships, physical contact
  • use of space
  • Their relationship with other KEY characters
  • movement, gesture, gait, posture, energy, demeanour and facial expressions
  • style/use of costume/make-up; of props and accessories
  • specific performance ideas clearly calculated to reveal the specified interpretation in key scenes.

SAMPLE PERFORMER QUESTIONS

Acting style questions:

Activity #1 Read and discuss what the difference between these types of question are?

  1. As a performer, discuss how you would perform the role of XXXX in two sections of the play in order to convey your interpretation of the character to the audience. You must make specific reference to the social, cultural and/or historical context of So2M in your answer.
  2. As a performer, discuss the comic effects you would wish to create through your presentation of XXXX. How would you perform the role in at least two sections in order to achieve your aims? You must make specific reference to the social, cultural and/or historical context of So2M in your answer.

Activity #2 [With you allocated character]

THINK – PAIR – SHARE

What stock character(s) do they fall into?

How would you play him? (age, appearance, costume, prop)

Where’s your character from?

Your interpretation – using Social and Historic CONTXT to JUSTIFY

How would they MOVE and SPEAK? (overview – most of the time.)

Activity #3

Write an introduction paragraph that would go AFTER the GENERIC ONE.

What other Pearls of Wisdom (Historic, Social, Cultural) can you think of to work into your answer?

Characters to cover: Brighella, Smeraldina, Beatrice/Federigo, Florindo,

Activity #4

Make a plan of the 2-3 ‘GO TO’ scenes that would give COMPLETE answer.

Activity #5

Write 2 para graphs (samples)

One from EACH section you have chosen.

You can do this either

  1. Individually
  2. As a small group with ONE scribe but everyone contributing ideas and sentences.

This will be written up in an ICT Room and made available to EVERYONE on the STUDENT SHARED AREA. {so make it your best effort – logical structure, quotes, occasional Pearls of Wisdom and LOTS of acting terminology}

Activity # 6

You present your Introduction to the class as a lecture.

Someone speaking / reading and the other(s) acting out

Commedia-Servant, Exam help, Year 13

Comedy Question – sample

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Below is a sample question about COMEDY and an example pf 1 Introduction and 1 paragraph EACH for the 2 sections that the question calls for.

As a director or designer, discuss the production methods you would employ in order to create comedy in at least two sections of the play. You must make specific reference to the social, cultural and/or historical context of So2M in your answer.

INTODUCTION

Although Goldoni tried to ‘reform’ the tired and fantastical elements of Commedia, his 1745 play ‘The Servant to 2 Masters’ (So2M) is still full of physical routines, humourous beatings and polished, character-driven ‘lazzos’. These were the staple elements of traditional Commedia – the popular theatre form of the previous 200 years.  In this fast paced comedy, I would direct the action and actors to preserve that highly visual, exaggerated and physical style that originated from the street performances of Commedia, where audiences were noisy and free to walk away and where language barriers made physical story-telling all the more important. As Goldoni wrote the play as a ‘star-vehicle’ for the comic actor Sacchi, the scenes that I would focus most on are Truffaldino scenes: the serving of the 2 Masters and the lazzo of sticking the envelope with the chewed up bread.

BODY (2-3 paragraphs)

The most famous comic routine is the Serving of the 2 Masters (Act 2 Scene 12) – a farcical  set piece of fast entrances and exits where comedy can be increased through interactions with props, characters and the audience. I would stage the scene so that the 2 Masters are behind doors (Stage Left and Right) and then have a Central door up stage that leads to the kitchen. This immediately makes Truffaldino have to cover great distances in carrying the dishes. As the pace quickens I would have the dishes thrown by the waiters at the kitchen door and have Truffaldino skillfully catch them just before he reaches each of the Masters doors. Then once he’s collected dirty plates he’ll throw them to the waiters who I’d direct to be in confusion with dishes dropping to the floor or smashing. This comic business reinforces the idiocy of Truffaldino and highlights his anarchic and playful nature. The pace will get quicker towards the end of the scene, the Waiters will be shouting, the Master are screaming Truffaldino’s name and making him dash across the stage. Once the final dirty plate is collected Truffaldino will present himself downstage to the audience. His ‘Thank you’ will be triumphant and he will bow exaggeratedly as a cue for the audience to applaud.

BODY (2-3 paragraphs)

[There would be time for another paragraph about this section – perhaps the status inversion / power play between the 1st Waiter and Truffaldino, OR the lazzo of the jelly (Truff’s playful, childlike fixation on something vaguely rude) OR the breaking of social conventions (dividing up the rissoles on the floor and eating the last one himself).

Lazzos were pieces of comic business often employed to create comedy, reveal character traits but not necessarily move the plot forward. Earlier (Act 1 Scene 8) Truffaldino is trying to reseal his Master’s letter with chewed up bread. This lazzo works using the comic ‘rule of 3’ and having accidentally swallowed his “emergency rations” TWICE I’d direct Truffaldino to show increasing signs of desperation “It’s just not natural having to do this.” I’d direct Truffaldino to use his own brand of logic – he does afterall call himself the “Brains of Bergamo”. He’ll find some string in his pocket, tie it to the tiny crumb and then swallow it taking a long time to suck up the string like spaghetti. All of this is done downstage for the enjoyment of the audience. Then he’ll draw the string from his mouth – it can get stuck – but eventually the crumb comes out and his shouts ‘Got you’ in triumph. He’d then turn his back to the audience to “seal the bastard”. This routine reveal’s Truffaldino’s originality and clever trait as well as reinforcing early in the play his desperate hunger. This trait comes from the origins of this character representing the unemployed peasants. It also sets up the ‘punch line’ of this routine – namely that he should show to the audience the mangled envelope which so obviously has been tampered with and act as if he’s going to get away with pulling the wool over his Master’s eyes.

[If time allowed you might go to a third section – maybe something about PARODY – how to exaggerate a character (the OLD MEN or LOVERS) to get the audience to laugh AT this behaviour]

There’s so much comedy of different sorts – it’s just that most of it is not jumping off the page as the script focuses on the words. You HAVE TO IMAGINE the comic business and make the examiner realise you’ve developed your own ideas.

Commedia-Servant, Exam help, Year 13

Servant – exam style questions for revision

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SERVANT TO 2 MASTERS – Sample questions A level

[Answer 1 from 2 ]*If you’re lucky you’ll get a choice of performer and a director

YOU WOULD NEVER DO A DESIGN QUESTION

Acting style questions:

  • As a performer, discuss how you would perform the role of XXXX in two sections of the play in order to convey your interpretation of the character to the audience. You must make specific reference to the social, cultural and/or historical context of So2M in your answer.
  • As a performer, discuss the effects you would wish to create through your presentation of XXXX. How would you perform the role in at least two sections in order to achieve your aims? You must make specific reference to the social, cultural and/or historical context of So2M in your answer.
  • As a performer, discuss how you would want your audience to respond to the role of XXXX in the course of the play. How would you perform the role in at least two sections of the play in order to achieve your aims? You must make specific reference to the social, cultural and/or historical context of So2M in your answer.

These questions MAY seem the same but there are subtle differences? What are they? [TIP: Extract the key words that are different – and discuss in pairs.]

Directing style questions:

  • As a director discuss the production or performance methods you would employ in at least two sections of the play in order to create the sense of farce required by the play. You must make specific reference to the social, cultural and/or historical context of So2M in your answer.
  • As a director, discuss the production and/or performance methods you would employ in order to create your preferred effects in at least two sections of the play. You must make specific reference to the social, cultural and/or historical context of So2M in your answer.
  • As a director, discuss the production methods you would employ in order to create comedy in at least two sections of the play. You must make specific reference to the social, cultural and/or historical context of So2M in your answer.

* Use the indicative content sections of the Mark Scheme to guide students.

Students must demonstrate an understanding of:

  1. a directorial or performance perspective
  2. a clear focus on the creation of preferred effects
  3. directorial or performance ideas calculated to create the effects in at least two sections of the play
  4. reference to the social, cultural and/or historical context of the play.

Additionally, in common with all questions in this section the question demands:

  • a creative overview
  • appropriate selection of textual illustrations.
Commedia-Servant, Year 13

Tutorial on Goldoni reforms

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The next lesson will be in the style of a tutorial. You will be expected to show a range of notes and opinions from the reading you have done in preparation.

So for the next lesson you need to read the Commentary called ‘Origins’.

Also, have a read if this document on Share Point.

https://jerseyedu.sharepoint.com/sites/hautlieu/pa/students/Drama%202021/Servant%20of%202%20Masters/So2M%20Historic%20Contexts.pdf

Make notes on Goldoni’s likes and dislikes of existing Commedia.

How the play “Servant”came into being.

What social classes did Goldoni’s theatre focused on and whether it’s true that he brought some more ‘realism’ to the form than was present in traditional Commedia.

What Goldoni thought of the Masks.

Commedia-Servant, Exam help, Year 13

SO2M – ACT 3 COMPREHENSION

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The following questions should test your basic understanding of how the final Act (3) of ‘A Servant of 2 Masters’ wraps up all the plot strands from the earlier parts of the play.

  1. What is a lazzi and what would you call the lazzi that Truffaldino does at the start of Act 3?
  2. What story does Truffaldino spin to cover up the mix up with the portrait and notebook.
  3. Thinking the other is dead what do Florindo and Beatrice/Ferderigo do?
  4. Who saves them?
  5. What is Florindo and Beatrice’s plan to get back to Turin (where Florindo killed Ferderigo in a dual)?
  6. Who does Truffaldino blame to avoid getting punished by his 2 masters?
  7. What help does Truffaldino want from Florindo? What’s Florindo’s reaction?
  8. Does Clarice take Silvio back quickly? How does she react with Silvio. Give 1-2 examples.
  9. What is the confusion surrounding Truffaldino and Smeraldina in the last scene? Explain the way the Masters deal with it.
  10. Who get the last word and what is it about?

Comprehension of Act 3 – Answers:

  1. What is a lazzi and what would you call the lazzo that Truffaldino does at the start of Act 3? [2]

A lazzi is a piece of comic business left up to the actor to create [1]. The lazzo in Act 3 Sc 1 involves Truffaldino unpacking both Beatrice and Florindo’s trucks and getting all the clothes mixed up. The lazzo of the 2 chests / mixing up of the Master’s clothes.[1]

  • What story does Truffaldino spin to cover up the mix up with the portrait and notebook. [2]

The portrait was given to Truff in a will (inherited it upon the death of his master – Beatrice/Federigo.) [1]The notebook was left to Truff. when his master Florindo drowned in a canal. [1]

  • Thinking the other is dead what do Florindo and Beatrice/Ferderigo do? [1]

They plan to hang themselves

  • Who saves them? [1]

Brighella – who jokes that there’s a charge for committing suicide in his inn.

  • What is Florindo and Beatrice’s plan to get back to Turin (where Florindo killed Ferderigo in a dual)? [1]

Beatrice has gathered enough money from business dealings with Pantaloon, to be able to pay any fine that may be imposed on Florindo in Turin for killing Federigo in a duel.

  • Who does Truffaldino blame to avoid getting punished by his 2 masters? What’s Florindo’s reaction? [2]

Truffaldino blames the mix up on Pasqual. [1] He says he will be beaten for Pasqual’s mistakes, which impresses Florindo [1]

  • What help does Truffaldino want from Florindo? [1]

Truff. want Florindo to speak for him in asking Pantaloon/ Clarice for Smeraldina’s hand in marriage (servants weren’t allowed to do this on their own if the woman was a servant to a Master)

  • Does Clarice take Silvio back quickly? How does she react with Silvio 1-2 examples [2]

Clarice does not take back Silvio immediately. [1} She makes Silvio grovel [1] and she insults him to make him feel all the more guilty – then she accepts him back. [1]

  • What is the confusion surrounding Truffaldino and Smeraldina in the last scene? Explain the way the Masters deal with it. [2]

Supposedly there are 2 servants (Truff and Pasqual) who want to marry Smeraldina.[1] To solve the problem neither is given permission which makes Truff. come clean that Pasqaul was just a made up servant. [1]

  • Who get the last word [1] and what’s it about? [2]

Truffaldino get a sonnet (verse) [1] In it he asks forgiveness of his Masters and pleads (for the sake of LOVE) for them to give him a happy ending – ‘he’ll now serve Smeraldina [2]

Total     ? / 18

Berkoff Metamorphosis, Design, Year 13

Sample Costume & Prop answer.

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As a designer, outline your ideas for costume, props and accessories for this extract. Explain and justify how these would help to create your preferred effects at this point in the play.

[Use pages 105-107]

SAMPLE ANSWER (Mr Jones)

Quick introduction: Berkoff’s concept for ‘Metamorphosis (1969) is to present the story of Gregor’s transformation in a way that showcases the actors tools of voice and body (Total Theatre). This is then supported by design elements like costume and props, but the production isn’t reliant on these. My costume designs would place the story in its early 1900s setting (as in Kafka’s novella).

Para 1 (Props – no need)I would not use props. Berkoff’s detailed stage directions suggest ample opportunity for mime and when dressing Mr Samsa in his new work uniform I would follow these SD: “Objects are drawn in space and thrown to him” The miming of these objects is in keeping with the Total theatre style Berkoff uses and allows for fluid movement not hindered by actual props

Mr Samsa costume: However, I would give Mr Samsa an actual jacket: a “uniform of a bank messenger” – it will be shocking red with gold braid at the shoulders and bright gold buttons “like a general”. This will be over the stained vest that Mr Samsa has worn earlier depicting his slobbish nature and will immediately make him stand up straight and imbue him with confidence. The shock of red and gold colour is in contrast to the MONOCHROME blacks, whites and greys of everything else on stage and fit the scene’s mood – “sub-title ‘Optimism’. It is also ironic, given that Mr Samsa’s job is low status but fits his inflated opinion of himself.

Gregor costume: Gregor will be dressed in a tweed 3 piece suit with 3 quarter length trousers, waist coat over a white shirt and jacket befitting a travelling salesman.(see diagram) At this point though I will have him discard the jacket as he swings from the ceiling of his room as this is bulky. The costume must be loose and stretchy enough for Gregor to perform the agile actions “I like hanging from the ceiling”. To show definition so that it works in silhouette I would have the shirt gathered at the elbow with those metal arm bands found on 19th century office workers. The colours will be monochromatic (greys, white and black) and the two tone contrast of dark waist coat over white sleeves and dark 3/4 trousers over long white socks will emphasise the limbs of Gregor’s insect like state while the darker waist coat looks like a shell (carapace).

What would you give this – look at the Marking Criteria

Band ? (       /10)

Modifying this question / Answer for the Pages

Gregor could have a jacket for the parts of the script where he is ‘human’.

He can have real props (a samples bag) or it can be mimed (along with a hat and scarf as he complains about the weather) – this would be more in keeping with Berkoff’s emphasis on Actor’s using their skills to story tell.

Could he have a ‘jacket on/ jacket off’ approach for the pre/post ‘bug’ moments?

In one production his jacket was all torn for the ‘bug’ scenes – what would this indicate ?

Berkoff Metamorphosis, Design, Exam help, Year 13

Costume/ Prop Question

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As a designer, outline your ideas for costume, props and accessories for this extract. Explain and justify how these would help to create your preferred effects at this point in the play.

[Use pages 105-107]

THIS IS YOUR INCLASS QUESTION;

BE CAREFUL: Just because it says props and accessories doesn’t mean you need to be tempted to make this into a naturalistic style production. Think about how Berkoff does it. Do you want to modify that? Could costume and props be used symbolically? Think colour of costume.

Don’t be afraid to say that you’d do it differently from how Berkoff does it.

Berkoff Metamorphosis, Design, Exam help, Year 13

Costume #1- Metamorphosis

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Answer these questions on a word document

#1 Why have costume?

Why not just have actors in ‘rehearsal blacks’? (Berkoff did in 1969)

Blackass: a race rewrite of Kafka's Metamorphosis | Books | The Guardian
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#2 Identify / discuss why this costume {above} for Gregor would be inappropriate.

This image has an empty alt attribute; its file name is Gregor2-1.jpg

#3 Draw and Identify the elements of this costume.

#4 Discuss what this costume tells the audience.

#5 Why is it a more appropriate costume for Berkoff’s production of ‘Metamorphosis’?

#6 What period would the costume be if your production stayed faithful to the period when Kafka wrote this?

#7Look up some costumes for this period on line.

Copy and paste some for Gregor.

Make-up (include in costume)

This image has an empty alt attribute; its file name is Costume-greta-1024x683.jpg
Make-up – this could be a paragraph for a costume question.

#8 Why use the white face that Berkoff seems to like?

#9 What are the issues around props and accessories in ‘Metamorphosis’

Berkoff Metamorphosis, Exam help, Year 13

Gregor’s speech pattern

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As a performer, explain and justify how you would perform the role of Gregor as an insect (P84-87) in order to create your preferred audience response to the character at this

point in the play.

WORKSHOP

P89) GREGOR: {Crying out – gutteral voice – a creature less than a human – his words become less and less distinguishable to them…}

“Sir, I’m just going to open the door – this very minute…slight illness – an attack of giddiness – kept me in my bed – getting up now – just a moment longer- sudden attack – be right as rain soon – no foundation in your reports – no one said anything to me – obviously you haven’t looked at my last order – spare my parents – I’ll catch the 8 o’clock train – Don’t let me detain you – please make my excuses to the Chief.”

  1. Say the lines out loud in a ‘normal’ conversational voice.
  2. DISCUSS: Who are you addressing?
  3. What is your objective? WANT (what tone or colour do you want in your voice)
  4. STICKMAN VOICE ELEMENTS: How can that be brought out in your delivery?
  5. What do you notice about the syntax (structure of the speech)
  6. SOUND FXS LIVE: What is the sound of the insect (what can you change from ‘normal’ speech patterns – pitch, pace, addition of sound effects?)
  7. Add the speech to the movement for this section.

What qualities does this extract have (Gregor’s last monologue)

Use the words Inner Monologue (Private voice) and Insect Voice (Public)

Gregor’s speech patterns at the start – the Chief Clerk scene.

As a performer, explain and justify how you would perform the role of Gregor as an insect (P84-87) in order to create your preferred audience response to the character at this point in the play.

PLAN: 3 points you can make from the Extract. (Bullet Points)

MAKE ONE PARA EXCLUSIVELY ABOUT VOICE AND ANOTHER ABOUT PHYSICALITY

Quick Intro to establish a context (this part of the play)

Your aim as actor (preferred effects on audience)

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