Sample Assessment Materials

Total Page:16

File Type:pdf, Size:1020Kb

Sample Assessment Materials A Level English Language and Literature Sample Assessment Materials Pearson Edexcel Level 3 Advanced GCE in English Language and Literature (9EL0) First teaching from September 2015 First certifi cation from 2017 Issue 2 Pearson Edexcel Level 3 Advanced GCE in English Language and Literature (9EL0) Sample Assessment Materials First certification 2017 Issue 2 9781446925379_GCE_A_ENGLANGLIT_SAMs Iss2 PRINT.pdf 1 3/19/2015 2:57:29 PM Edexcel, BTEC and LCCI qualifications Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest awarding body offering academic and vocational qualifications that are globally recognised and benchmarked. For further information, please visit our qualification websites at www.edexcel.com, www.btec.co.uk or www.lcci.org.uk. Alternatively, you can get in touch with us using the details on our contact us page at qualifications.pearson.com/contactus About Pearson Pearson is the world's leading learning company, with 40,000 employees in more than 70 countries working to help people of all ages to make measurable progress in their lives through learning. We put the learner at the centre of everything we do, because wherever learning flourishes, so do people. Find out more about how we can help you and your learners at qualifications.pearson.com This Sample Assessment Materials booklet is Issue 2. Key changes are sidelined. We will inform centres of any changes to this issue. The latest issue can be found on the Pearson website: qualifications.pearson.com References to third party material made in these sample assessment materials are made in good faith. Pearson does not endorse, approve or accept responsibility for the content of materials, which may be subject to change, or any opinions expressed therein. (Material may include textbooks, journals, magazines and other publications and websites.) All information in this document is correct at the time of publication. Original origami artwork: Mark Bolitho Origami photography: Pearson Education Ltd/Naki Kouyioumtzis ISBN 978 1 446 92537 9 All the material in this publication is copyright © Pearson Education Limited 2015 Contents 1 Introduction 1 2 General marking guidance 3 3 Paper 1: Voices in Speech and Writing 5 4 Paper 1 Mark Scheme 47 5 Paper 2: Varieties in Language and Literature 71 6 Paper 2 Mark Scheme 101 Introduction The Pearson Edexcel Level 3 Advanced GCE in English Language and Literature is designed for use in schools and colleges. It is part of a suite of GCE qualifications offered by Pearson. These sample assessment materials have been developed to support this qualification and will be used as the benchmark to develop the assessment students will take. Pearson Edexcel Level 3 Advanced GCE in English Language and Literature 1 Sample Assessment Materials – Issue 2 – April 2015 © Pearson Education Limited 2015 2 Pearson Edexcel Level 3 Advanced GCE in English Language and Literature Sample Assessment Materials – Issue 2 – April 2015 © Pearson Education Limited 2015 General marking guidance • All candidates must receive the same treatment. Examiners must mark the last candidate in exactly the same way as they mark the first. • Mark schemes should be applied positively. Candidates must be rewarded for what they have shown they can do rather than be penalised for omissions. • Examiners should mark according to the mark scheme – not according to their perception of where the grade boundaries may lie. • All the marks on the mark scheme are designed to be awarded. Examiners should always award full marks if deserved, i.e. if the answer matches the mark scheme. Examiners should also be prepared to award zero marks if the candidate’s response is not worthy of credit according to the mark scheme. • Where some judgement is required, mark schemes will provide the principles by which marks will be awarded and exemplification/indicative content will not be exhaustive. • When examiners are in doubt regarding the application of the mark scheme to a candidate’s response, a senior examiner must be consulted before a mark is given. • Crossed-out work should be marked unless the candidate has replaced it with an alternative response. Marking guidance – specific The marking grids have been designed to assess student work holistically. The grids identify which Assessment Objective is being targeted by each bullet point within the level descriptors. One bullet point is linked to one Assessment Objective, however please note that the number of bullet points in the level descriptor does not directly correlate to the number of marks in the level descriptor. When deciding how to reward an answer, examiners should consult both the indicative content and the associated marking grid(s). When using a levels-based mark scheme, the ‘best fit’ approach should be used: ● examiners should first decide which descriptor most closely matches the answer and place it in that level ● the mark awarded within the level will be decided based on the quality of the answer and will be modified according to how securely all bullet point descriptors are met at that level ● in cases of uneven performance, the points above will still apply. Candidates will be placed in the level that best describes their answer according to each of the Assessment Objectives described in the level. Marks will be awarded towards the top or bottom of that level depending on how they have evidenced each of the descriptor bullet points ● examiners of Advanced GCE English should remember that all Assessment Objectives within a level are equally weighted. They must consider this when making their judgements ● the mark grid identifies which Assessment Objective is being targeted by each bullet point within the level descriptors ● indicative content is exactly that – they are factual points that candidates are likely to use to construct their answer. It is possible for an answer to be constructed without mentioning some or all of these points, as long as they provide alternative responses to the indicative content that fulfils the requirements of the question. It is the examiner’s responsibility to apply their professional judgement to the candidate’s response in determining if the answer fulfils the requirements of the question. Pearson Edexcel Level 3 Advanced GCE in English Language and Literature 3 Sample Assessment Materials – Issue 2 – April 2015 © Pearson Education Limited 2015 4 Pearson Edexcel Level 3 Advanced GCE in English Language and Literature Sample Assessment Materials – Issue 2 – April 2015 © Pearson Education Limited 2015 Write your name here Surname Other names Centre Number Candidate Number Pearson Edexcel Level 3 GCE English Language and Literature Advanced Paper 1: Voices in Speech and Writing Sample assessment materials for first teaching Paper Reference September 2015 9EL0/01 Time: 2 hours 30 minutes You must have: Total Marks prescribed text (clean copy) and source booklet (enclosed) Instructions • Use black ink or ball-point pen. • Fill in the boxes at the top of this page with your name, centre number and candidate number. • Answer the question in Section A and one question in Section B on your chosen text. • Answer the questions in the spaces provided – there may be more space than you need. • In your answers to Section B, you must not use texts that you have studied for coursework. Information • The total mark for this paper is 50. • The marks for each question are shown in brackets – use this as a guide as to how much time to spend on each question. Advice • Read each question carefully before you start to answer it. • Check your answers if you have time at the end. Turn over S47549A ©2014 Pearson Education Ltd. *S47549A0120* 1/1/1/1 Pearson Edexcel Level 3 Advanced GCE in English Language and Literature 5 Sample Assessment Materials – Issue 2 – April 2015 © Pearson Education Limited 2015 BLANK PAGE 26 Pearson Edexcel Level 3 Advanced GCE in English Language and Literature *S47549A0220*Sample Assessment Materials – Issue 2 – April 2015 © Pearson Education Limited 2015 SECTION A: Voices in 20th- and 21st century texts Read Text A on pages 3–4 and Text B on pages 5–6 of the source booklet before answering Question 1 in the space provided. 1 Compare the ways in which the speaker and writer create a sense of voice as they describe their experiences. In your answer you must consider linguistic and literary features, drawing upon your knowledge of genre conventions and context. (25) ..................................................................................................................................................................................................................................................................................... .................................................................................................................................................................................................................................................................................... .................................................................................................................................................................................................................................................................................... ...................................................................................................................................................................................................................................................................................
Recommended publications
  • The 200 Plays That Every Theatre Major Should Read
    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
    [Show full text]
  • 2019 Silent Auction List
    September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD,
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • 2018 EQUUS Film Festival FRIDAY NOVEMBER 30, 2018 SCHEDULE
    2018 EQUUS Film Festival FRIDAY NOVEMBER 30, 2018 SCHEDULE 12:00 pm THE LOST SEA EXPEDITION (2018) USA 90:00 min / Directed by: Bernie Harberts Trailer: https://www.youtube.com/watch?v=e5vWlAttTaY Equestrian Documentary – Full Length (over 30 minutes) The "Lost Sea Expedition" is the 4-part series about Bernie Harberts' 14 month wagon voyage from Canada to Mexico. Filmed with only the gear he carried in his one mule wagon, the series provides an in depth look at life on the road with a mule, the people of the Great Plains and the ancient sea that covered the middle of America. Filmmaker Bernie Harberts films with old gear, flushes with gravity water and heats with wood in western North Carolina. He has sailed alone around the world, traveled both ways across America by mule and naps 23 minutes every day. 1:35 pm WE ARE MEDIEVAL TIMES CHICAGO A DOCUMENTARY (2018) USA 59:37 min / Directed by: Colleen Ochab Trailer: https://www.youtube.com/watch?v=6_O0mXnr86E Equestrian Documentary – Full Length (over 30 minutes) Have you ever wondered what it is like to work at Medieval Times Dinner & Tournament in Schaumburg, Illinois? Check out this in-depth and behind the scenes look at the Chicago castle atmosphere and hear the stories of 18 amazing team members that make a show possible! Since this documentary was made, the Chicago castle has now released its BRAND NEW SHOW titled SOVEREIGN featuring a sole female ruler as Queen of the realm. Come out to see the same amazing environment (and people) as featured in this documentary with a new, fresh storyline and new costumes! 2:40 WISE HORSEMANSHIP AT FREEDOM FARM (2018) USA 16:00 min / Directed by: Mary Gallagher Trailer: https://vimeo.com/292017981/b73a1bf6db Equestrian Documentary – Short (under 30 minutes) Wise Horsemanship at Freedom Farm introduces the vision and guiding principles behind the equestrian magic of Freedom Farm, Port Angeles, Washington.
    [Show full text]
  • AP Lit 2019 Summer Reading
    AP Literature and Composition Summer Reading List 2019-2020 Drama Ayad Akhtar- The Who & The What Suzan-Lori Parks- Topdog/Underdog Samuel Beckett- Waiting for Godot Yasmina Reza- God of Carnage Euripides- The Bacchae Peter Shaffer- Equus Edward Albee- Who’s Afraid of Virginia Woolf? William Shakespeare- King Lear Anton Chekhov- Three Sisters William Shakespeare- Henry V Kristoffer Diaz- The Elaborate Entrance of Chad Deity Sophocles- Antigone T.S. Eliot- Murder in the Cathedral Sophocles- Oedipus Rex David Henry Hwang- M. Butterfly Tennessee Williams- The Glass Menagerie Tony Kushner- Angels in America August Wilson- Gem of the Ocean Eugene O’Neill- Long Day’s Journey Into Night George C. Wolfe- The Colored Museum Literature Chimamanda Adichie - Americanah Thomas Hardy- Tess of the d’Urbervilles Chimamanda Adichie - Half of a Yellow Sun Ernest Hemingway- The Sun Also Rises Rudolfo Anaya- Bless Me Ultima James Joyce- A Portrait of the Artist as a Young Man Jane Austen- Northanger Abbey James Joyce- Ulysses Jane Austen- Pride and Prejudice Joy Kogawa- Obasan James Baldwin- Go Tell it on the Mountain Chang-Rae Lee- Native Speaker Charlotte Brontë- Jane Eyre Gabriel García Márquez- One Hundred Years of Solitude Emily Brontë- Wuthering Heights Gabriel García Márquez- Love in the Time of Cholera Kate Chopin- The Awakening Herman Melville- Billy Budd Sandra Cisneros- Woman Hollering Creek Herman Melville- Moby Dick Joseph Conrad- Heart of Darkness Toni Morrison- Sula Edwidge Danticat- Breath, Eyes, Memory Flannery O’Connor- Wise Blood Junot Diaz- The Brief Wondrous Life of Oscar Wao Alan Paton- Cry, the Beloved Country Charles Dickens- Bleak House Leslie Marmon Silko- Ceremony Charles Dickens- Great Expectations Upton Sinclair- The Jungle Fyodor Dostoevsky- Crime and Punishment Leo Tolstoy- Anna Karenina William Faulkner- The Sound and the Fury Edith Wharton- Ethan Frome George Eliot- The Mill on the Floss Virginia Woolf- Mrs.
    [Show full text]
  • Amadeus by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 the 411 Major Sponsor: 3 A/S/L & Vocab the Mary Ranken Jordan & Ettie A
    2009—2010 SEASON AMADEUS by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 The 411 Major Sponsor: 3 A/S/L & Vocab The Mary Ranken Jordan & Ettie A. Jordan 4 FYI Charitable Foundation 5 HTH 6 F2F 9 B4U 12 IRL 13 RBTL 14 SWDYT? At The Rep, we know MIHYAP: Top Ten Ways to that life moves Stay Connected at The Rep fast—okay, really 10. TBA Ushers will seat your school or class as a group, fast. But we also so even if you are dying to mingle with the group from the know that some all girls school that just walked in the door, stick with your things are worth friends until you have been shown your section in the theatre. slowing down for. We believe that live theatre is one of those pit stops worth making and are excited that you 9. SITD The house lights will dim immediately before the performance begins and then go dark. Fight off that oh-so- are going to stop by for a show. To help you get the most immature urge to whisper, giggle like a grade schooler or yell bang for your buck, we have put together WU? @ THE at this time and during any other blackouts in the show. REP—an IM guide that will give you everything you need to know to get at the top of your theatergoing game—fast. 8. SED Before the performance begins, turn off all cell You’ll find character descriptions (A/S/L), a plot summary phones, pagers, beepers and watch alarms.
    [Show full text]
  • OSLO Casting Announcement
    MICHAEL ARONOV, ADAM DANNHEISSER, JENNIFER EHLE, DANIEL JENKINS, DARIUSH KASHANI, JEFFERSON MAYS, DANIEL ORESKES, HENNY RUSSELL, JOSEPH SIRAVO, T. RYDER SMITH TO BE FEATURED IN THE LINCOLN CENTER THEATER PRODUCTION OF “OSLO” a new play by J.T. ROGERS directed by BARTLETT SHER PREVIEWS BEGIN THURSDAY, JUNE 16 OPENING NIGHT IS MONDAY, JULY 11 AT THE MITZI E. NEWHOUSE THEATER Lincoln Center Theater (under the direction of André Bishop) has announced that Michael Aronov, Adam Dannheisser, Jennifer Ehle, Daniel Jenkins, Dariush Kashani, Jefferson Mays, Daniel Oreskes, Henny Russell, Joseph Siravo, and T. Ryder Smith will be featured in the cast of its upcoming production of OSLO, a new play by J.T. Rogers, directed by Bartlett Sher. Commissioned by Lincoln Center Theater, OSLO begins performances Thursday, June 16 and will open Monday, July 11 at the Mitzi E. Newhouse Theater (150 West 65 Street). Additional casting will be announced at a later date. It’s 1993. The world watches the impossible: Israeli Prime Minister Yitzhak Rabin and Palestinian Liberation Organization Chairman Yasser Arafat, standing together in the White House Rose Garden, signing the first ever peace agreement between Israel and the PLO. How were the negotiations kept secret? Why were they held in a castle in the middle of Norway? And who are these mysterious negotiators? A darkly comic epic, OSLO tells the true, but until now, untold story of how one young couple, Norwegian diplomat Mona Juul (to be played by Jennifer Ehle) and her husband social scientist Terje Rød-Larsen (to be played by Jefferson Mays), planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organization, which culminated in the signing of the historic 1993 Oslo Accords.
    [Show full text]
  • TITUS ANDRONICUS ILLINOIS THEATRE Robert G
    TITUS ANDRONICUS ILLINOIS THEATRE Robert G. Anderson, director Thursday-Saturday, October 24-26, 2019, at 7:30pm Tuesday-Saturday, October 29-November 2, 2019, at 7:30pm Sunday, November 3, 2019, at 3pm Studio Theatre WELCOME TO THE true. The material is ever renewed and always 2019-2020 ILLINOIS embedded in a history of work on the stage. THEATRE SEASON! It is a true pleasure to The season also reflects our commitment to a share our work with diverse, inclusive, accessible theatre. Whether you. Students, faculty, on stage or behind the scenes, we strive to and guests have come make work that reflects and makes space for together to produce our whole community. From the planning and a year of exploration, design to the work you experience on stage, of reflection, and of we believe theatre has the capacity to engage illumination. We are the world as it is in all its complex challenges and proud to be in our second half-century as a to envision and enact the world as it might be. theatre department and offering drama at the We are so pleased you have chosen to share highest level. Illinois is a leading program with this with us. We hope you enjoy it and look more than 200 students and nearly 40 faculty forward to seeing you again. members. Housed in Krannert Center, we are fortunate to have the resources of a Gabriel Solis world-class environment for dramatic art. Professor and Head, Department of Theatre Theatre is a call to your senses and your spirit.
    [Show full text]
  • Drama and Theatre Advanced Subsidiary Component 2: Theatre Makers in Practice
    Write your name here Surname Other names Pearson Edexcel Centre Number Candidate Number Level 3 GCE Drama and Theatre Advanced Subsidiary Component 2: Theatre Makers in Practice Monday 14 May 2018 – Morning Paper Reference Time: 1 hour 45 minutes 8DR0/02 You must have: Total Marks Source booklet (enclosed) Theatre evaluation notes. Instructions • Use black ink or ball-point pen. • Fill in the boxes at the top of this page with your name, centre number and candidate number. • For Section A answer one question and for Section B answer both questions related to the performance text studied for examination purposes. • Answer the questions in the spaces provided – there may be more space than you need. Information • The total mark for this paper is 48. • The marks for each question are shown in brackets – use this as a guide as to how much time to spend on each question. • You are allowed your theatre evaluation notes. • You are not allowed any performance texts. Advice • Read each question carefully before you start to answer it. • Check your answers if you have time at the end. • It is recommended that you spend 45 minutes on Section A and 1 hour on Section B. Turn over P52492A ©2018 Pearson Education Ltd. *P52492A0120* 1/1/1/1/1 SECTION A: LIVE THEATRE EVALUATION Answer ONE of the following questions in this section with reference to a theatre performance you have seen. Write your answer in the space provided. Write the title, venue and date of the performance you have seen in the space provided. EITHER 1 Analyse and evaluate the use of live and/or recorded sound in the performance you have seen.
    [Show full text]
  • Member/Audience Play Suggestions 2012-13
    CURTAIN PLAYERS 2012-2013 plays suggested by patrons/members Title Author A Poetry Reading (Love Poetry for Valentines Day) Agnes of God All My Sons (by 3 people) Arthur Miller All The Way Home Tad Mosel Angel Street Anything by Pat Cook Pat Cook Apartment 3A Jeff Daniels Arcadia Tom Stoppard As Bees in Honey Drown Assassins Baby With The Bathwater (by 2 people) Christopher Durang Beyond Therapy Christopher Durang Bleacher Bums Blythe Spirit (by 2 people) Noel Coward Butterscotch Cash on Delivery Close Ties Crimes of the Heart Beth Henley Da Hugh Leonard Dr. Jekyll and Mr. Hyde (by 2 people) Jeffrey Hatcher Driving Miss Daisy Equus Peter Shaffer Farragut North Beau Willimon Frankie and Johnny in the Claire De Lune Terrence McNally God's Country Happy Birthday, Wanda June Kurt Vonnegut I Never Saw Another Butterfly Impressionism Michael Jacobs Laramie Project Leaving Iowa Tim Clue/Spike Manton Lettice and Lovage (by 2 people) Lombardi Eric Simonson LuAnn Hampton Laverty Oberlander Mr and Mrs Fitch Douglas Carter Beane 1 Night Mother No Exit Sartre Picnic William Inge Prelude to A Kiss (by 2 people) Craig Lucas Proof Red John Logan Ridiculous Fraud Rosencrantz and Guildenstern are Dead (by 2 people) Tom Stoppard Sabrina Fair Samuel Taylor Second Samuel Pamela Parker She Loves Me Sheer Madness Side Man Warren Leight Sin Sister Mary Ignatius/Actor's Nightmare Christopher Durang Smoke on the Mountain (by 3 people) That Championship Season Jason Miller The 1940's Radio Hour Walton Jones The Caine Mutiny Court Martial The Cinderella Waltz The Country Girl Clifford Odets The Heidi Chronicles The Increased Difficulty of Concentration Vaclav Havel The Little Foxes Lillian Hellman The Man Who Came To Dinner Kaufman and Hart The Miser Moliere The Normal Heart Larry Kramer The Odd Couple Neil Simon The Passion of Dracula The Royal Family Kaufman and Ferber The Shape of Things LaBute The Substance of Fire Jon Robin Baitz The Tempest Shakespeare The Woolgatherer Three Days of Rain Richard Greenberg Tobacco Road While The Lights Were Out Wit 2 3 .
    [Show full text]
  • Table of Contents
    GEVA THEATRE CENTER PRODUCTION HISTORY TH 2012-2013 SEASON – 40 ANNIVERSARY SEASON Mainstage: You Can't Take it With You (Moss Hart and George S. Kaufman) Freud's Last Session (Mark St. Germain) A Christmas Carol (Charles Dickens; Adapted/Directed by Mark Cuddy/Music/Lyrics by Gregg Coffin) Next to Normal (Music by Tom Kitt, Book/Lyrics by Brian Yorkey) The Book Club Play (Karen Zacarias) The Whipping Man (Matthew Lopez) A Midsummer Night's Dream (William Shakespeare) Nextstage: 44 Plays For 44 Presidents (The Neofuturists) Sister’s Christmas Catechism (Entertainment Events) The Agony And The Ecstasy Of Steve Jobs (Mike Daisey) No Child (Nilaja Sun) BOB (Peter Sinn Nachtrieb, an Aurora Theatre Production) Venus in Fur (David Ives, a Southern Repertory Theatre Production) Readings and Festivals: The Hornets’ Nest Festival of New Theatre Plays in Progress Regional Writers Showcase Young Writers Showcase 2011-2012 SEASON Mainstage: On Golden Pond (Ernest Thompson) Dracula (Steven Dietz; Adapted from the novel by Bram Stoker) A Christmas Carol (Charles Dickens; Adapted/Directed by Mark Cuddy/Music/Lyrics by Gregg Coffin) Perfect Wedding (Robin Hawdon) A Raisin in the Sun (Lorraine Hansberry) Superior Donuts (Tracy Letts) Company (Book by George Furth, Music, & Lyrics by Stephen Sondheim) Nextstage: Late Night Catechism (Entertainment Events) I Got Sick Then I Got Better (Written and performed by Jenny Allen) Angels in America, Part One: Millennium Approaches (Tony Kushner, Method Machine, Producer) Voices of the Spirits in my Soul (Written and performed by Nora Cole) Two Jews Walk into a War… (Seth Rozin) Readings and Festivals: The Hornets’ Nest Festival of New Theatre Plays in Progress Regional Writers Showcase Young Writers Showcase 2010-2011 SEASON Mainstage: Amadeus (Peter Schaffer) Carry it On (Phillip Himberg & M.
    [Show full text]
  • A Level English Language and Literature PAPER 1 VOICES in SPEECH and WRITING
    A Level English Language and Literature PAPER 1 VOICES IN SPEECH AND WRITING SPECIMEN PAPERS Pearson Edexcel Level 3 Advanced GCE in English Language and Literature Paper 1 (9EL0/01) Introduction______________________________________ This specimen paper has been produced to complement the sample assessment materials for Pearson Edexcel Level 3 Advanced GCE in English Language and Literature and is designed to provide extra practice for your students. The specimen papers are part of a suite of support materials offered by Pearson. The specimen papers do not form part of the accredited materials for this qualification. General marking guidance • All candidates must receive the same treatment. Examiners must mark the last candidate in exactly the same way as they mark the first. • Mark schemes should be applied positively. Candidates must be rewarded for what they have shown they can do rather than be penalised for omissions. • Examiners should mark according to the mark scheme – not according to their perception of where the grade boundaries may lie. • All the marks on the mark scheme are designed to be awarded. Examiners should always award full marks if deserved, i.e. if the answer matches the mark scheme. Examiners should also be prepared to award zero marks if the candidate’s response is not worthy of credit according to the mark scheme. • Where some judgement is required, mark schemes will provide the principles by which marks will be awarded and exemplification/indicative content will not be exhaustive. • When examiners are in doubt regarding the application of the mark scheme to a candidate’s response, a senior examiner must be consulted before a mark is given.
    [Show full text]