Some Past Paper Two Questions 2003-2016

Some Past Paper Two Questions 2003-2016

·  Shakespeare’s Macbeth / ·  Miller’s Death of a Salesman
·  Beckett’s Waiting for Godot / ·  Soyinka’s The Lion and the Jewel

Note that “Response to the Question” is one of the five evaluation criteria on the I.B. rubric. Stick to the prompt, make sure you do compare the poems, and share what you’re discovering as you compare them!

May 2016 Paper 2 Questions:

1)  “Plays are meant to be seen and heard” is a common retort to those who only read a play. In light of this statement, compare how, and how effectively, at least two plays you have studied have made seeing and hearing indispensible

2)  Drama often heralds the underdog, providing the downtrodden a voice and, at times, even triumph. Compare how, and to what effect, at least two plays you have studied draw attention to the downtrodden figure.

3)  In drama an exciting force (a key thought, action, or event) works as a catalyst to begin the central conflict. Comparing at least two of the plays you have studied, what serves as the exciting force and how is it significant to the meaning of the play.

May 2015 Paper 2 Questions:

1)  Consider the ways in which at least two of the plays you have studied make use of stock or stereotypical characters and compare the effects achieved.

2)  Consider and compare the means by which at least two of the plays you have studied create moments of harmony and to what dramatic ends.

3)  We are fascinated by the play of power and persuasion in relationships: explore and compare the dynamics in relationships, and the dramatic means by which they are established, in at least two of the plays you have studied.

May 2014 Paper 2 Questions:

1)  Drama often generates levels of meaning that are not directly stated (sometimes called sub-text). Explore some examples of the presence of sub-text and its dramatic importance in at least two of the plays you have studied.

2)  Some plays use an identified narrator or chorus, while others force us to make unfiltered meaning of events. How has the presence or absence of such a commentator helped or hindered you in finding meaning in at least two of the plays you have studied.

3)  In what ways and to what ends have at least two of the plays you have studied made use of either compressed or expanded time frames?

May 2013 Paper 2 Questions:

1)  Consider the means by which shifts in tempo are created, and the consequent dramatic impact of these shifts, in at least two of the plays you have studied.

2)  In everyday usage the word “theatrical” often means extravagant or is used to describe behavior that exhibits exaggerated emotions. To what extent, and in what ways, do at least two of the plays you have studied exemplify this definition of “theatrical”?

3)  “Drama is created by placing ordinary people in situations of crisis.” Explore some of the methods used to create drama in this way in at least two of the plays you have studied.

1)  Looking closely at one or more of the following elements: lighting, sound, and music, discuss the ways in which they can affect the presentation of ideas in at least two of the plays you have studied.

2)  Some dramatists make more significant use of physical elements such as stage scenery than do others. Discuss the extent of the use of such features and their impact on meaning in two or three plays that you have studied.

3)  “The key to the dramatic life of any play is the fact that action takes place in particular, limited spaces.” How important is the sense of spatial confinement to the drama of at least two of the plays you have studied?

4)  “Long after the words are forgotten, the spectacle of the drama is remembered.” Compare two or three plays you have studied in light of this question.”

5)  “Visual action can be as important on the stage as speech.” How far do you agree with this claim? In your answer you should refer to two or three plays you have studied.

1)  Using two or three plays you have studied, compare the presentation of two or three characters (e.g. introduction, dramatic interactions with other characters), saying in each case how the presentation furthered the dramatists’ purposes, and how it rewarded your study.

2)  “To succeed in creating a convincing character, the dramatist needs to give the audience a sense that characters have inner thoughts and feelings.” To what extent, and in what ways, does this statement apply to two or three plays you have studied?

3)  “The dramatic life of any play often emerges from what is not said rather than what is.” Examine the role and significance of all or any of silence, suggestion, and subtext in at least two plays you have studied.

1)  “Dramatic structure is not random or arbitrary; it imposes a recognizable order on human behavior and events.”

In what ways has the structure of two or three plays you have studied seemed to impose some order on the human events of the plays?

2)  “Some plays are either serious or light-hearted; others include both elements.”

Consider some of the ways in which either or both sorts of elements are presented in two or three plays that you have studied and discuss their importance for the understanding of the plays as a whole.

3)  Compare and contrast the role of symbolism in two or three plays you have studied.

I.B. Descriptors for Written Paper 2 Essay (Exam Question)
0 / 1 / 2 / 3 / 4 / 5 / Score
Criterion A: Knowledge and Understanding of Works
·  How much knowledge & understanding has the student shown of the Part 3 works studied in relation to the question answered?
·  How detailed and/or appropriate are the candidate’s references to the works studied? / The work does not reach a standard described by the descriptors below. / There is some knowledge but virtually no understanding of the Part 3 works in relation to the question answered. / There is mostly adequate knowledge & some superficial understanding of the Part 3 works in relation to the question answered. / There is adequate knowledge & understanding of the Part 3 works in relation to the question answered. / There is good knowledge & understanding of the Part 3 works in relation to the question answered. / There is perceptive knowledge & understanding of the Part 3 works in relation to the question answered. / 012345
Criterion B: Response to the Question
·  How well has the candidate understood the specific demands of the question?
·  To what extent has the candidate responded to these demands?
·  How well have the works been compared and contrasted in relation to the demands of the question? / The work does not reach a standard described by the descriptors below. / The student shows little awareness of the main implications of the question, & ideas are mainly irrelevant &/or insignificant.
There is little meaningful comparison of the works used in relation to the question. / The student responds to some of the main implications of the question with some relevant ideas.
There is a superficial attempt to compare the works used in relation to the question. / The student responds to most of the main implications of the question with consistently relevant ideas.
There is adequate comparison of the works used in relation to the question. / The student responds to the main implications & some subtleties of the question, with relevant and carefully explored ideas.
The comparison makes some evaluation of the works used in relation to the question. / The student responds to all of the implications—as well as the subtleties of the question—with convincing and thoughtful ideas.
The comparison includes an effective evaluation of the works in relation to the question. / 012345
Criterion C: Appreciation of the literary conventions of the genre
·  To what extent does the student identify & appreciate the use of literary conventions in relation to the question & the works used? / The work does not reach a standard described by the descriptors below. / Some literary conventions are identified but there is limited development relevant to the question &/or the works used. / Examples of literary conventions are sometimes correctly identified & developed, with some relevance to the question & the works used. / Examples of literary conventions are satisfactorily identified & developed, with relevance to the question & the works used. / Examples of literary conventions are clearly identified & effectively developed, with relevance to the question & the works used. / Examples of literary conventions are perceptively identified & persuasively developed, with clear relevance to the question & the works used. / 012345
Criterion D: Organization & development
·  How well organized, coherent, & developed is the presentation of ideas? / The work does not reach a standard described by the descriptors below. / Ideas have little organization.
There may be a superficial structure, but coherence &/or development are lacking. / Ideas have some organization, with a recognizable structure, but coherence & development are often lacking. / Ideas are adequately organized, with a suitable structure & attention paid to coherence & development. / Ideas are effectively organized, with very good structure, coherence, & development. / Ideas are persuasively organized, with excellent structure, coherence, & development. / 012345
Criterion E: Use of Language
·  How clear, varied, and accurate is the language?
·  How appropriate is the choice of register, style, & terminology? (Register refers, in this context, to the student’s use of elements such as vocabulary, tone, sentence structure, & terminology appropriate to the task.) / The work does not reach a standard described by the descriptors below. / Language is rarely clear & appropriate.
There are many errors in grammar, vocabulary, & sentence construction, & little sense of register & style. / Language is sometimes clear & carefully chosen.
Grammar, vocabulary, & sentence construction are fairly accurate, although errors & inconsistencies are apparent.
The register & style are to some extent appropriate to the task. / Language is clear & carefully chosen, with an adequate degree of accuracy in grammar, vocabulary, & sentence construction despite some lapses.
Register & style are mostly appropriate to the task. / Language is clear & carefully chosen, with good degree of accuracy in grammar, vocabulary, & sentence construction.
Register & style are consistently appropriate to the task. / Language is very clear, effective, carefully chosen, & precise, with a high degree of accuracy in grammar, vocabulary, & sentence construction.
Register & style are effective & appropriate to the task. / 012345

Total Pull down2345678910111213141516171819202122232425/25

Something that worked well in my essay:

Something I had questions or concerns about:

Literary Features of Stage Drama

Remember to treat the text as stage drama. It should be clear from your analysis that you are dissecting a PLAY, as opposed to another literary form. Thus, incorporate these terms or techniques unique to stage drama into your Paper 2 response where applicable.

Audience (as opposed to “reader”)

French Scene: a director’s tool, breaking scenes into sub-scenes designated by the entrance or exit of a significant character. Each French Scene creates its own effect.

Set design (Note significant contrasts from Shakespeare’s simplicity to Mielziner’s complexity)

Lighting design (Jo Mielziner was both set & lighting designer for Death of a Salesman)

Sound design: diegetic vs. extra-diegetic sound cues (e.g., Alex North’s compositions for Salesman)

Costume design (Note significance of Western vs. traditional Yoruba costumes in The Lion & the Jewel)

Areas of the stage:

·  Upstage, downstage, down center, stage right (actor’s right), stage left (actor’s left), etc.

·  Levels (high vs. low; lying down, sitting, kneeling, standing, on an elevated platform, etc.)

·  Planes (downstage, upstage)

Tonal qualities of each area of the stage

Scrim: gauzy fabric screen that is opaque when light is shone in front, semi-transparent when light is shone in front & from behind, & virtually transparent when light is shown from behind (used to great effect in Salesman)

Movement:

·  Blocking (bigger movements, often movement from one area of the stage to another or from one level to another)

·  Crossing (moving from one area of the stage to another)

·  Stage business (gestures & movements that don’t entail crossing)

·  Entrances & exits (consider the different tonal qualities of location of entrances & exits)

·  Levels, either through blocking or through a multi-level stage, as in Mielziner’s set for Death of a Salesman

Dialogue & monologue (also called soliloquy)

Characterization: objective (what a character wants in a scene), obstacle (something that hinders a character from achieving an objective), & tactics (what a character does to achieve objective), & super-objective (character’s ultimate goal for the whole script)

Text (what is stated by characters & stage directions) vs. Subtext (what is implied beneath what is said by characters & the character dynamics implied by stage directions)

Foil

Irony:

·  Situational

·  Verbal (sarcasm, litotes, meosis)

·  Dramatic

Tragedy:

Classical tragedy: historical or mythic past (audience typically already knew the plot)

Classical comedy: contemporary plot

Aristotelian terms:

·  Mimesis

·  3 unities (time, place, action)

·  Tragedy elicits pity & fear

·  Plot

Desis à exposition, complication, rising action, anagnorisis

Lusis à peripeteia, falling action, catastrophe, scene of suffering

·  Scene of suffering is what usually elicits the most catharsis

·  Tragic hero

ü  Of high estate

ü  Renowned & prosperous