Interactive
Learner Guide
Cambridge IGCSE™/Cambridge IGCSE (9–1)
Drama 0411 / 0994
For examination from 2022
Version 2
Copyright © UCLES March 2020
Cambridge Assessment International Education is part of the Cambridge Assessment Group. Cambridge Assessment is
the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which itself is a department of the
University of Cambridge.
UCLES retains the copyright on all its publications. Registered Centres are permitted to copy material from this booklet for
their own internal use. However, we cannot give permission to Centres to photocopy any material that is acknowledged to a
third party, even for internal use within a Centre.
Contents
About this guide
4
Section 1: Syllabus content - what you need to know about
5
Section 2: How you will be assessed
6
Section 3: What skills will be assessed
9
Section 4: Example candidate response
10
Section 5: Revision
19
Section 6: Useful resources
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Learner Guide
About this guide
This guide explains what you need to know about your Cambridge IGCSE Drama course and examinations. You should use this
guide alongside the support of your teacher.
It will help you to understand:
9 what skills you should develop by taking this Cambridge IGCSE course
9 how you will be assessed
9 what we are looking for in the work you create and in the answers you write
9 how you should prepare for both components of the course
Cambridge IGCSE Drama enables you to engage with drama both practically and intellectually. You will develop your
performance skills and work with others to produce theatre that aims to be compelling and persuasive. You will learn about
theatrical styles and genres, and will understand the way that actors, directors and designers make their artistic decisions.
Through providing opportunities both to respond imaginatively to existing plays and create new drama of your own, the
syllabus will encourage you to become a confident, reflective and innovative learner, whose enjoyment of drama supports
your academic and cultural growth as a person.
You can use this guide to help you during your Cambridge IGCSE, but remember that it is important to try and see as much
live theatre as you can, both for your own enjoyment and to increase your awareness of the different ways in which theatre is
made.
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Section 1: Syllabus content - what you need to know about
This section gives you an outline of the syllabus content for this course.
You will study:
•
Performance skills, both as an individual and within a group, and how you can apply them to create character and convey
meaning to an audience.
•
How to work with extracts from published plays as an actor, director and designer.
•
How to devise your own original dramatic material from a stimulus.*
•
How to evaluate your contribution to the devising process and the success of the final piece.
•
How to use staging and design as part of a dramatic performance.
*A stimulus is something that makes something else happen. In the context of Cambridge IGCSE Drama, a stimulus is anything
that triggers your own creative ideas for a piece of original theatre. Examples could include a poem or short story, an artwork, a
photograph, a piece of music, a news story, a historical document or a theatrical style.
Make sure you always check the latest syllabus, which is available at www.cambridgeinternational.org
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Learner Guide
Section 2: How you will be assessed
You will be assessed at the end of the course using two components:
•
Component 1: Written examination
•
Component 2: Coursework
Components at a glance
This table summarises the key information about each component. You can find details and advice on how to approach each
component in the ‘About each component’ sub-section below. You can find descriptions of the assessment objectives in
Section 3.
Component
Component 1
Written
examination
Time and
marks
2 hours 30
minutes
80 marks
Skills assessed
Details
AO1
You will answer questions on two play
extracts. These will already have been
made available to you in the prerelease material.
Knowledge and
understanding of
repertoire
AO2
You will also answer questions about a
devised piece that you have developed
and performed.
Percentage of
qualification
40%
Devising original drama This component is marked by
Cambridge International.
AO1
Knowledge and
understanding of
repertoire
Component 2
Coursework
6
120 marks
AO2
You will submit three pieces of
practical work:
An individual performance based on
an extract from a published play.
A group performance based on an
extract from a published play.
Devising original drama A group performance of an original
devised piece that you have created
AO3
together.
Performance skills
This component is assessed by your
teacher and moderated by Cambridge
International.
60%
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About each component
Component 1 – Written examination
2 hours 30 minutes, 80 marks
This component asks you to show practical and theoretical understanding of the process of creating live theatre, either from
a script or from a devising stimulus. The questions will cover a range of drama skills and techniques related to devising,
rehearsing, staging and performing drama. You will need to explain how drama can communicate meaning to an audience,
and the reasons behind the artistic choices you have made.
The paper is in three parts. You are required to answer:
•
All questions in Section A
•
Two questions in Section B
•
All questions in Section C
You should divide your time equally between each section.
Section A: 30 marks
Questions will focus on an extract from a published play. The extract is supplied in the pre-release material, which will have
been issued to your teacher several months prior to the examination. You will have studied the extract in class, exploring it as
a piece of theatre and investigating ways of performing and staging it.
This section requires you to attempt up to eight short-answer and extended-response questions, with a mark range of 2 to 10.
Section B: 25 marks
Questions will focus on an extract from a different published play. This extract is also supplied in the pre-release material
so again, you will have studied it in class in the period leading up to the examination, exploring it as a piece of theatre and
investigating ways of performing and staging it.
This section requires you to attempt one compulsory question (10 marks) and one question from a choice of two (15 marks).
Section C: 25 marks
Questions will focus on a devised piece that you have worked on in a group to develop and perform to an audience.
This section requires you to attempt two extended response questions. One is worth 10 marks, the other is worth 15 marks.
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Learner Guide
Component 2 – Coursework
Three pieces of practical work performed to a live audience, 120 marks.
This component asks you to demonstrate your performance skills and your ability to create effective theatre.
Individual performance: 35 marks, 3 minutes maximum
Working as a solo performer, you will perform an extract from a published play. This extract is chosen by you and your teacher.
It must not be from the pre-release material, although it can be taken from the same play.
You will be assessed individually on
•
AO1 Knowledge and understanding of repertoire, and
•
AO3 Performance Skills.
Group performance: 35 marks, 20 minutes maximum
Working in a group of two to six people, you will perform an extract from a different published play. This extract is chosen by
you, your peers and your teacher. It must not be from the pre-release material, although it can be taken from the same play.
You will be assessed individually on
•
AO1 Knowledge and understanding of repertoire, and
•
AO3 Performance skills.
No overall group mark will be given.
Group devised piece: 50 marks, 20 minutes maximum
Working in a group of two to six people, you will perform a piece of original drama that you have developed from a stimulus
provided by your teacher.
You will be assessed individually on
•
AO2 Devising original drama, and
•
AO3 Performance skills.
No overall group mark will be given. It is recommended that you keep a record of how your piece developed so that you can
write about it confidently in the examination, but this is not a coursework requirement.
Your teacher will watch and assess the live performances. All performances will also be filmed and the footage sent to
Cambridge for moderation.
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Section 3: What skills will be assessed
The areas of knowledge, understanding and skills that you will be assessed on are called assessment objectives (AO).
Assessment objective
Weighting %
What do you need to be able to do?
40%
You should show that you understand the process of moving from script to
performance, and can justify your artistic decisions.
30%
You should demonstrate your ability to create, perform and evaluate your
own original drama.
30%
You should demonstrate your performance skills and how you use them to
communicate with an audience.
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AO1
Knowledge and
understanding of repertoire
AO2
Devising original drama
AO3
Performance skills
Learner Guide
Section 4: Example candidate response
This section takes you through an example question and learner response from a Cambridge IGCSE Drama past paper. It will
help you to identify command words within questions and to understand what is required in your response. A command word
is the part of the question that tells you what you need to do with your knowledge. For example, you might need to describe,
suggest or evaluate something, or explain the reasons for an artistic decision.
All information and advice in this section is specific to the example question and response
being demonstrated. It should give you an idea of how your responses might be viewed by an
examiner but it is not a list of what to do in all questions. In your own examination, you will
need to pay careful attention to what each question is asking you to do.
This section is separated as follows:
Question
The command words in the question have been
highlighted and their meaning explained. This should help
you to understand clearly what is required by the question.
Example candidate response
This is a possible answer to Specimen Paper 01 questions.
Good points and problems have been highlighted.
Examiner comments
This summarises what could be done to gain more marks.
Common mistakes
This will help you to avoid common mistakes made by
candidates. So often candidates lose marks in their exams
because they misread or misinterpret the questions.
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Questions
The questions used in this example are from Component 1 – Written examination.
Questions 1–6 are based on the extract from Blood Wedding by Federico García Lorca. This section is worth 30 marks.
You must answer all the questions in this section.
Suggest Apply your knowledge and understanding
to situations where there are a range of valid
responses in order to make recommendations
Identify Name, select or
recognise something
Advise / give advice Suggest and write down
a course of action in a given situation
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Learner Guide
Advise / give advice Suggest and write down
a course of action in a given situation
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Please note: These questions and the extract are taken from the 0411 Drama 2022 Specimen Paper and Pre-Release
Material 01 which can be found at www.cambridgeinternational.org For copyright reasons the extract was not available
when this guide was published, and so the line references may be slightly different to the final extract published.
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Learner Guide
Command words
The command words Identify, Advise/Give advice and Suggest are highlighted in the questions above.
Command words and their meanings help you to know what is expected from you in your response to a question. It is
important to learn what they mean in the examination. Here are some more which may be used in questions.
Command word
What it means
Describe
State the points of a topic, or give characteristics and main features
Evaluate
Judge or calculate the quality, importance, value or effectiveness of something
Explain
Set out reasons for things/make the connections between things or characters
Explore
Write in detail about particular aspects of a topic
Outline
Set out the main points
Phrases such as ‘How would you …?, ‘What advice would you give?’, ‘In what ways would you …?’, and ‘How effective …?,
may also be seen in the questions for this subject.
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Example candidate response
1. A pale blue wash with focused rose-tinted spots to make the white background colder
and highlight the flowers and ribbons. This will emphasise the cold relationship between the
characters as well as offering hope because a wedding is about to take place.
2. The three things I would emphasise are the mother’s frustration, grief and sense of
injustice. She is frustrated that she can do nothing to change the situation in which she finds
herself and angry with her son for not understanding the grief she feels each day for her
loss. She has a burning sense of injustice against the perpetrators and the system that lets
them live while her ‘two dead boys lie silent’ (line 35).
3. The mother realises through the neighbour the connection with the Felix family and this
is a very significant moment for her. There are several changes in mood and I would mark
these by varying the pacing. I would advise the actor playing the mother to begin slowly
and her short poetic speech could be punctuated by pauses at ‘two thistles. Untouched and
forgotten’, which would create a sense of mourning. The pacing would pick up quickly at the
mention that the girl had a boyfriend, although there should now be a contrast between
the mother’s increasing anxiety and the neighbour’s more matter-of-fact delivery. The
neighbour should try to slow down the tempo of the exchange while the mother pushes
it along, although there should be a brief pause after ‘…illness’ in line 153 as the mother
explains. I would get the actors to dramatise the revealing of the name of Leonard Felix and
the actors could experiment here with cue take-up speed. There should be a pause after the
first ‘Leonardo’ and the overall pace should increase until the pause after the neighbour’s
emphatic ‘calm down’ (line 164). From this point there should be a more subdued
atmosphere with pacing to match.
4. The style of the dialogue changes noticeably at this point and there is a poetic or songlike quality to the way the words are set out in the printed extract, suggesting that they
should be sung in some manner. As a director I would want to make the most of this change
of dramatic approach at this point. The wife is sewing and seated somewhere on the right;
the stage direction says that the mother-in-law stands (line 252) on the opposite side. This
could create a very static scene, although the atmosphere created by the text suggests a
gloomy and reflective mood. As they sing a lullaby, the mother-in-law should move about
the room, rocking the baby; she could possibly sit at line 224 “stay, little one.” As a lullaby,
the words should be sung, or if necessary at times, spoken with a heavily lilting voice. No
tune is provided, so there would be a need to create a tune for the longer sections, which
would be developed through improvisations, the rising and falling of the melody in response
to the written word, for example rising on “to the mountain side” and falling on “through
valleys grey”. The sections where there is a call-and-response effect should be lilting though
simple and catchy. The manner and dynamics of delivery could alter, for example in lines
196-207, where the melody can take on a sinister tone with inflections, emphases and
change in vocal tone to form a harsh contrast with the otherwise gentle flow. Some lines
could be in unison for increased effect, with gestures on words such as knife.
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Learner Guide
5. My set design would be simple and effective to allow for smooth transition into the other
scenes in act one. I would use strong flood lighting on flats to create the yellow feel of the
room, and have the doorway constructed as an arch, typical of Spanish houses, with strong
shadows beyond it, so that people entering or leaving will appear from darkness. This would
help to reinforce the sense of the Mother being trapped or contained as other people enter
and leave the space. The scene requires at least one entrance and a chair for the Mother,
as she is sitting with her back to the door in line 102. A false perspective could be used to
make the upstage doorway the centre of the audience focus, with the chair set to the left.
The set should be bare, with just a few symbolic objects, such as a crucifix on one wall and a
shelf with plates and jars on the other. The Mother would look for the knife on this shelf in
line 12.
6. As a director, I would want to ensure that the dramatic intensity builds up relentlessly
towards the end of the extract. I would do this through emphasising the awkward tensions
in the relationship between the bride and the maid, reflecting this in the proxemics on stage,
and increasing the pacing of the passage towards the end.
The passage is tense and the characters behave awkwardly, and I would focus the audience’s
attention on this. The maid increases the tension as she goads the bride into revealing her
true feelings. The bride becomes agitated and this is emphasised by the bride biting her
own hand in rage at line 490 and in the subsequent scuffle. This agitation between the
bride and maid is conveyed through volume, gesture and physicality, especially physicality.
I would direct the actors to use extensive upper-body physicality – jabbing the air, poking,
gesticulating, culminating in the grabbing of the Maid’s wrists. This would be especially
between lines 490 and 500. The text does not indicate where the Bride should let go of the
Maid’s wrists but I would direct this to happen at line 501, followed by a pause.
The final section to the end would be very fast-paced to reflect the galloping of the horse
that they are talking about. I would physically separate the actors – moving towards the
window and then back towards each other, with strong eye focus and excited, anxious
delivery from the Bride. I would reverse the power relationship between them so that the
Bride is visibly nervous about what she is being told.
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Learner Guide
Examiner comments
Question 1: The candidate has chosen a pale blue wash, which could have been awarded a mark on its own, but the additional
reference to ‘focused rose-tinted spots’ shows the candidate does not view lighting as a one-dimensional activity. The second
mark is awarded for relating this lighting choice to an aspect of the performance text.
The candidate makes a link with the ‘cold relationship between the characters’, which is a little simplistic but is given context
by the reference to the wedding that is about to take place.
The candidate does not mention that the stage directions describe the interior of the BRIDE’s house as being ‘carved out of
the rock itself’, which would have also been an acceptable link with the choice of lighting.
Mark awarded = 2 out of 2
Question 2: The candidate identified three related but distinct aspects of the MOTHER’s character, and then provided
a sentence to justify each one. This clear and organised approach demonstrates very good examination technique – the
candidate offers a single word for each aspect, builds on each one, and links them to aspects of the performance text. A
particular strength of this answer is the linking of the third aspect (sense of injustice) to the line in the extract. Even though
the question does not require this, it is always helpful for candidates to support their answers with close reference to the
extract.
Mark awarded = 3 out of 3
Question 3: This is a very strong answer. The candidate spotted the significance of certain aspects of the passage, for
example, the opening poetic speech, the move towards the revealing of the name of Leonardo and its significance for the
MOTHER, the heightened tension as she spits out the name from her mouth followed by the calmer mood at the end. To gain
full marks the candidate needed to mention something about the physical distance between the actors as this would be likely
to affect the pacing and also explain how the pacing could contribute to the more subdued atmosphere.
Mark awarded = 4 out of 5
Question 4: The candidate engages fully with the change of dramatic style and recognises that it signifies a complete contrast
of dramatic style. There is a detailed and perceptive discussion of how this might be approached by a director. The candidate
also made links between the meaning of the text and included a detailed description about how the rising or falling of
particular lines could reflect the mood of the words and the atmosphere of the drama.
Mark awarded = 5 out of 5
Question 5: This is an imaginative answer which is shown in how the candidate refers to the scene and the stage directions,
and also showed awareness of the need for the set design to be easily adaptable for the other scenes. The candidate received
credit for identifying and positioning specific objects appropriate to the context and mood of the location, and also for
considering how the set design could provide focus for the audience as well as communicate a key idea about the character
who is on stage throughout.
Mark awarded = 5 out of 5
Question 6: The candidate summarised the approach very effectively at the start of the answer, setting out an overall
response that covers tension, intensity and pacing. The candidate was then able to select key moments in the passage that
supported this approach. There is a good sense of the structure of the passage, and in particular the structural effect of the
pause, which the candidate used as a reference point for a change in pacing. Linking of the change in pace to the final section
to reflect the galloping of the horse is a very good point and provides a contrast with the scuffle over the presents that
immediately precedes the previous pause. To gain full marks for this question, the candidate would need to explain how the
characters would ‘behave awkwardly’, and also how the director would focus audience attention, e.g. through positioning,
timing, gesture, eye-contact. Line references could also be accompanied by relevant text, so that the candidate could relate
direction to specific words or moments more clearly.’
Mark awarded = 9 out of 10
Total mark awarded = 28 out of 30
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Learner Guide
Common mistakes
Here are some common mistakes which candidates make across both components (Component 1 and Component 2):
Component 1
• Misreading or misinterpreting a question. Always read questions carefully.
• Answering questions inappropriately, e.g. by simply re-telling a narrative, or by using literary analysis. The key approach
to this examination is to explore the use of dramatic skills and techniques and how you can apply them to create a
meaningful performance.
• Mis-managing the time available. Make sure you leave enough time for the longer essay-style questions.
• Failing to support answers by detailed reference to the extracts set.
• Giving the examiner a synopsis of the devised piece. This is not required and is not a good use of the time available. It is
enough to specify which stimulus you used, which is a requirement of the paper.
• Showcasing your knowledge of theatre and theatre practitioners in general, rather than focusing on what the question is
asking.
• Offering too little evaluation when writing about the devised piece. It is not enough simply to say that something was
effective. You need to demonstrate what your group’s dramatic intentions were, what techniques you used to achieve
these, and clearly evaluate the impact achieved.
• Failing to use the correct dramatic and technical terms as detailed in the syllabus.
Component 2
• Choosing repertoire that is poorly written. A useful guide is: ‘The better the writing, the better the performance.’ Your
teacher can help you find suitable repertoire.
• Choosing to play a role where the age, accent or even gender poses too many difficulties.
• Performing material that does not meet the time requirements.
• Performing a piece whilst sitting down throughout. This is likely to limit the range of skills you can show.
• Being over-ambitious in your use of elements such as set, sound or lighting. Whilst these can enhance a piece, they can
also prove a hindrance if they distract from what the performers are doing.
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Section 5: Revision
The checklists below will help you prepare for both Component 1 and Component 2.
Use the tick boxes
to keep a record of what you have done, what you plan to do or what you understand.
Component 1
Find out when the examination is and plan your revision so you have enough time to revise. Create a revision timetable
and divide it into sections to cover each aspect of the pre-release extracts, and of the devised piece on which you intend
to answer.
Remind yourself how long the paper is, how many questions you need to answer and how many marks there are for each
question. Work out how long you have for each question.
Make sure you know the format of the paper, and which questions are compulsory and which optional.
Learn the meanings of the dramatic and theatrical terms listed in the syllabus and make sure you know how to apply
them.
Know the meaning of the command words used in questions and how to apply them in your response. Look at past
examination papers for examples of how command words will be used.
Make revision notes on the pre-release extracts and on your devised piece.
Test yourself by writing out key points, making sketches of your design ideas, etc.
Have a look at past questions so that you are clear of what to expect in an examination.
Look at mark schemes to help you to understand how the marks are awarded for each question.
In the examination
Read the instructions carefully and answer the right number of questions from the right sections.
Do not answer more questions than are needed, as this will not gain you more marks in the examination.
Plan your time according to the marks for each question. For example, a question worth three marks requires less time
and a shorter answer than one worth 10 marks.
Do not leave out questions or parts of questions. Remember, no answer means no mark.
Read each question carefully.
•
Identify the command words – you could underline or highlight them.
•
Identify the other key words and perhaps underline them too.
•
Try to put the question into your own words to understand what it is really asking.
Use your knowledge and understanding to answer the question. Do not write all you know. Write only what is needed to
give an effective response.
Plan your answers. Clear, concise, well-ordered, well-supported answers will earn more marks than long, rambling,
muddled, repetitious answers. Quality is better than quantity.
When answering extended response questions about stage design, it is important to explain your dramatic intentions
clearly in words. Annotated sketches can help support your answer but are not included in the mark scheme, so do not
spend too long on them.
When writing about your devised piece in Section C, make sure that you start your answer by identifying the stimulus
that you used.
Make sure your writing is clear and easy to read.
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Learner Guide
Advice for Component 1 (Section A and Section B)
The space provided after the question on the paper is a useful indication of how long your answer should be. The number of
marks allocated to each question is a guide to how many points you should make in your response.
For instance, a question worth two marks will be followed by a space in which you could write about two sentences: one
sentence in which you offer an idea, and a second sentence where you explain why this idea would be appropriate. An
example of such a question might be:
Identify one point in the extract where a prop could be used effectively, and give a reason for your choice.
A question worth fifteen marks, however, will be followed by a much longer space. You will be expected to develop your ideas
in depth, making close reference to the extract in your answer. An example of a question might be:
As a designer, how would you establish a sense of time and place for a production of this extract?
Your teacher will help you prepare for the format of these questions. Remember that you are being asked to show your
understanding of how live theatre is created from a script: the process of what is called moving from page to stage. You are
not required to discuss themes or images in the writing and should not spend time on this. Instead, you should focus on how
the extracts can be realised in performance from the perspective of an actor, director or designer.
A copy of the pre-release material will be provided for you to use during the examination. You will not be allowed to take your
own copy into the examination room.
Advice for Component 1 (Section C)
You should answer both the extended-response questions in this section. As for Sections A and B, the space underneath each
question will help you to plan how long your answer should be.
You will need to show your ability to reflect on, analyse and evaluate the devising, rehearsing and performance of an original
piece of drama that you and your group have created as part of this course. It is recommended, therefore, that you keep a
record of the way your piece developed, so that you can use this to revise. Be aware that you will not be allowed to take any
notes into the examination.
You can write about the same devised piece that you submit for assessment in Component 2, or about a different devised
piece that you prepared to the same standard. The questions in this section will assume that you have performed your
devised piece to an audience. An example of such a question might be: How did the opening of your devised piece create
impact on the audience?
Component 2
Have you / has your group timed your pieces to ensure they are the right length? A piece that is too short will not allow
you to show your skills effectively. A piece that is too long risks being penalised by the moderator.
Have you learned your lines thoroughly? It is a good idea for your group to script your devised piece, so that you can all
pick up on your cues and deliver your lines reliably.
Have you demonstrated an emotional and physical range in your work? Shouting all the way through a performance will
not help you to achieve your best marks. Neither will sitting down or staying in the same part of the performing space
throughout, unless this is a justifiable dramatic response to the material.
Have you sourced a costume that supports your interpretation of the character? Elaborate or historically accurate
costumes are not necessary, but it will help you to dress in a way that is relevant.
Advice for Component 2
Your three pieces should enable you to show the following:
•
A range of vocal and physical techniques
•
Effective use of the performance space
•
Creating a role and sustaining it throughout a performance
•
The use of pacing and emotional intensity
•
How you improve your performance work through rehearsal
•
How you engage with an audience
•
Your skills in solo performance
•
Your skills in working with others in group performance
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It is important to work with your teacher – and your peers where relevant – to choose or create material that allows you to
present the range of your performing ability.
For your repertoire pieces, choose extracts from published plays that have been professionally performed in a theatre. For
plays written in the last one hundred years, you will be able to tell this from the published copy: it should contain details of
where the first performance took place and the original cast. For older repertoire, this is easy to check via a search engine or
your school library. Avoid material that has been written especially for the classroom, or that has been published only on the
internet and has no performance history.
Ensuring your pieces are a suitable length is also important. If your individual piece is considerably shorter than the maximum
three minutes, you risk showing too little of what you can do. Similarly, the group performances should allow at least three
minutes of performance time per candidate, so if you are in a group of four, both your scripted and your devised pieces
should last at least 12 minutes. (Remember that the maximum length allowed is 20 minutes.)
During your course, you will have many opportunities to develop your performance skills. It will also help if you can take part
in your school production or join a drama group. Acting is not something you can practise on your own. The more experience
you gain, the more confident and versatile a performer you will become.
It is important to see as much live theatre as possible, both for your own enjoyment and to increase your awareness of the
different ways in which theatre is made. You will also learn from watching professional actors and the ways in which they
communicate meaning to an audience.
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Learner Guide
Section 6: Useful resources
The resources listed below will help you to revise and study for your Cambridge IGCSE Drama course.
These resources have not been through the Cambridge quality assurance process but have been found suitable for use with
various parts of the syllabus. This list includes website links providing direct access to internet resources. Cambridge is not
responsible for the accuracy or content of information contained in these resources. The inclusion of a link to an external
website should not be understood to be an endorsement of that website or the site's owners (or their products/services).
www.bbc.co.uk/bitesize/subjects/zbckjxs
This is a comprehensive drama revision site with sections on how to write about various aspects of drama and supporting
video clips.
www.educationalappstore.com/app/gojimo
This is a revision app that can be downloaded to your phone. Useful for revising Drama technical terms.
www.digitaltheatreplus.com/education
If your school subscribes to this website, you can access a broad range of performances, interviews and articles.
You can also find a resource list, including endorsed resources to support Cambridge IGCSE Drama on our public website here.
Endorsed resources have been written to be closely aligned to the syllabus they support, and have been through a detailed
quality assurance process. All textbooks endorsed by Cambridge International for this syllabus are the ideal resource to be
used alongside this Learner Guide.
In addition to reading the syllabus, you should refer to the past and specimen papers.
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Cambridge IGCSE/IGCSE (9-1) Drama 0411/0994
Cambridge Assessment International Education
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Copyright © UCLES March 2020 (updated Oct 2022)