Time zones: calculation, impact on travel

IGCSE Drama (0411) – Syllabus‑Aligned Notes

1. Syllabus Overview

1.1 Aims of the Drama Course

• Develop an informed appreciation of drama as an art form and a means of communication.
• Enable students to analyse, interpret and perform drama texts and to devise original work.
• Equip learners with the practical, technical and reflective skills required for the examination.

1.2 Content Overview (official Cambridge headings)

1. Elements of practical drama
2. Performance skills (vocal, physical, use of space, sustaining a role, audience communication)
3. Staging and design (set, costume, props, lighting, sound, stage space)
4. Working with published plays – script‑to‑performance (analysis of two extracts, rehearsal planning, staging, evaluation)
5. Devising from a stimulus (process, stimuli types, evaluation)
6. Dramatic and theatrical terminology (AO1)

1.3 Assessment Overview

Component	Weighting	Assessment Objectives (AO)
Component 1 – Written examination (2 hours)	70 %	AO1 30 % – knowledge & terminology AO2 35 % – application & analysis AO3 35 % – evaluation & reflection
Component 2 – Coursework (devised piece + evaluation, 1500‑word portfolio)	30 %	AO1 30 % – terminology & concepts AO2 35 % – planning, devising, technical decisions AO3 35 % – self‑evaluation, critique of process

1.4 Command‑Word Guidance (AO2)

Command word	What is required?
Define / State	Give a concise, factual answer.
Describe	Provide a clear, detailed account without evaluation.
Explain	Show cause‑and‑effect or reasoning.
Compare / Contrast	Identify similarities and/or differences.
Analyse	Break down into parts, refer to relevant terminology.
Evaluate	Make a judgement, justify with evidence, consider strengths/weaknesses.

1.5 Marking Criteria Summary (AO1‑AO3)

• AO1 – Knowledge: Accurate recall of terminology, drama elements, design areas, and syllabus language.
• AO2 – Application: Use of knowledge to plan rehearsals, analyse extracts, devise original work, and (where relevant) calculate logistical data such as time‑zone differences.
• AO3 – Evaluation: Critical reflection on personal performance, devised piece, and production planning, with clear justification.

1.6 Video‑Recording Requirements (Component 2)

• Maximum length: 3 minutes (any one scene or a continuous excerpt).
• Clear audio and visual quality – no editing, subtitles or background music unless part of the design.
• All participants must be visible and audible; camera work must be steady.
• Submit the video file in MP4 format together with a written evaluation (150 words minimum).

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2. Core Drama Content

2.1 Elements of Practical Drama (AO1)

Element	Examination‑relevant definition	Classroom illustration
Structure & Plot	Organisation of events to create a clear beginning, middle and end, or an alternative dramatic form, showing contrast, climax and resolution.	Mapping the three‑act structure of a short scene and identifying the turning points.
Characterisation	Creation of a believable character through voice, movement, choices, emotional intensity and sub‑text.	Developing a Victorian servant for *A Christmas Carol* using physical gestures and vocal register.
Dialogue	Spoken language that reveals character, relationships and advances the plot; includes use of register, pace and pauses.	Practising sub‑text in a heated argument.
Physicality	Body language, gesture, spatial relationships and movement dynamics that support meaning.	Designing a “tight‑space” movement sequence.
Pacing, Tension & Emotional Intensity	Control of tempo, suspense and intensity to communicate meaning and maintain audience interest.	Timing pauses in a mystery reveal; varying volume to heighten tension.
Spatial Awareness	Effective use of stage space (levels, zones, distance) and awareness of the “fourth wall”.	Blocking a scene on a 3‑point stage, noting audience sight‑lines.

2.2 Performance Skills (AO2 / AO3)

• Vocal techniques: projection, articulation, pitch, pace, emotional intensity, sustained role.
• Physical techniques: posture, balance, movement dynamics, gesture, use of space, safety.
• Use of space: moving safely, creating focal points, respecting the fourth wall, adapting to different stage configurations.
• Sustaining a role: consistency of character choices, emotional continuity throughout a performance.
• Audience communication: eye‑contact, timing of humour, responding to audience energy, managing performance anxiety.

What examiners look for (AO3): clear articulation, appropriate vocal range, physical confidence, consistent characterisation, effective audience engagement.

2.3 Staging & Design (AO2)

• Set: creates the physical environment; must support the narrative and be feasible within venue constraints.
• Costume: reflects character, period, status and can suggest sub‑text; designers must consider practicality for movement.
• Props: objects that support action; must be safe, appropriate in scale and clearly related to the story.
• Lighting: establishes mood, focus, time of day and can highlight emotional shifts.
• Sound: ambience, effects and music that enhance realism or symbolism.
• Stage space: choice of proscenium, thrust, arena, black‑box or site‑specific space; design decisions should integrate with performance style.

Examiners expect candidates to discuss how design choices interact with performance (e.g., lighting that reinforces a character’s emotional state).

2.4 Working with Published Plays – Script‑to‑Performance (AO2)

1. Extract selection: two extracts, each 2‑5 minutes, taken from full‑length published plays (must be cited correctly).
2. Extract analysis: identify theme, dramatic intention, character objectives, contrast, dynamics and any use of sub‑text.
3. Interpretation & concept: discuss possible director’s vision, genre conventions and intended audience impact.
4. Rehearsal planning: break extracts into beats, allocate roles, set deadlines, consider technical requirements.
5. Staging & design integration: apply design principles from 2.3; justify choices in relation to the text.
6. Evaluation (AO3): reflect on what worked, what could be improved, and how the rehearsal process contributed to the final performance.

Example: Use the opening 2‑minute extract from *An Inspector Calls* to practise characterisation, pacing and lighting cues.

2.5 Devising from a Stimulus (AO2 / AO3)

• Allowed stimuli: poem, photograph, news article, historical event, piece of music, artefact, or a short video clip.
• Devising process (Cambridge wording):
  1. Generate ideas – brainstorming, free‑writing, movement improvisations.
  2. Develop characters – decide objectives, relationships, status.
  3. Structure the piece – clear beginning, middle, end or alternative form; ensure contrast and climax.
  4. Integrate design – sketch set, suggest lighting, sound, costume and prop ideas.
  5. Rehearse and refine – test pacing, tension, audience impact; record a short video for self‑assessment.
  6. Evaluate – write a 150‑word reflection covering interpretation of stimulus, strengths, weaknesses and possible revisions.

Class stimulus suggestion: a photograph of a bustling night market in Bangkok – students devise a 5‑minute piece exploring commerce and cultural clash.

2.6 Dramatic & Theatrical Terminology (AO1)

Term	Exam‑level definition
Blocking	Planned movement and positioning of actors on stage.
Fourth wall	Imaginary barrier between performers and audience.
Ensemble	Group of performers working as a cohesive whole.
Improvisation	Spontaneous creation without a scripted text.
Monologue	Extended speech by a single character.
Sub‑text	Underlying meaning not spoken directly.
Tempo	Speed at which a scene or piece progresses.
Theme	Central idea or message explored in a drama.
Contrast & Dynamics	Differences in character, mood or pacing that create interest and drive the narrative.
Emotional intensity	Degree of feeling expressed through voice, movement and facial expression.

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3. Contextual Hook – Time Zones (Optional Starter Activity)

3.1 What is a Time Zone?

A time zone is a region that observes a uniform standard time, expressed as an offset from Coordinated Universal Time (UTC). The Earth is divided into 24 primary zones, each roughly 15° of longitude wide.

3.2 UTC Offsets – Standard & Daylight‑Saving

City	Country	Standard UTC Offset	Daylight‑Saving (DST) Offset
London	United Kingdom	UTC+0	UTC+1 (BST)
New York	USA	UTC‑5	UTC‑4 (EDT)
Tokyo	Japan	UTC+9	— (no DST)
Sydney	Australia	UTC+10	UTC+11 (AEDT)
Cape Town	South Africa	UTC+2	— (no DST)

3.3 Calculating Time‑Zone Differences

1. Identify the UTC offset for each location (include DST where relevant).
2. Subtract the earlier offset from the later offset.
3. If the result is negative, add 24 hours to obtain a positive difference.

Example: London (UTC+0) → Tokyo (UTC+9) Difference = 0 – (+9) = –9 hours → +24 = 15 hours. Tokyo is 9 hours ahead of London.

3.4 Impact on International Drama Productions

• Scheduling rehearsals & live links: time‑zone gaps affect video‑conferencing with remote directors or designers.
• Jet‑lag management: rule of thumb – one full day of rest for every two time zones crossed.
• Transport logistics: flight arrival times must be converted to local time for equipment collection and venue access.
• Broadcast timing: live streams need to suit peak viewing windows in target markets (e.g., UK prime time vs. Australian evening).
• Contractual dates: deadlines are often quoted in UTC to avoid confusion.

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4. Integrated Classroom Activities

4.1 Activity A – Time‑Zone Planning (Optional Starter)

1. Groups of four receive a scenario: a London‑based theatre company travelling to one of the cities in the table for a two‑week run.
2. Calculate:
   • Local departure and arrival times (including check‑in and customs).
   • Time‑zone difference.
   • Recommended rest period before the first performance (apply “one day per two zones”).
3. Present findings, highlighting logistical challenges and proposed solutions (e.g., staggered rehearsals, “dry‑run” video links).

4.2 Activity B – Devising from a Stimulus (Core – AO2 / AO3)

1. Using the Bangkok night‑market photograph, devise a 5‑minute piece.
2. Apply the elements of practical drama (Section 2.1) and performance skills (Section 2.2).
3. Sketch a simple set, list key props and suggest a lighting cue.
4. Rehearse, record a 3‑minute video excerpt and then write a 150‑word evaluation covering interpretation, strengths and areas for improvement.

4.3 Activity C – Script Extract Analysis (Core – AO2 / AO3)

1. Provide two extracts (one from a tragedy, one from a contemporary drama) taken from published plays.
2. Students must:
   • Identify theme, dramatic intention, character objectives and use of contrast/dynamics.
   • Plan a short rehearsal schedule (beats, roles, technical requirements).
   • Propose a design concept linking at least three design areas.
   • Deliver a 2‑minute performance of one extract.
   • Write a 200‑word evaluation reflecting on the rehearsal process and performance.

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5. Assessment Tasks Overview (Recap)

5.1 Component 1 – Written Exam

• Short‑answer questions (definition, description).
• Extended‑response questions (analyse, compare, evaluate) – may include a data‑analysis task such as a time‑zone calculation.
• One structured essay on a drama topic (e.g., “Explain how pacing and tension can be used to communicate meaning”).

5.2 Component 2 – Coursework (Devised Piece)

• Written portfolio (1500 words) containing:
  • Stimulus description and rationale.
  • Planning documents (beat breakdown, rehearsal schedule, design sketches).
  • Reflection/evaluation (AO3) – 150‑word piece plus a broader 300‑word critical review.
• Video recording (max 3 minutes) meeting the requirements listed in 1.6.

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6. Suggested Diagram