How to read
Literature like an IB
Marker
It’s easy
when you
know how!
PAPER TWO WORKSHOP
LITERARY GENRES - DRAMA
Compiled by Kylie Newcomb
CONTENTS
1. An Introduction – Why am I doing this?
2. An Overview of the requirements of
Paper Two
3. Criteria and why it is important
4. How to read the question
5. Your thesis statement
6. Structure of the essay
7. Language
8. Check List
Literary Llama LOVES literary analysis!
The Literary Llama is going to help you write the best Paper Two Ever!
1.
An Introduction – Why am I doing this?
So… there you are… in the examination room. Twelve
years of schooling and you are about to demonstrate your
English skills to IB markers who analyse literature for a
living… THIS IS YOUR FINAL EXAMINATION FOR THIS
PROGRAMME!
Now before you celebrate, remember this carries 25% of
your final grade. It is based on your texts for Part Three
which are all of one genre! DRAMA
What are they expecting? What do they
want?
Simple – the application of skills you have been
developing since you began reading. Drama is a genre
that requires you to apply skills to all areas of reading –
language, symbols, body language, movement …
Think about it… When you watch a play there are many things happening all
at once.
o You make meaning from the dialogue and link it to the images
o You have expectations and make predictions
o Your recognise patterns
o You make judgements
o You make connections
o You create meaning!
Your teachers had a choice of texts and genres they can select for this part of
the course. The choice has been taken from a list provided by the IB. All texts
on this list are considered canonical. Meaning, they have been selected by
those ‘in the know’ as they have literary merit and reveal ideologies and
perspectives from a particular time and place.
All texts are from the
literary canon…
2.
An Overview of the requirements of Paper Two
This essay asks you to compare and contrast two or more of the works with a
focus on the way the writers use genre to
create meaning.
This is the only part of the course that requires you to respond to a given
question and write a comparative essay. As such you MUST:
o Demonstrate an understanding of the genre DRAMA and the
conventions and its typical features.
o You must COMPARE AND CONTRAST in relation to how the
playwright uses the genre.
o Remember these texts through careful study and revision strategies.
o ANSWER the question in relation to your texts – this is addressed in
three of the criteria!
TIPS:
o Reread your texts at least three times
o Know what to look for in Drama
o Develop the habit of comparing the plays as you progress through their
study.
o TIME MANAGEMENT of study and strategies relating to Paper Two.
Literary llama would like to
know what you think….
SUMMARISE THE FOCUS OF THE PAPER
TWO ESSAY…
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Did you know?
Dramatic techniques are used by the playwright to enhance meaning and understanding
amongst the audience. Dramatic techniques include:
Speech directions Words in brackets that tell the actor how to say the lines.
Asides When a character temporarily turns away from another character and speaks directly
to the audience.
Entrance and exits It is important to notice when characters exit and enter a scene. Pay
particular attention to what is being said as they enter or what they say as they leave.
WHAT TO EXPECT
Candidates are required to answer only one question on this paper, in
response to one of three questions on each literary genre listed in the relevant
Language A: Literature PLA. The content of the paper is the same for both
standard and higher level candidates; however the assessment criteria for
each level are slightly different. The questions are focused on the literary
conventions of the genres and how these are exploited by the writers.
The response must be based on at least two of the works studied in part 3 of
the course, which candidates must compare and contrast.
3.
Criteria and why it is important
Paper 2: Essay
There are five assessment criteria at HL and SL
Criterion A
Criterion B
Criterion C
Knowledge and understanding
Response to the question
Appreciation of the literary conventions of the genre
5 marks
5 marks
5 marks
Criterion D
Criterion E
Organization and development
Language
5 marks
5 marks
Total 25 marks
Read the criteria carefully. What are the main differences
between HL and SL?
What words for the criteria could you use in your essay to
signpost?
DETERMINING WHAT YOU ARE MARKED ON…
HL
Different adjectives
used to describe level of
achievement
SL
Diction to use to
demonstrate you are
addressing the criteria
HL CRITERIA
Criteria
0
1
2
3
4
5
Criterion A: Knowledge
and understanding
• How much knowledge
and understanding has
the student shown of the
part 3 works studied in
relation to the question
answered?
Criterion B: Response
to the question
• How well has the
student understood the
specific demands of the
question?
• To what extent has the
student responded to
these demands?
• How well have the
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
and some superficial
understanding of the
part 3
works in relation to
the question
answered.
There is
adequate
knowledge and
understanding
of the part 3
works in
relation to the
question
answered.
There is good
knowledge and
understanding
of the part 3
works in
relation to the
question
answered
There is
perceptive
knowledge and
understanding
of the part 3
works in
relation to the
question
answered.
The work
does not
reach a
standard
described by
the
descriptors
below.
The student
shows little
awareness of
the main
implications of
the question,
and ideas
are mainly
irrelevant
and/or
insignificant.
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
The student
responds to the
main
implications
and some
subtleties of the
question, with
relevant and
carefully
explored ideas.
The
The student
responds to all
the
implications, as
well as the
subtleties of the
question,
with convincing
and thoughtful
ideas. The
comparison
There is little
meaningful
comparison of
the
works used in
relation to the
question.
works been compared
and contrasted in relation
to the demands of the
question?
Criterion C:
Appreciation of the
literary conventions of
the genre
• To what extent does the
student identify and
appreciate the use of
literary conventions in
relation to
the question and the
works used?
Criterion D:
Organization and
development
• How well organized,
coherent and developed
is the presentation of
ideas?
Criterion E: Language
• How clear, varied and
accurate is the
language?
• How appropriate is the
choice of register, style
and terminology?
(“Register” refers, in this
context,
to the student’s use of
elements such as
vocabulary, tone,
sentence structure and
terminology
appropriate to the task.)
comparison of
the works used
in relation to the
question.
comparison
makes some
evaluation of
the
works used in
relation to the
question.
includes an
effective
evaluation
of the works in
relation to the
question.
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
and/or the
works used.
Examples of literary
conventions are
sometimes correctly
identified and
developed, with
some relevance to
the question and the
works used.
Examples of
literary
conventions are
satisfactorily
identified and
developed, with
relevance to the
question and
the works used.
Examples of
literary
conventions are
clearly
identified and
effectively
developed, with
relevance to the
question and
the works used.
Examples of
literary
conventions are
perceptively
identified and
persuasively
developed,
with clear
relevance to the
question and
the works used.
The work
does not
reach a
standard
described by
the
descriptors
below.
Ideas have
little
organization;
there may be
a superficial
structure, but
coherence
and/or
development
are lacking.
Ideas have some
organization, with a
recognizable
structure, but
coherence and
development are
often lacking.
Ideas are
adequately
organized, with
a suitable
structure and
attention paid to
coherence and
development.
Ideas are
effectively
organized, with
a very good
structure,
coherence and
development.
Ideas are
persuasively
organized, with
excellent
structure,
coherence and
development.
The work
does not
reach a
standard
described by
the
descriptors
below.
Language is
rarely clear
and
appropriate;
there are
many errors in
grammar,
vocabulary
and sentence
construction,
and little
sense of
register and
style.
Language is
sometimes clear and
carefully chosen;
grammar, vocabulary
and sentence
construction are fairly
accurate, although
errors and
inconsistencies are
apparent; the
register and style are
to some extent
appropriate to the
task.
Language is
clear and
carefully
chosen, with a
good degree of
accuracy in
grammar,
vocabulary and
sentence
construction;
register and
style are
consistently
appropriate to
the task.
Language is
very clear,
effective,
carefully
chosen and
precise, with a
high degree of
accuracy in
grammar,
vocabulary and
sentence
construction;
register and
style are
effective and
appropriate to
the task.
3
4
5
There is VERY
GOOD
knowledge and
understanding
of the part 3
works in
relation to the
question
answered.
Language is
clear and
carefully
chosen, with an
adequate
degree of
accuracy in
grammar,
vocabulary and
sentence
construction
despite some
lapses; register
and style
are mostly
appropriate to
the task.
SL CRITERIA
Criteria
Criterion A:
Knowledge and
understanding
• How much
knowledge and
understanding has the
student shown of the
part 3 works studied in
relation to the question
answered?
Criterion B:
Response to the
question
• How well has the
student understood the
specific demands of
the question?
• To what extent has
the student responded
to these demands?
• How well have the
0
1
2
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 and
some superficial
understanding of
the part 3
works in relation to
the question
answered.
There is
adequate
knowledge and
understanding of
the part 3 works
in relation to the
question
answered.
There is good
knowledge and
understanding of
the part 3 works
in relation to the
question
answered
The work
does not
reach a
standard
described
by the
descriptors
below.
The student
shows
VIRTUALLY NO
awareness of
the main
implications of
the question,
and ideas
are MOSTLY
irrelevant or
insignificant.
There is little
The student
LIMITED
AWARENESS of
the main
implications of the
question with some
relevant ideas.
There is LITTLE
MEANINGFUL
comparison OF the
works used in
relation to
The student
responds to
MAIN of the main
implications of
the question with
relevant ideas. A
comparison IS
MADE of the
works used in
relation to the
question.
The student
responds to the
main
implications
WITH
CONSISTENTLY
RELEVANT
IDEAS AN
APPROPRIATE
comparison IS
MADE of the
works used in
The student
responds to
THE MAIN
implications,
AND SOME OF
THE subtleties
of the question,
with
RELEVANT
AND
CAREFULLY
ESPLORED
ideas. AN
meaningful
comparison of
the
works used in
relation to the
question.
the question.
The work
does not
reach a
standard
described
by the
descriptors
below.
VIRTUALLY NO
literary
conventions are
identified but
there is limited
development
relevant to the
question and/or
the works used.
Examples of literary
conventions are
sometimes correctly
identified BUT
THERE IS LITTLE
development
RELEVANT to the
question and the
works used.
The work
does not
reach a
standard
described
by the
descriptors
below.
Ideas have
VIRTUALLY NO
organization;
AND/OR
DEVELOPMENT
ARE LACKING
coherence
Ideas have some
organization, AND
structure, but
THERE IS LITTLE
coherence and
development are
often lacking.
Language is
rarely clear and
appropriate;
there are many
errors in
grammar,
vocabulary
and sentence
construction,
and little sense
of register and
style.
Language is
sometimes clear
and carefully
chosen; grammar,
vocabulary and
sentence
construction are
fairly accurate,
although errors and
inconsistencies are
apparent; the
register and style
are to some extent
appropriate to the
task.
works been compared
and contrasted in
relation to the
demands of the
question?
Criterion C:
Appreciation of the
literary conventions
of the genre
• To what extent does
the student identify
and appreciate the use
of literary conventions
in relation to
the question and the
works used?
Criterion D:
Organization and
development
• How well organized,
coherent and
developed is the
presentation of ideas?
Criterion E:
Language
• How clear, varied and
accurate is the language?
• How appropriate is the
choice of register, style
and terminology?
(“Register” refers, in this
context,
to the student’s use of
elements such as
vocabulary, tone,
sentence structure and
terminology
appropriate to the task.)
The work
does not
reach a
standard
described
by the
descriptors
below.
Examples of
literary
conventions are
MOSTLY
CORRECTLY
identified and
THERE IS SOME
DEVELOPMENT,
with
relevance to the
question and the
works used.
Ideas are
adequately
organized, with a
suitable structure
and attention
paid to
coherence and
development.
Language is
clear and
carefully chosen,
with an adequate
degree of
accuracy in
grammar,
vocabulary and
sentence
construction
despite some
lapses; register
and style
are mostly
appropriate to
the task.
relation to the
question.
EFFECTIVE
comparison IS
MADE
of the works in
relation to the
question.
Examples of
literary
conventions are
clearly identified
and effectively
developed, with
relevance to the
question and the
works used.
Examples of
literary
conventions
are CLEARLY
identified and
EFFECTIVELY
developed,
with clear
relevance to
the question
and the works
used.
Ideas are WELL
organized, with a
good structure,
coherence and
development.
Ideas are
EFFECTIVELY
organized, with
A VERY GOOD
structure,
coherence and
development.
Language is
clear and
carefully
chosen, with a
good degree of
accuracy in
grammar,
vocabulary and
sentence
construction;
register and
style are
consistently
appropriate to
the task.
Language is very
clear, effective,
carefully chosen
and precise, with
a high degree of
accuracy in
grammar,
vocabulary and
sentence
construction;
register and style
are
effective and
appropriate to
the task.
What are the differences between
SL and HL?
Summarise below what you have to do to
receive a 7 – try to be specific
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Apply the criteria to mark the short example below:
QUESTION
‘It is often said that protagonists in plays are flawed in some
way.’ To what degree and with what effect are the strengths
and weaknesses of the protagonists significant to two or
three plays you have studied?
It is often the case that the audience’s interest in the protagonist of a play is
derived as much from his weaknesses as his heroic qualities. The works
‘Death of a Salesman’ and ‘A Doll’s House’ exemplify this fact. Willy Loman
suffers from a tragic lack of self-knowledge and is trapped by his materialism,
while Nora is presented as a meekly submissive housewife with no identity of
her own. Significantly, it is the inability of these characters to recognise and
address these flaws that determines their eventual fate. Hence the strengths
and weaknesses of the protagonists are of central importance to the
development of both plays.
In ‘Death of a Salesman’, Willy is a character who suffers many faults. The
most fundamental of these is his lack of self-realisation. A man who ‘never
knew who he was’, he is determined to insulate himself from reality and
refuses to face facts. Instead, due to his hubris, he inhabits a half-imagined
world in which he relives memories of Biff’s sporting success at Ebbett’s Field,
and of his successful brother Ben who is represented by a haunting and
wistful musical motif. In truth, Willy is a failure as a salesman and breadwinner,
and his son a ‘lazy bum’ unable to earn a dollar an hour. Biff’s remark ‘We
never told the truth for ten minutes in this house’ is thus an apt one. Miller
conveys this idea of self-deception though extensive use of flashback and the
device of the invisible ‘fourth wall.’ These elements serve to blur the
boundaries between past and present, truth and fantasy and dream and
consciousness in the mind of the audience. The towering apartment buildings
on the set also create a feeling of claustrophobia, giving events an almost
phantasmagoric quality. In this way, the playwright reveals the hallucinatory
nature of Willy’s experiences. In addition to this, Willy also suffers from a
crippling materialism, as represented by the motifs of the refrigerators and
cars. The fact that these are always breaking down conveys the shallow
nature of such an outlook on life. Thus, Miller presents his protagonist as a
deeply flawed man.
In ‘A Doll’s House’, Ibsen’s central character also suffers from significant
weaknesses. At the outset of the play, Nora is portrayed as a vacuous ‘dollwife’ and Torvald Helmer’s ‘most treasured possession.’ She is happy to hear
her husband’s patronising terms of endearment ‘songbird’ and ‘spendthrift’, as
long as they bring her monetary reward. The Helmers’ marriage is a
meaningless infantilised one, as shown by Nora’s comment. ‘I can’t get
anywhere without your help,’ which reveals an almost cringing subservience.
The triviality of Nora’s existence is represented by the symbol of the
macaroons. Like Willy, she lacks self-knowledge and has no identity other
than the role society has proscribed to her. She is the image of a pampered
bourgeois housewife, as represented by the motifs of stockings, cigars and
candles which represent decadence. Moreover, she appears almost utterly
naive regarding the world outside her ‘doll’s house,’ as her
clumsy attempt to commit and conceal her forgery demonstrates. This aspect
of Nora’s character is emphasised through the contrast with her foil, Mrs.
Linde, a widow who has learned the difficult lessons of life and poverty.’ She
also reveals a lack of sensitivity and understanding of emotions through her
idle flirting with Dr.Roak, whom she needlessly wounds by comparing him to
‘a servant.’ It is thus clear that, like Willy, Nora is a character with serious
weaknesses.
These flaws of the protagonist play vital roles in the two works. Crucially, they
provide the sense of inner conflict and struggle that is an essential part of
engaging drama. Significantly, it is the character’s ability to recognise their
own weaknesses that determines their ultimate fates. For Willy, his selfdeception persists to the very end. Blinded by a false epiphany, he commits
suicide in the belief that Biff ‘is going to be magnificent,’ with a 20,000 dollar
life insurance payout behind him. In reducing his own life to a figure of money,
he has allowed his destructive materialism to triumph. Moreover, since both
he and his son are ‘a dime a dozen,’ his sacrifice has been in vain, a false
step towards an unreachable goal. As such, Willy’s inability to prevail in his
internal struggle underlines one of Miller’s central themes, the great
importance of self-knowledge. His flaws are used as a vehicle to
explore this idea.
Nora, however, is able successfully to realise her own weaknesses. Indeed
the threat of Kronstadt’s incriminating letter propels her along a path to
greater fulfilment. By the play’s conclusion she recognised that her husband is
a ‘complete stranger’ with whom she has ‘never exchanged a serious word
over a serious subject.’ She is determined to create an independent identity
for herself, ‘first and foremost as a human being.’ Moreover, she is able to
achieve emancipation from the restraints of her ‘sacred duties’ as a member
of the bourgeoisie, and decides to ‘satisfy [herself] which is right, society or
[her].’ Thus, Nora is no longer a naive doll, but rather a strong willed and
decisive woman, qualities that are clearly conveyed by the emphatic
slamming door at the play’s conclusion. The gradual decay of the
once lush Christmas tree also symbolises the collapse of the pretensions of
Nora’s former life. Hence, Ibsen employs the protagonist’s triumph over her
flaws to provide insights into the conflict between the ideals of society and the
individual’s
need for authentic fulfilment. It is thus clear that the conflict between the
central character’s strengths and weakness is of central important to both
works.
In conclusion, both Nora and Willy are flawed characters. Their faults provide
a fundamental sense of conflict and internal struggle that underpins each play.
Significantly it is their ability to comprehend the reality of their weaknesses
that determines their destiny. Hence, although the two playwrights employ the
struggle of their protagonist to explore different themes, they both ultimately
warn against the great dangers of self-deception and of leading a fraudulent
existence.
Comments:
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TIP
The use of supporting references is rewarded in Criterion A: understanding and
interpretation; use short, carefully chosen quotations to support your points
4.
How to read the question
Try out this acronym to see if it helps you break
down a question for paper two…
DICTaT: Divide; Command; Technique and Theme
theme
technique
command
‘It is often said that protagonists in plays are flawed in some
way.’ To what degree and with what effect are the strengths
and weaknesses of the protagonists significant to two or
three plays you have studied?
DIVIDE: highlight the most important parts of the question
COMMAND: to what degree indicates that it is compare and contrast…
so which one has a greater impact on the audience and for what
reason?
TECHNIQUE: What dramatic elements must you mention? Here the
question is really asking you about what is it about the protagonist that
makes the play a tragedy… if it is a comedy, how is the flaw comically
revealed and for what reason?
THEME: all questions want you to discuss the impact on the audience…
‘what effect’ is asking you to comment on how the play challenges or
comments on an aspect of society or on human nature…
Common command words
Account for: To give reasons, explain why something has happened.
Analyse: To break the subject up into its main ideas, and evaluate them
Assess: To judge the value of a subject critically.
Comment on: To discuss, explain, and give your opinion on the ideas
expressed.
Compare: To show the similarities and differences between two or more
subjects.
Discuss: To investigate and present the different aspects of a problem or
subject, usually in support of a position or argument.
Evaluate: To appraise or estimate the worth of something, to some extent an
explained personal opinion.
Examine: To inquire into, and consider a problem carefully.
Justify: To provide the reasons for your conclusions or for the statement made
in the question.
What effect: What is the impact on the audience? What message about
society is communicated to the audience?
EACH OF THESE QUESTIONS WOULD COME UNDER ONE OF THE
FOLLOWING HEADINGS:
o Character
o Theme
o Setting
o Symbolism
o Structure
o Style
SELECT THE APPROPRIATE SYMBOL TO WRITE BESIDE A QUESTION!
CHARACTER
THEME
SETTING
SYMBOLISM
STRUCTURE
STYLE
POSSIBLE QUESTIONS YOU COULD BE ASKED ON DRAMA
1. 'Characters in a play are often motivated by strong passions or desires.'
Compare and contrast plays you have studied in the light of this statement.
Discuss, in each case, the dramatic effects created by the exploration of such
motivation.
2. Compare and contrast the presentation of any three or four characters in
plays you have studied. Say how, and how effectively, each character seems
to you to further the dramatic force of the play in which he or she appears.
3. 'What do women and men really want?' Discuss the dramatic techniques
through which similar or different desires of the genders have been expressed
in plays you have studied, saying how the presentation of them creates an
effect on the audience.
4. Plays which succeed with audiences must communicate some aspects of
the thoughts and motivations of the characters. How far and by what means
have dramatists in your study conveyed the interior lives of their characters?
5. All characters in plays are mouthpieces for their author. From a
consideration of some characters from the plays you have studied, say how
far you agree.
6. A necessary part of drama is not only to present conflict between the
characters in a play, but also to create conflicts within each member of the
audience. Compare and contrast two or three plays you have studied in the
light of this comment.
7. 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.
8. 'While the momentum of the play is carried by major characters, there is
often a significant minor character who is a catalyst for change or
enlightenment.' Compare the role of a significant minor character in in plays
you have studied, showing how these characters contribute to the dramatic
action.
9. 'People often act first and reflect afterwards'. In what ways have the
connections between action and reflection been more and less important to
the plays you have studied?
10. Human illusions have always been a powerful subject of plays, both tragic
and comic. In what ways have the plays in your study considered this aspect
of human behaviour and with what effects?
11. A play is often a complex web of conflicting emotions. Compare the ways
in which playwrights in your study have presented emotional conflicts so as to
make an impact on the audience.
12. 'In real life, we are frequently unsure of the motives behind the actions of
our fellow human beings, but in a play we must be sure, or the character will
become blurred.' In plays you have studied, compare how far and by what
means dramatists have ensure that the audience will be very clear about the
motives of significant characters.
13. Consider how dramatists make characters speak in plays you have
studied, and say how the language and tone of these dialogues,
conversations and monologues contribute to each play as a whole.
14. A drama critic recently drew attention to the 'threatening encounters' as a
powerful feature of a new play. Discuss encounters [threatening or otherwise]
in plays you have studied and consider them as features of the drama created
in each case.
15. The audience's response to characters in drama is due, in part, to the
relationships of these characters with others in the play. Compare the ways in
which dramatists in your study use such interactions to present full and
complex character portrayals to enhance the theatrical experience.
16. The 'past' of characters - their implied or recollected experiences - are
often used by dramatists to enlarge and enrich character portrayal. Evaluate
the use and the importance of characters' lives prior to the events of plays in
your study to explain or complicate the events included in the plays.
17. Using plays you have studied, write an essay on the presentation of the
relationships between male and female characters [or between characters of
the same sex], giving some idea of the dramatic effects achieved by these
means.
18. Isolation, either mental of physical, can lead to despair or enlightenment.
In the plays you have studied, show how playwrights have used isolation of
any kind to heighten the dramatic effects of their plays and develop their
characters.
19. How far, and in what ways, do plays you have studied support the idea
that communication between human beings is difficult or perhaps impossible?
20. How have plays you have studied presented 'what happens inside a
human being' in dramatic terms?
21. One dramatist has maintained that theater ought to pursue a reexamination, not only of aspects of an objective external world, but also
aspects of the inner worlds of human existence. What choices have been
made in the plays you have studied to pursue one or the other, or both, of
these aspects, and what theatrical techniques have been used to carry out
this choice?
22. In achieving a strong dramatic effect, a playwright will sometimes work to
elicit from the audience heights of admiration or depths of loathing for certain
characters. Compare by what means different dramatists have have managed
to construct such powerful characterisations and the effect of those on the
play.
23. Because a play is simply not words on a page, actions and gestures play
a significant part in engaging the audience. Considering the plays you have
studied, compare and evaluate the role of action and gesture in enhancing the
central thrust of the play.
24. The interactions among characters in a drama is often associated with the
acquisition, the holding or the loss of power. By what means and with what
effects have plays in your study addressed power relations?
25. What part does fantasy play in the lives of the characters in plays you
have studied; how is this fantasy presented and to what effect on the
audience?
26. In every play there are characters who the audience regard as either
essential or expendable. In plays you have studied, discuss why characters
can be seen in either of these ways because of their relationship to the play's
meaning.
27. In what ways do the plays you have studied dramatise either the depths to
which human beings can sink or the ridiculousness of some human actions?
28. Discuss the extent to which, and the ways in which, each playwright's
presentation of female characters differs from that of male characters, making
clear effect in each play.
29. The playwright cannot depend, as does the novelist, on a narrative voice
rounding out a character by means of description and analysis. How are the
personalities and views of characters effectively conveyed in the plays you
have studied?
30. 'A play stands or falls on the dramatists' ability to create believable
characters.' How far have you found this statement to be true in the plays you
have studied?
31. Through an analysis of some of the characters in two or three plays you
have studied, compare the ways in which the struggle between internal and
external forces is presented.
32. How do characters and the choices they make contribute to meaning in
two or three plays that you have studied?
33. The difference in a play between what is being said and what is being
done can provide one focus of interest for the audience. In plays you have
studied, by what means and to what effect have dramatists made good use of
such differences?
34. 'Drama explains individuals, not relationships'. Paying close attention to
how individuals and relationships are presented in two or three plays you
have studied, say how far you find this statement to be true.
35. Drama is often the expression or investigation of power: characters can, at
different moments in a play, be oppressors or victims, dominant or
subservient, users and used. In terms of power and its effects, discuss three
or four characters from the plays you have studied, and say what this powerplay adds to the play as a whole.
36. Dramatic conflicts arise when dominant individuals or groups regard
themselves as the norm against which others are to be measured. With
reference to specific scenes from at least two plays you have studied, discuss
the significance of such conflicts and how they are explored.
37. In plays a character who appears briefly, or who does not appear at all,
can be a significant presence, contributing to action, developing other
characters or conveying ideas. To what extent have you found this to be true
of at least two plays you have studied?
38. 'Comedy exposes human weakness; tragedy reveals human strength'.
How and to what extent does this claim apply to at least two plays you have
studied?
39. A change in status of the characters in a play [a success, for example, or
a loss or exposure] helps to convey the ideas and/or values of the dramatist.
How and to what extent has change in status contributed in this way to at
least two plays you have studied?
40. 'In drama there are more interesting roles for men than women'. Discuss
to what extent you agree with this statement and what it is that makes a role
interesting. Refer closely to at least two plays you have studied.
41. Consider the ways in which scene changes may highlight the
development of characters and their relationships in two or three plays you
have studied.
REMEMBER EVERY QUESTION IS ALWAYS ASKING:
WHAT IS THE MEANING AND HOW HAS IT BEEN CREATED?
Each of these examination questions is essentially asking you that!
Select meaning:

Knowledge of English
or Education can mean
the difference between
poverty and
employment.
Knowledge is trivialised
by Victorian society.

Social identity is
formed not only
through patterns of
speech, but also
through one's general
appearance.

Social class is a matter
of cultural habit.

Gender roles women
are increasingly taking
on a more important
role despite the
oppressive Victorian
society.

Morality and the
constraints it imposes
on society

Hypocrisy and
deception to escape the
strictures of propriety.

Falsehood vs Truth

the destructive
nature of ignorance
and naivety

Art and religion

Memory and music

Political correctness

Lies and human nature
Select the main focus
of the question:






Character
Theme
Setting
Symbolism
Structure
Style
You will still need to
make the argument
fit your question…
just manipulate it!
Select the best
techniques to explore
the topic:




































Dramatic irony
Props
Paradox
Tension
Climax
Mood
Atmosphere
Setting
Irony
Stage directions
Soliloquy
Symbolism
Narrative structure
Archetype
Orientation
Conclusion
Comedy of manners
Conflict
Falling action
Foreshadowing
Imagery
Satirical
Dynamic Character
Static character
Linear Plot
Juxtaposition
Marginalised
Pace
Asides
Lighting
Repetition
Colloquial language
Inter-textuality
Music
And here are some pointers to help you with that…
1. Identify what the question is asking in literary terms.
2. Rewrite the question in your own words.
3. Does it involve extra questions? If so, rewrite each one to be
sure you understand all of the implications of the question.
4. Define all the words in the original questions whose meaning
is important (i.e. key terms), especially those terms which
could be ambiguous. You may want to define a given term
by exclusion. Brainstorm synonyms for key terms.
5. List all the titles of works and the authors you have studied in
Part 3 (as relevant). Think them over carefully, and choose (at
least) two to use as examples or evidence. It’s usually best to
write about two works.
6. Apply questions 2 and 3 above to the works you have chosen
and list the main quotations and examples you could use in
responding to the question.
7. Focus What is the main focus/thrust of the works you have
chosen? How does this relate to the question(s) asked in 2
and 3 above? How does this help you to set your parameters?
8. No matter what the question asks, the criteria are the
same. Make sure you are scoring on them by demonstrating
knowledge and understanding, responding to the question,
demonstrating appreciation of literary features, providing a
coherent structure to your argument, and using formal,
literary language. What you’re really answering is “What? How?
and Why?”
9. Plan your essay.
10. Essay Structure

Introduction: Here you can enumerate and briefly delineate
your answers to 2, 3, 4, 5 and 7. Define terms. Set
parameters. Establish links to key issues/themes of the works
making clear comparison/contrast claims.

Body: Here you discuss your answers to 6 & 7, supporting
your arguments with evidence from the texts.
Make clear claims at the start of your paragraphs, relevant to
the question.
Relevant and accurate quotation from a text is always
impressive. So are specific examples!
Summarize your key point at the end of a paragraph.
Provide transitions within and between paragraphs.
Don’t forget that it’s a comparative essay (what’s similar,
what’s different, why does this matter in relation to the
question.

Conclusion: Bring together your answers. Be succinct, and
do not merely repeat what you have already said in the body
of your essay.
So… how does a clever
Literary Llama organise
their ideas?

DON’T rush into writing

DO think carefully about what the question is really asking and how
you will answer it, in what order

DO remember, it is better to develop a few points in detail, than a lot
of points superficially.

DO leave time to proofread and edit your work

At the 30 minute ‘warning’ finish the paragraph you are writing,
reread your script (while proofreading and editing) adapt your
introduction as necessary, write your conclusion.
Time recommendations
SL

20-30 minutes ‘thought showering’/ planning

45-60 minutes drafting

10-15 minutes proofreading / editing
HL

30-45 minutes brainstorming/planning

60-80 minutes drafting

10-15 minutes proofreading/editing
Remember

Check your introduction. Have you started in an interesting
manner? Have you defined the key terms enough? Have you set
parameters that are focused enough to deal with in the time
allotted? Have you ensured you are mapping out an answer to all the
key parts of the question?

Double-check your paragraphs to see where you lack relevant
knowledge / quotes / examples / transitions.

Research / review to fill in the gaps.

Check your conclusion. Does it restate your main points in another
way and lead out in an interesting manner?

Double check for language clarity, variety, precision and
conciseness. Fix errors!
Literature Llama likes to play
bingo with literary language.
5.
Language
Character
Protagonist
Genre - DRAMA
Historical
Themes in literature
Things are not always
Antagonist
Foil
Anit-hero
Symbolic
Stereo-type
Reliable
Unreliable
Doppelganger
Archetype
Static
Philosophical
Political
Romance
Satire
Reflective
Parody
Comedy
Comic relief
Tragedy
as they seem
Change
Good vs evil
Power corrupts
Political/ social / gender
flaws in a particular
Dynamic
society
Tragic flaw
Tragic hero
Man vs nature
Man vs man
Morality
hypocrisy
Language form
bildungsroman
Didactic
Intertextual
Juxtaposed
Extended metaphor
Colloquial
Structure
Catharsis
Climax
Complication/conflict
Rising action
Satire
Connotation
Denotation
Hyperbole
Imagery
Irony
Paradox
Metaphor
Pathos
Exposition
Denouement
Language of
Comparison
In the same way
Likewise
Similarly
Nonetheless
However
On the contrary
On the other hand
In contrast
Plot
Setting
Anti-climax
Climax
Conflict
Denouement
Dialogue
Exposition
Subplot
Trope-cliché
Turning point
Culture
Historical
Geographical
Social
Dystopia
Utopia
Props
Stage direction
Foreshadowed
Flash-back
Stream-of conscious
Great sentence
starters for your
analytical essay…
Although
As
It is evident
At one point
Despite the fact that
Even though
Finally
Furthermore
Gradually
In addition
In conclusion
In general
In spite of
Moreover
Nevertheless
Subsequently
Therefore
Whilst
In fact
One argument for this is
that
Words/phrases that
create more complex
sentence
constructions
Sometimes
Moreover
However
In spite of
Nevertheless
Surprisingly
Strangely
Similarly
Incidentally
Ironically
Despite the fact that
Even though
Whilst
Although
Unusually
In contrast
Unknown to
Unable to
Without noticing that
Other literary
techniques
Active voice
Allegory
Alliteration
Allusion
Ambivalence
Ambiguity
Antithesis
Antonyms
Bildungsroman
Characterisation
Cliffhanger
Colloquialism
Complex sentence
Compound sentence
Connotation
Context
Contextual framework
Denouement
Diachronic
Dialect
Dialogue
Elision
English (American)
English (Australian)
Enjambment
Epilogue
Epiphany
Euphemism
Flash back
Flash forward
Foreshadowing
Formal
Hyperbole
Idiom
Imagery
Informal
Irony
Juxtaposition
Lamb
Metaphor
Meter
Mood
Morphemes
Motif
Neologism
Onomatopoeia
Oxymoron
Paradox
Parody
It seems plausible to
Furthermore
Nevertheless
Subsequently
Consequently
However
In point of fact
It is precisely because
The evidence I would
use to support this is
Passive voice
Pathos
Periphrasis
Personification
Positioning
Prefix
Prologue
Rhetoric
Rhythm
Simile
Simple sentence
Slang
Soliloquy
Stereotype
Symbols
Synonyms
Tautology
Tone
Tragedy
Vernacular
Naturally
Doubtless
It is surprising that
It surprises me that
It is no surprise that
It would seem logical to
EDITING AND CHECKING YOUR WORK!
6. CHECK LIST
THE INTRODUCTION
CHECK
COMMENTS/EXAMPLES
TIPS
Introduction: There is a thesis
statement that references the
dramatic elements that
present the audience with a
commentary on
society/human nature in a
particular time
The thesis should have
words from the question
you were given
Introduction: Both the author
and the title of the plays have
been included
Ensure that you have used
both their first and last
name in the Introduction –
you may just use their last
name after this. The title
of the play must be
underlined throughout
the essay and written in
full
Introduction: There is a
THE CRUCIBLE: literal
reference to the time and
place of the play – very
brief… to establish ideologies
playwright was challenging
setting 1600s Salem –
metaphorically America in
the 1950s
BRILLIANT LIES: Australia
1990s
MASTER HAROLD AND
THE BOYS: 1950s South
Africa
You can re-read the
introduction and it answers
the question in a nutshell – no
more than five senten
The purpose of the essay
is to show that you
understand what the
reader/audience is invited
to think about the society
the author is writing
about. Is it a criticism? Is it
to provoke change? Is it to
reveal a different way of
seeing the world? Raise
awareness?
THE BODY - content
CHECK
You can identify three points,
in the essay, that explore how
the author has used the
literary device to reveal
theme.
COMMENTS/ EXAMPLES
1.
2.
3.
TIPS
This does not mean that
you only have three
paragraphs! It might take
two paragraphs to explore
one point properly
Each point shows an
appreciation of how meaning
has been created through one
of the smaller ‘ticket items’
that fall under the umbrella of
the ‘big ticket’ item
You can identify a distinct
topic sentence that does
this.
Quotes selected support the
comment you are making
The quotes are short and
embedded within the
sentences naturally. Page
numbers have been put in
brackets at the end of the
sentence.
You have not used these
words: For example; here is
a quote; this quote shows…
There is a link connecting
paragraphs and ideas
CONCLUSION
CHECK
There is a comment about
the author’s message
regarding society
COMMENTS/EXAMPLES
TIPS
You need to demonstrate
that you are able to see the
text from a global
perspective. What is the
author’s message for the
reader about the society
they have written about?
The title of the novel and
the author have been
referenced along with the
theme and literary device
FORMATTING CHECK
There is a bibliography
You need to reference the
text that the essay is based
on, including who the
translator was.
There are no spelling or
punctuation errors
Have someone read it aloud
to you to check that it
makes sense
There are links between
paragraphs
The language and
terminology is suitable for
an IB marker
You have page numbers on
each page
You have used size 12 font –
Roman Times - with 1.5 line
spacing.
You have written the title of
the text in Italics throughout
You have placed line
numbers for quotes, in
brackets, at the end of the
sentence.
WOOOOHOOO – THE LITERARY LLAMA
CELEBRATES WITH YOU! WE ARE DONE!