UNIT 1

Cambridge IGCSE® Literature in English –

Introduction to the Teacher’s Resource
CD-ROM
This is the only document in Unit 1 of the CD-ROM, and it serves the same introductory
function for teachers as Unit 1 of the Coursebook does for students.

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The Cambridge IGCSE Literature in English Teacher’s Resource CD-ROM is designed to complement
the Cambridge University Press Coursebook for teaching Cambridge syllabus 0486: IGCSE
Literature (English). However, much of it will still be relevant if you are following a Cambridge

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IGCSE Literature syllabus with a different syllabus code. Make sure you have access to the latest
version of whichever syllabus you are following.

The resources on the CD-ROM have been written to complement the Literature text extracts and
their related Activities in the Coursebook. The links between the CD-ROM and the Coursebook
are made explicit in the Teacher notes for each unit and in many of the student Worksheets and
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Handouts. In addition to complementary Worksheets based on texts in the Coursebook, the
CD-ROM contains Worksheets on additional texts.

The Worksheets and other Handouts for students promote active learning skills. This is
important for a subject that prizes informed personal responses to the texts that students read.
Towards the beginning of the course, you should take students through the ‘Active learning’
section of Unit 1 of the Coursebook (on page 5) to show them the practical ways in which they
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can take responsibility for their own learning. For some students, this concept will be difficult to
grasp. But this is a subject where there really are no ‘correct’ or ‘model’ answers. The resources
in both Coursebook and CD-ROM help students to develop effective strategies for responding in
original and individual ways to the texts they read.

How to get the most from this CD-ROM

On this CD-ROM you will find the following types of documents:

Teacher notes. These provide both an overview of a particular unit and specific information
and guidance for teachers in respect of particular Worksheets or Handouts for students. The
Teacher notes document for a particular unit should, therefore, be read before using any of that
unit’s sheets for students. Note that Units 1 and 2 of the CD-ROM are introductory materials for
teachers only.

Worksheets. This is the most common type of document on the CD-ROM, and these create
active learning opportunities for students. There are Worksheets available for all Units 3–9, and
in general they are designed to be useable at all ability levels, but any differentiation is noted in
the related Teacher notes and in the Contents grid in the Unit 1 menu. Worksheets are provided
in an editable format in Word, so you may customise them as you wish.

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 Unit 1 Introduction to the Teacher’s Resource CD-ROM

The Worksheets complement the texts and Activities found in the Coursebook, with some
containing additional texts. These sheets should be used in the order that best suits the structure
of your Literature course. They are not designed to be read or used in a sequential order. You
should feel free to take materials from various Units to support any lesson or teaching topic you
are planning.

Where relevant, Worksheets will provide an ‘at-a-glance’ indication of what students will need
to complete the Activities on a particular Worksheet – see the ‘You will need’ box near the top of
the sheet.

Handouts. These are documents that contain mainly information or checklists to help students
evaluate their own progress rather than Activities relating to specific texts.

Lesson plans. In addition to a Lesson plan template in Unit 2, you will find specimen Lesson
plans in Units 8 and 9. These are available in editable Word format, and can be modified to
reflect your own teaching circumstances, as well as your selection of texts.

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Teacher support sheets. These sheets give guidance and useful reference materials about specific
issues or topics for a particular unit. They are aimed specifically at teachers, and will help with
planning and focusing your teaching.

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Extract sheets. These sheets contain annotatable electronic versions of all the texts from
the Coursebook (where permission could be obtained). The sheets are grouped by the unit
in which they appear, and they can be printed or projected onto a classroom whiteboard.
(A full Acknowledgements list for all texts can be found at the foot of the main CD-ROM menu.)

Image resource sheets. These contain selected images from the Coursebook for classroom
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projection as stimulus for class discussion and as a way in to related texts.

Units 1–9
The CD-ROM has the same structure as the Coursebook. The units on the CD-ROM share
the same number as their counterparts in the Coursebook. This helps to provide a coherent
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framework for all the documentation. It also enables you to navigate the various units quickly in
order to find relevant material for your lesson(s).

The descriptions below provide a brief overview of the content of each unit. You are advised to
read the Introduction to each unit’s Teacher notes document for a more detailed overview and
rationale.

The first two units are aimed solely at teachers. As you can see, Unit 1 tells you how to use the
CD-ROM and what it contains.

Unit 2 provides specimen course-planning documents that can be modified to reflect the
particular circumstances of teaching and learning within your centre. These provide illustrations
of possible approaches to planning, and should not be seen as definitive model plans for the
obvious reason that one plan cannot meet all centres’ needs.

Units 3–5 provide a variety of Worksheets and Handouts aimed at students, and include the kind
of Activities that promote an active learning approach to the subject. The Activities complement
and, in some cases, extend those found in the Coursebook on analysing poetry, prose and drama
respectively.

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 Unit 1 Introduction to the Teacher’s Resource CD-ROM

Unit 3 helps to develop skills required when responding to poems, and the materials could be used
as preparatory work before studying Poetry set texts. You may feel that one or more of the poems
could be studied as part of a project leading towards a Coursework assignment. The structured
approach in many of the Worksheets can be useful during the early stages of a programme of work
that prepares students for the Poetry section of the Unseen Examination Paper.

Unit 4 helps to develop skills required when responding to prose fiction, and could be used
before studying Prose set texts. Perhaps some of the texts might be useful as part of your teaching
for a Prose Coursework assignment. The structured approach in many of the Worksheets can
be useful in developing the close reading skills required for the Prose section of the Unseen
Examination Paper.

Unit 5 helps students to consider drama texts as plays, intended for performance, rather than
texts to be read like prose texts. Again, the sheets can be used to teach Drama skills for all types
of assessment in the IGCSE Literature course.

Unit 6 provides Worksheets and Handouts designed to develop both critical and empathic

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writing skills. They include opportunities for self-evaluation and also for teacher evaluation of
student writing. The teacher notes provide useful commentaries on the strengths and weaknesses
of student writing examples.

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Unit 7 includes an explanation of the requirements of the Unseen Paper (Paper 3 of syllabus
0486), with guidance set out in a question-and-answer format (but please check against the current
syllabus on the Cambridge website at www.cie.org.uk). There are also three IGCSE-style practice
questions on Unseen texts – two on relatively recent texts, and one on a more established poem.

Unit 8 contains generic guidance and Worksheet Activities that can be modified to reflect the
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particular set texts you are teaching (e.g. for Papers 1, 4 or 5 of syllabus 0486).

Unit 9 contains Handouts for students for use at different stages of their Coursework assignment
(Paper 2 of syllabus 0486), from writing the first draft through to presenting their final version.
The Unit also contains a Teacher support sheet on the subject of Coursework task-setting; this
contains examples of effective and less effective Coursework tasks.
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I hope you find that the material on this CD-ROM usefully complements that found in the
Coursebook and that you enjoy using and/or modifying the material in your own lessons.

Russell Carey

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 Unit 5 Responding to Drama
Teacher notes
Introduction
For Syllabus 0486, students must study Drama
for either Paper 1 or Paper 4.
Depending on the route through the syllabus
you are following, students may also study
Drama for:
• one or both of their Coursework
assignments
• Set Text Paper 5.
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For Syllabus 0476, students must study a play
by Shakespeare for Paper 1.
The Coursebook and the Worksheets on the
CD-ROM aim to put students at their ease
when engaging with the meanings and effects
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of plays. The reading and related Activities are
designed to:
• develop students’ confidence in uncovering
the surface meanings and deeper
implications of plays they study
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• provide them with a vocabulary and
active learning strategies to explore plays
critically
• develop their skills at producing informed
personal responses to the plays they study.
Stronger student responses to Drama texts very
largely demonstrate an awareness of the text
as a play, that is, something intended for live
performance in a theatre. Such responses refer
to the text as a ‘play’ rather than a ‘book’, and
discuss effects on the ‘audience’ rather than
the ‘reader’. These are crucial distinctions.
The Worksheets in this Unit get students
engaging with Drama texts as plays, and
characters as fictional creations intended for
the stage.
It would be ideal if a play you are teaching
were being staged at a theatre within travelling
Cambridge IGCSE Literature in English © Cambridge University Press 2012
Unit 5 Teacher note.indd 1
distance of your school. However, there are
ways of bringing students into contact with
the whole idea of plays as performance. Many
of the Drama texts set for IGCSE have been
made into films, and DVDs or internet clips
are generally accessible. A useful website for
finding film versions by title or writer is the
Internet Movie Database at
http://www.imdb.com/
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Such film adaptations can certainly enhance
a reading of a play. The viewing of a key
scene alongside a close reading of the same
scene in the text can help students to engage
closely with the dramatic impact of the play.
Indeed, in the case of some Shakespeare plays,
scenes could be compared from different film
versions.
It should be stressed that the film should
complement students’ appreciation of the play,
and not replace it. Students who write about
the use of machine guns and action taking
place at petrol stations in Romeo and Juliet are
referring to the Baz Luhrmann film Romeo +
Juliet rather than Shakespeare’s play.
Where time permits, useful Activities involve
students themselves going beyond a reading of
the words and moving towards a re-creation of
key scene(s) in drama-focused Activities.
Handout 5.1
This Handout offers an opportunity for student
self-evaluation: how well do the students
know their Drama text? It would take about 15
minutes to complete and discuss implications
of students’ answers. It might be usefully
scheduled towards the end of the course before
the final revision begins.
Worksheet 5.1
This Worksheet looks at an immediate aspect
of Drama scripts not found in, say, Prose
fiction texts, namely, stage directions.
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In order to get the most out of this Activity,
students should read the introductory pages
of the Coursebook: Responding to Drama unit
(pages 95–98). Direct them in particular to the
differences between Prose and Drama texts in
the section ‘Analyse the ways dramatists use
form, structure and language’ (page 96).
In the Worksheet students are directed to read
pages 101–102, which provide an overview of
the various purposes of stage directions, giving
information about:
• the volume of characters’ voices
• what characters look like
• how characters behave
• aspects of lighting
• the appearance of the set.
The Worksheet asks students to apply and
extend this knowledge to an appreciation of
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the extract from A Streetcar Named Desire
(Coursebook, pages 123–125). For Activity 1,
the notes they make under the various
headings will enable them to appreciate the
contribution that stage directions make to the
way they visualise the play. ‘How would this
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scene appear on stage?’ is a very important
question students should ask of all key scenes.
Activity 2 gets students to build on their
increased understanding of the play’s dramatic
impact. This Activity has three stages and
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would be best suited to work in groups of
three student actors – though diffident actors
might be persuaded to join groups as directors.
Where time is at a premium, this speaking and
Drama Activity could be amended to focus on
the Drama set text you are teaching.
One caveat should be made here. When
students are writing responses to passage-
based questions and general essay questions
on plays, they should not focus too heavily
or exclusively on how the stage directions
contribute to the overall dramatic impact.
The primary focus should be on the words the
characters speak.
Worksheet 5.2
This Worksheet can be used to complement
and build on the general points made in
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Unit 5 Teacher note.indd 2
Unit 5  Teacher notes
Activity 5.1. It can be customised as exam
practice for a particular extract selected from
your Drama set text, or for an extract from
Coursework texts you may be teaching. Many
20th-century IGCSE texts include a good deal
of stage direction, for example, plays by Miller,
Williams, Hansberry, Ayckbourn.
Worksheet 5.3
Students need to refer to the Coursebook
(pages 104–106) or the Extract sheet 5.1 for the
extract from Death of a Salesman.
The Worksheet takes a two-staged approach
to the study of the two characters in the
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extract, brothers Biff and Happy. Both stages
are essential when developing a detailed
appreciation of characters in plays (and indeed
Prose texts).
Activity 1 really asks for students’ impressions
of the two characters, that is, what they learn
about Biff and Happy from the evidence
provided in the extract. The Activity asks for
lists of bullet points, though a mind map
would also provide a useful visual aid for
gathering relevant points. Answers could
include the characters’ likes and dislikes, their
thoughts and feelings about life generally, and
about their work in particular.
Activity 2 is a more challenging one, focusing
on skills required for higher grades at IGCSE.
It still deals with students’ responses to the
two characters, but additionally has a focus
on the writer, Miller, and how he presents
the characters. In this extract, the characters
are vividly conveyed through the use of
dialogue. The ‘Quotation and Comment’
table is encouraged in a number of Activities
in the Coursebook and on the CD-ROM. This
is because it provides a framework in which
students can explore in detail the words writers
use together with their effects.
The comments in the Comment column
should be longer than the quotations, as can
be seen in the example provided. Similarly, in
critical essays their extended comments after
quotations demonstrate students’ ability to
develop and sustain critical analysis.
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This kind of Activity can serve as an explicit
reminder to students to:
• quote to support points they make
• provide analytical comment on key words
and their effects.
Worksheet 5.4
This Worksheet asks students to consider the
particular features of Drama texts by taking an
extract from Prose fiction and rewriting it as a
Drama script.
Students are asked to read or review the pages
from the Coursebook noted in the ‘You will
need’ box. Some guidance may be needed
here to ensure students do not spend too long
reading the background information. Most
importantly, they will need to read carefully
the extract from Roald Dahl’s The Hitch-hiker
(pages 56–57), and think about how it could be
adapted as a Drama text.
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This sort of exercise need not take long, perhaps
30–40 minutes (plus 15–20 minutes’ reading
time). It provides a valuable insight into the
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sorts of decisions writers of plays face when:
• describing characters and how they look
• describing how characters speak
• setting the scene for the stage
• providing information about sound and
lighting.
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The worksheet directs students to an example
of what a Drama script looks like (from
Williams’s The Glass Menagerie) and an
explanation of stage directions – on pages
98–102. This Drama extract can be scan-read
quickly for key features rather than read in
detail, as it is not central to the activity.
A Further activity (where time permits) asks
students to decide on the merits of each other’s
scripts. By acting out parts of texts, students
engage with significant features used by each
of the student dramatists as they focus on
the ways in which writers seek to achieve
particular dramatic effects.
Worksheet 5.5
It is a universally accepted truth that conflict is
at the heart of Drama. This Worksheet can be
Cambridge IGCSE Literature in English © Cambridge University Press 2012
Unit 5 Teacher note.indd 3
Unit 5  Teacher notes
used as given or amended to reflect the play(s)
you are teaching.
Romeo and Juliet is of course a common IGCSE
exam and Coursework text. However, to adapt
the Worksheet, simply select an extract which
reveals conflict between characters and then
follow the three Activities in this Worksheet:
• a ‘Quotation and Comment’ table to
arrange students’ responses
• small group discussion about the best
way to communicate the conflict in a
powerfully dramatic way
• students rehearsing and acting out the
scene.
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Support is provided in the Worksheet for each
of these three stages.
Worksheet 5.6
This Worksheet asks students to read extracts
from the beginnings of three plays (or near
the beginning in the case of the Hansberry
text). These beginnings can be compared with
each other, and also with the beginnings of
students’ own exam or Coursework texts.
This Worksheet could take 30–40 minutes
(plus 15–20 minutes’ reading time). Small
group discussion of each of the three extracts
precedes note-making and brief writing
Activities.
A series of specific questions helps support
students through their discussions and writing.
These questions could be applied to the
opening of any Drama text. You may wish to
include a more formal exercise in which the
groups report back their ideas to the class as a
whole.
Worksheets 5.7 and 5.8
One of the best ways to increase students’
detailed appreciation of a play is to focus
teaching and learning Activities on the play’s
key scenes. There simply is not sufficient time
to focus on all pages of the Drama script in the
same close detail. But by concentrating on the
key moments in the play, you will be teaching
the necessary skills that students can then
apply to any moment in the play.
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The content of Worksheets 5.7 and 5.8 deals,
respectively, with the opening and ending of
the Drama set text. Openings and endings of
texts are very important areas of texts. Each
Worksheet provides a series of questions that
enables students to respond appropriately to
the ways in which writers begin and end their
plays.
You will need to provide copies of the relevant
extracts. The extracts should be as long as the
ones found in the passage-based questions
on the Set Texts examination Papers. You can
access past papers via the Cambridge Teacher
Support website – for which you will need to
use your centre’s login and password details –
see http://www.cie.org.uk/profiles/teachers/
support
These Worksheets are best scheduled after an
initial reading of the play has taken place.
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They allow students to develop their own
responses to the text in greater detail.
Each Worksheet ends with a generic question,
which can be amended to reflect the text you
are teaching. These Further activities can be set
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as homework tasks if there is no time left in
class-time to complete them.
These IGCSE-type 45-minute questions
expect students to devote most of their time
to engaging with the detail of the extract.
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Examples of good practice can be found in
past papers on the Cambridge Teacher Support
website.
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Unit 5 Teacher note.indd 4
Unit 5  Teacher notes
Worksheet 5.9
This Worksheet on a key moment in
Shakespeare’s Macbeth can be used as given
or amended to focus on an extract from the
Drama text you are teaching.
The emphasis is on the structure within the
extract, and in particular on the building of
suspense.
The annotation and note-making Activities
are supplemented by speaking and Drama
Activities. In exploring the way suspense is
built, students’ discussion could focus on the
following aspects, as noted on the Worksheet:
• the words the characters speak
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• the way they speak
• shifts in tone of voice
• quantity of lines spoken
• the use of pauses
• noises off stage.
Students’ appreciation of how a writer creates
and sustains suspense will be strengthened by
this Worksheet’s combination of private study,
discussion, rehearsal and performance.
Worksheet 5.10
This Worksheet, taking the form of a quiz,
could form useful revision of some dramatic
terminology and should take no more than 5
minutes. It will serve as a succinct reminder
that plays are pieces of writing intended for
performance.
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 Handout 5.1
How well do I understand Drama texts?
Use this checklist to assess your understanding of the play(s) you study.

Statement Very well Well Not so well

1 I know how to visualise what happens on
stage when I read the play.
2 I appreciate the way the writer begins the

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play.
3 I know the detail of the plot.
4 I understand the play’s main themes (or

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deeper meanings).
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I appreciate the ways in which the writer
presents the characters on stage.
I appreciate the ways in which the settings
are created, and why.
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7 I know where the shifts in mood occur in
the play, and why.
8 I can analyse the structure of the play: why
scenes appear in the order they do.
9 I am able to comment on how effective the
ending of a play is.
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10 I understand why it is important in essays to

use the words play and audience (rather than
book and reader).

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 Worksheet 5.3

Worksheet 5.3
Making notes on characters

You will need:

• The extract from Death of a Salesman on pages 104–106 of the Coursebook or on

Extract sheet: 5.1

This sheet suggests two strategies for making notes:

• writing lists
• using a Quotation and Comment table.

This sheet refers to the extract from Death of a Salesman in the Coursebook. But the

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strategies used in this Worksheet can be used for your notes on characters from any text.
Activities
1 Read the extract carefully, and then make a list of what you learn about the two characters
a Biff pl
For example: Doesn’t know what he wants from life
Drifted from one job to another
• __________________________________________________________________
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• __________________________________________________________________

• __________________________________________________________________

• __________________________________________________________________
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• __________________________________________________________________

• __________________________________________________________________

b Happy
For example: Looks up to his brother
Stuck in his job – to move up he must wait for his manager to die
• __________________________________________________________________

• __________________________________________________________________

• __________________________________________________________________

• __________________________________________________________________

• __________________________________________________________________

• __________________________________________________________________

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 Worksheet 5.3

2 Activity 2 encourages you to build on Activity 1 by exploring the ways in which the writer
presents a particular character.
In the table below write down key quotations which bring to life Biff’s character. In the
Comment column you should comment on the effects of key words used by Miller, the
writer.
In critical essays, comments should be longer than the quotations. Your comments allow
you to show your ability to analyse the words writers use in creating their characters.
This sort of note-making Activity can be useful in organising your thoughts about
characters in the plays (and also Prose texts) that you study.

Quotation Comment
(This should be brief) (This should be longer than the quotation)

I don’t know – what I’m supposed to want.

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... it’s a measly manner of existence
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To suffer fifty weeks of the year for the sake The numbers in this quotation make clear
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of a two-week vacation ... Biff’s unhappiness about work, suggesting

that the brief ‘vacation’ is scant reward
for the sheer drudgery of the work done
over the rest of the year.

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 Worksheet 5.3

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 Extract sheet 5.2
From romeo & juliet (Act 3, Scene 5)
by William Shakespeare
juliet Good father, I beseech you on my knees,
Hear me with patience but to speak a word.
[She kneels down.]
capulet Hang thee, young baggage, disobedient wretch! 160
I tell thee what: get thee to church a’ Thursday,
Or never after look me in the face.

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Speak not, reply not, do not answer me!
My fingers itch. Wife, we scarce thought us blest
That God had lent us but this only child, 165
But now I see this one is one too much,


nurse
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And that we have a curse in having her.
Out on her, hilding!1
God in heaven bless her!
You are to blame, my lord, to rate2 her so.
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capulet And why, my Lady Wisdom? Hold your tongue, 170
Good Prudence, smatter with your gossips, go.
nurse I speak no treason.
capulet O God-i-goden!3
nurse May not one speak?
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capulet Peace, you mumbling fool!

Utter your gravity o’er a gossip’s bowl4,
For here we need it not.
lady capulet You are too hot. 175

capulet  od’s bread5, it makes me mad! Day, night, work, play,

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Alone, in company, still my care hath been
To have her matched; and having now provided
A gentleman of noble parentage,
Of fair demesnes6, youthful and nobly ligned7, 180
Stuffed, as they say, with honourable parts,
Proportioned as one’s thought would wish a man,
And then to have a wretched puling8 fool,
A whining mammet9, in her fortune’s tender10,
To answer ‘I’ll not wed, I cannot love; 185
I am too young, I pray you pardon me.’

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 Extract sheet 5.2

But and you will not wed, I’ll pardon you:

Graze where you will, you shall not house with me.
Look to’t, think on’t, I do not use to jest.
Thursday is near, lay hand on heart, advise: 190
And you be mine, I’ll give you to my friend;
And you be not, hang, beg, starve, die in the streets,
For by my soul, I’ll ne’er acknowledge thee,
Nor what is mine shall never do thee good.
Trust to’t, bethink you, I’ll not be forsworn11. 195

[Exit capulet]
juliet Is there no pity sitting in the clouds
That sees into the bottom of my grief?
O sweet my mother, cast me not away!
Delay this marriage for a month, a week,
Or if you do not, make the bridal bed 200

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In that dim monument where Tybalt lies.
lady capulet Talk not to me, for I’ll not speak a word.
Do as thou wilt, for I have done with thee.

 1 hilding wretch
 2 rate scold
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 3 God-i-goden! clear off! (mockingly: ‘good evening’)
 4 gossip’s bowl drinks at a hen party
 5 God’s bread the sacred bread served at Mass (an oath)
[Exit lady capulet]
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 6 demesnes lands
 7 ligned descended
 8 puling crying
 9 mammet puppet
10 tender offer
11 be forsworn be denied, break my oath
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‘Romeo and Juliet,’ Act 3, Scene 5, lines 158–203, from Cambridge School Shakespeare edition, 2005.

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 Image resource sheet 5.4

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Part 2, Unit 5, Responding to Drama, page 114
Caption: What impact do you think the sight of the blood on Macbeth’s hands would have on an audience?
© Donald Cooper/Photostage (Birmingham Repertory Theatre, 1995)
ISBN: 9781107637054
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