# Dramatic Arts Grade 12 NSC Supplementary 2018 Memo (English) > Grade 12 Dramatic Arts memorandum from the NSC Supplementary Exam 2018 (English), 56 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/dramatic-arts-feb-march-2018-memo-eng/a91eb9f9-4abf-46de-bc39-2d4f88b11351 - Updated: 2026-09-27 - Subject: Dramatic Arts - Grade: Grade 12 - Document type: Memorandum - Year: 2018 - Exam period: NSC Supplementary Exam - Curriculum: CAPS - Pages: 56 Breadcrumbs: [Home](https://www.hlayiso.com/) › [Library](https://www.hlayiso.com/library) › [Grade 12](https://www.hlayiso.com/library/grade-12) › [Dramatic Arts](https://www.hlayiso.com/library/grade-12/dramatic-arts) › [Dramatic Arts Grade 12 NSC Supplementary 2018 Memo (English)](https://www.hlayiso.com/library/dramatic-arts-feb-march-2018-memo-eng/a91eb9f9-4abf-46de-bc39-2d4f88b11351) ## About this document Dramatic Arts · Grade 12 · NSC Supplementary Exam · 2018. Memorandum, 56 pages. Read online or download the PDF. Read it free online on the page above; download the PDF from there. ## Document text Text extracted from the PDF. Layout, diagrams and tables may not survive extraction. ### Page 1 Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE GRADE 12 DRAMATIC ARTS FEBRUARY/MARCH 2018 MARKING GUIDELINES MARKS: 150 These marking guidelines consist of 52 pages and 4 annexures. Copyright reserved Please turn over ### Page 2 Downloaded from hlayiso.com Dramatic Arts 2 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines GENERAL NOTES FOR THE CHIEF MARKER AND MARKERS 1. The purpose of assessment/examination processes is not only to determine the 'remembering' of knowledge taught and learnt at each of the 6 cognitive levels of knowledge, but also to determine the complexity of the thinking process the candidate applies to the knowledge retrieved from memory. The tool to assess these two components is Anderson and Krathwohl's revised Blooms' Taxonomy. • 6 cognitive levels of difficulty • 4 thinking processes of complexity 2. The marking guideline discussion forum, before marking commences, cannot sufficiently predict all responses. Provincial markers need to take this into account, be open to candidates' responses and make sure that different teaching styles do not disadvantage the learner/candidate. 3. Spend the first day unpacking the quality and quantity of the evidence in the marking guidelines, standardise required responses and find common definitions and concepts. Assimilate the • Expected responses for each question • The cognitive level of difficulty required from the candidate • The type of thinking process and complexity of thinking required from the candidate • Action verbs used at each of the cognitive levels and the type of evidence required (facts, concepts, processes and thinking). • Refer to the annexures at the end of the marking guidelines 4. If the marking guidelines do not give clear guidance, a marker must indicate, with a short comment, why marks were awarded or not. 5. Tick clearly next to the required cognitive level/thinking process of complexity/ concept/content/skills/knowledge aspects required when a mark is awarded. Markers should engage actively with the answer. • Refer to rubrics in the annexure at the end of the marking guidelines 6. During the marking process, have regular rounds of consultation to ensure marking is standardised. 7. Where a candidate writes more than the suggested number of words, do not penalise (e.g. essay question). 8. Mark globally where possible. Markers accept any correct, relevant and well- motivated answers. 9. Markers must check that candidates' responses align with the Curriculum Assessment Policy Statement's Broad Topics and Topics, Content (concepts, skills and knowledge). Copyright reserved Please turn over ### Page 3 Downloaded from hlayiso.com Dramatic Arts 3 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines STANDARDISATION OF MARKING ACROSS THE PROVINCES Rating of Essay and Response Questions The chief marker in each province must clarify the paradigm from which the questions and the accompanying marking guidelines were designed and set: 1. Item difficulty: How complex is the design of the question? 2. Task difficulty: What is the cognitive level and thinking process required from the candidate? 3. Stimulus difficulty: How difficult or easy is it to understand and apply the source? 4. Expected response difficulty: What is the quantity (how much) and quality (how well) of the expected response, required from the candidate, as provided in the marking guidelines? Does it align with the item, task and stimulus? Are the marks appropriately weighted and allocated? –Leong: 2002 In the training of markers at the beginning of the marking process, the chief marker in each province should adhere to the following procedure. This will assist with the standardisation of the scoring of candidate's essays and responses for each part of the examination. It will also standardise national marking procedures, processes and results. Introduction to the Task • Raters read the task required from the Item and summarise it. • Raters read the Item and plan a response to the task. • Raters share response plans and summarise expectations for student responses/share not just the quantity of evidence (how much) but the quality of evidence (How well). Introduction to the Rubric and Anchor Papers • Trainer reviews rubric with reference to the task. • Trainer reviews procedures for assigning holistic scores (i.e., by matching evidence from the response to the language of the rubric and by weighing all qualities equally). • Trainer leads review of each anchor paper and commentary. (NOTE: Anchor papers are ordered from high to low within each score level.) Practise Scoring Individually • Raters score a set of practice papers individually. Raters should score the papers independently. • Trainer records scores and leads discussion. (Practice papers should contain scores and commentaries.) Copyright reserved Please turn over ### Page 4 Downloaded from hlayiso.com Dramatic Arts 4 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines INSTRUCTIONS AND INFORMATION 1. This question paper consists of FOUR sections: SECTION A: 20th Century Theatre Movements (30) SECTION B: South African Theatre: 1960–1994 (40) SECTION C: South African Theatre: Post-1994 – Contemporary (40) SECTION D: The History of Theatre, Practical Concepts, Content and Skills (40) 2. SECTION A QUESTION 1 is COMPULSORY. Refer to the play text you have studied and the relevant 20th Century Theatre Movement. EPIC THEATRE • Caucasian Chalk Circle Bertolt Brecht • Kaukasiese Krytsirkel Translation of Bertolt Brecht play text • Mother Courage Bertolt Brecht • Moeder Courage Translation of Bertolt Brecht play text • The Good Person of Szechwan Bertolt Brecht • Kanna Hy Kô Hystoe Adam Small OR THEATRE OF THE ABSURD • Waiting for Godot Samuel Beckett • Afspraak met Godot Translation of Samuel Beckett play text • Bagasie André P Brink • The Bald Primadonna Eugene Ionesco • Die Kaalkop Primadonna Translation of Eugene Ionesco play text OR POSTMODERN THEATRE • Skrapnel Willem Anker • Top Girls Carol Churchill • Popcorn Ben Elton • Buried Child Sam Shepard 3. SECTION B This section consists of THREE questions. Answer only ONE question in this section. QUESTION 2: Woza Albert! Percy Mtwa, Mbongeni Ngema and Barney Simon OR QUESTION 3: Sophiatown Junction Avenue Theatre Company OR QUESTION 4: Siener in die Suburbs PG du Plessis 4. SECTION C This section consists of THREE questions. Answer only ONE question in this section. QUESTION 5: Nothing but the Truth John Kani OR QUESTION 6: Groundswell Ian Bruce OR QUESTION 7: Missing Reza de Wet 5. SECTION D This section is COMPULSORY. Answer QUESTIONS 8 AND 9. QUESTION 8: Theatre history, Practical concepts, Content and Skills QUESTION 9: Theatre history, Practical concepts, Content and Skills Copyright reserved Please turn over ### Page 5 Downloaded from hlayiso.com Dramatic Arts 5 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines SECTION A: 20th CENTURY THEATRE MOVEMENTS QUESTION 1 Topic 12.1: 20th Century 'isms' 12.3: Absurd Theatre or Epic Theatre or Post Modern Theatre 12.4: Prescribed Play Text 1: 20th century Theatre Movements Epic Theatre or Theatre of the Absurd or Post-Modern Theatre Cognitive level of difficulty Analysing, evaluating, creating Command verbs Discuss, evaluate, create Explanation of command verb To determine, judge, consider the significance, value, purpose, worth or condition of something by careful appraisal and study for the purpose of understanding, interpreting or guiding. Complexity of Thinking Process Metacognition Level of Complexity/ Very Difficult Problem Solving Rubric type Extended Constructed Response Rubric (ECR) Mark allocation Low 9 Middle 12 High 9 Quality Mark Quality of evidence Level allocation High End Score point The response indicates application of a reasonable strategy that leads to a correct solution in the context of the problem. The procedural representations are correct. The explanation and/or justification is 24–30 logically sound, clearly presented, fully developed, supports the solution, and does not contain significant conceptual errors. The response demonstrates a complete understanding and analysis of the problem. Average and Score point The response indicates application of a reasonable strategy that may or may not lead to a correct Above solution. The use of content/skill is essentially correct. The explanation and/or justification is generally Average 15–23 well developed, feasible, and supports the solution. The response demonstrates a clear understanding and analysis of the problem. Achieved Score point The response indicates an incomplete application of a reasonable strategy that may or may not lead to a fit-for-purpose solution. The use of content/skill is fundamentally correct. The explanation and/or 11–14 justification support the solution and are plausible, although it may not be well developed or complete. The response demonstrates a conceptual understanding and analysis of the problem. Weak Score point The response indicates little or no application of a reasonable strategy. It may or may not have the correct answer. The use of content/skill is incomplete or missing. The explanation and/or justification 1–10 reveal serious flaws in reasoning. The explanation and/or justification may be incomplete or missing. The response demonstrates a minimal understanding and analysis of the problem. Not Score point The response is completely incorrect or irrelevant. There may be no response, or the response may Achieved 0 state, 'I don't know.' The following content pointers serve as a guide: The candidate must: • Answer this question in the form of an essay • Use the play text he/she has studied as an example • Refer to either one of the three movements: Theatre of the Absurd OR Epic Theatre OR Postmodern Theatre in their answer • Refer to the Source in their answer • Demonstrate the question and source have been analysed, understood and integrated in their essay The content of the essay must cover the following: 1. ONE selected Theatre Movement: o Theatre of the Absurd OR o Epic Theatre OR o Postmodern Theatre 2. Play text studied 3. Question 4. Source Markers note: • Candidate must demonstrate that the above has been understood and critically analysed and applied in the essay • Rote learnt knowledge must be contextualised in an original argument that displays factual, contextual, procedural and meta-cognitive thinking • The rubric on the next page is a guide to the marker to assess the: o Levels of cognitive process dimension (remembering, understanding, applying, analysing, evaluating and creating) o Complexities of thinking displayed by the candidate (factual, conceptual, procedural, metacognitive) • Responses may be in the form of notes Copyright reserved Please turn over ### Page 6 Downloaded from hlayiso.com Dramatic Arts 6 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines DESCRIPTOR MARKS THE CANDIDATE DEMONSTRATES THE FOLLOWING: Thinking process: Appraises factual, conceptual, procedural and meta-cognitive knowledge in relation to Outstanding the question, source and content. • Integrates the demands of the question and source in a new, creative and original manner Metacognitive 27–30 • Evaluates examples, from the play text, the theatre movement and other additional sources within an Knowledge 90–100 expansive range of insightfully chosen theoretical, practical and aesthetic content A+ Create • Designs and creates an argument in a new and unique pattern that shows evidence of reflexive, creative, critical and analytical thinking Cognitive level: Demonstrates an ability to create, reorganise, discover, renew, change, improve Thinking process: Appraises factual, conceptual, procedural and meta-cognitive knowledge in relation to Excellent the question, source and content and integrates the demands of the question and source in a differentiated, interpretative and interesting manner 24–26 Metacognitive • Appraises/Assesses examples from the play text, the theatre movement and other additional sources 80–89 Knowledge within a significant range of appropriately chosen theoretical, practical and aesthetic content A • Compiles an argument in an interesting pattern that shows evidence of reflective, critical and analytical Evaluate thinking Cognitive level: Demonstrates an ability to judge, critique, recommend, evaluate, propose Thinking process: Analyses, distinguishes and explores factual, conceptual and procedural knowledge Meritorious in relation to the question, source and content. and integrates the demands of the question and source 21–23 in an differentiated and interpretative manner Procedural 70–79 • Analyses/Dissects examples from the play text, the theatre movement and other additional sources Knowledge B within a broad range of appropriately chosen theoretical, practical and aesthetic content Analyse • Compiles an argument that shows evidence of critical and analytical thinking Cognitive level: Demonstrates an ability to infer, deconstruct concepts, interrelate, attribute, discover Thinking process: Analyses and distinguishes factual, conceptual and procedural knowledge in relation Substantial to the question, source and content. Integrates the demands of the question and source in an organised, 18–20 differentiated and interpretative manner Procedural 60–69 • Integrates examples from the play text, the theatre movement and other additional sources within a Knowledge C wide range of appropriately chosen theoretical, practical and aesthetic content Apply • Provides an argument that shows evidence of critical and analytical thinking Cognitive level: Demonstrates an ability to apply, construct, integrate Thinking process: Explains, interprets and rephrases factual and conceptual knowledge in relation to the Adequate question, source, content and integrates the demands of the question and source in a conventional manner 15–17 Conceptual • Interprets examples from the play text, the theatre movement and other additional sources within 50–59 Knowledge a general range of theoretical, practical and aesthetic content predictable D • Provides an argument that points analytical thinking Understand Cognitive level: Demonstrates an ability to interpret, infer, exemplify, classify, summarise, compare, explain Thinking process: Explains and interprets factual and conceptual knowledge to the question, source and Moderate content. Integrates the demands of the question and source in a differentiated manner 12–14 • Explains examples from the play text, the theatre movement and other additional sources within Conceptual 40–49 a predictable range of theoretical, practical and aesthetic content Knowledge E • Writes an explanation within predictable/general thinking processes Cognitive level: Demonstrates an ability to interpret, infer, exemplify, classify, summarise, compare, Understand explain, Thinking process: Defines and applies knowledge from memory. Integrates the demands in relation to Elementary the question and source in an uncomplicated/straight forward/fundamental level within a common 10–11 manner Factual 30–39 • Selects examples from the play text, the theatre movement and other additional sources within Knowledge F a narrow range of theoretical, practical and aesthetic content Remember • Writes an explanation within predictable thinking processes Cognitive level: Demonstrates an elementary ability to problem solve, identify, list, relate, define Not Thinking process: Remembers and applies knowledge from memory. Attempts to integrate the question Achieved and source but demonstrates a limited, to basic ability, to solve the demands of the question and quote 1–9 • Chooses examples from the play text, the theatre movement and other additional sources within Factual 20–29 a constricted, predictable range of theoretical, practical and aesthetic content Knowledge G • Writes an explanation within a basic range of thinking processes Remember Cognitive level: Demonstrates a limited ability to identify, list, relate, define Not Thinking process: Demonstrates no understanding of the question or source, unable to write an Achieved essay, provides no examples from the play text or the theatre movement OR 0 • Presents facts, unrelated to the question OR Factual H • Unable to identify, list, relate, define OR Knowledge Cognitive level: Presents memorised information and content that does not answer the question Remember Copyright reserved Please turn over ### Page 7 Downloaded from hlayiso.com Dramatic Arts 7 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines The following content pointers serve as general information on the theatre movements. EPIC THEATRE Intention and purpose: • Distances the audience from the action • Allows the audience to see the world in which they live more clearly, rather than taking their beliefs for granted • Makes a clear distinction between a Theatre of Illusion ('Dramatic' Theatre) and Epic Theatre • Opposed to the idea of pretence (a typical feature of Realism) • Spectators to be alert • Realism has lost its worth – undermines the role of the spectator – reduces him to a passive onlooker • Removes the 'illusion' of Realism • Employs various techniques to 'alienate' the audience – difference between what they see on the stage and what is real Techniques: Use of: • 'Verfremdungseffekt' or alienation to distance the audience from the action on the stage • Purpose of music – must provide a noteworthy commentary on the action, e.g. in Mother Courage the ironically bitter words of a song which speak of the character's steady moral decline are deliberately arranged to a sweet, carefree tune – the incongruity between the tune and the words compels the audience to think about the true meaning of the song • Songs placed between the scenes to tell what must happen before it occurs • Stage space is non-specific • Sets are simple and symbolic • Theatre should 'make strange' the actions that are presented • Historification – the playwright should highlight the 'pastness' of the events by separating them from the present Audience response: • Spectator to think that if he or she had experienced the same conditions as those demonstrated in the play, he/she would have acted in a different way because of the lessons learnt • Spectator to then consider what he or she would have done to make a positive difference • Spectator must be inspired to make similar valuable social improvements with regard to the current state of affairs • Spectator is encouraged to bring about social reforms in his community or environment Copyright reserved Please turn over ### Page 8 Downloaded from hlayiso.com Dramatic Arts 8 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines THEATRE OF THE ABSURD Intention and purpose. The Absurdist world: • Appears to have no true order or meaning • Offers the audience an existentialist point of view of the outside world • Forces the audience to consider their meaning in the world • Has no definite, specific or recognisable existence • Presents human beings as what they make of themselves • Presents human beings as determined by their actions and choices • Presents a pessimistic outlook of the human struggle • Is mainly concerned with mankind's search for meaning Characters: • Are not fixed • Represents humanity, while they themselves are nothing • Exists in a bleak world devoid of meaning • Are lost, confused • Are worthless and absurd in their actions • Clown-like • Stay together as they are afraid to be alone in such an incomprehensible world • Lack identity – dull, uninteresting and lack dimension • Are not well-rounded – they have no past and audience is given little indication of what the future may be • Remain static and show no development • Come across as being repulsive, pathetic, miserable and incapable • Appear to be emotionally empty • Display qualities that are exaggerated • Are used to express Absurdists' views of the human condition • Are mutually dependent • Used as 'social puppets' • Perform in double acts Language and dialogue: • Signal that humans are not adept at communication • Act as a barrier to communication • Isolate the individual even more • Portrays speech is almost futile • Question the value of language • Has lost its ability to communicate • Attempts at communication often 'disintegrate' from clichés to meaningless syllables • Demonstrate the inability of language to bridge the gap between the characters • Present the dehumanising, automatisation and meaningless of the human existence • Present the unexpected, the bizarre and the absurd • Portray silence as a means of communication • Demonstrate the meaninglessness of conversations • Are constructed as 'habitual' and superficial • Are used as to escape from the tediousness of lives • Construct new words • Are banal daily conversations and mixed with literary language, puns, clichés, slang and repetitions which are interspersed with poetic language • Are a repetition of a style of dialogue and is used to emphasise the cyclic nature of life Copyright reserved Please turn over ### Page 9 Downloaded from hlayiso.com Dramatic Arts 9 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines Themes are based on the: • Temporality and evanescence of time • Tragic difficulty of becoming aware of one's own self in the merciless process of renovation and destruction that occurs in life • Change of time • Difficulty of communication • Unending quest for reality • Tragic nature of relationships • Man's terror in the face of total meaninglessness • Anguish (existential angst) • Isolation and loneliness of man, lost in a world in which God has deserted him • Illusion that science and reason are illusory POSTMODERNISM Intention and purpose. Postmodernism: • Developed from the Absurdist point of view • Rejects the certainties of the modern era • Rejects grand narrative or singular truth • Rejects the idea that there is a dominant set of beliefs or a neat solution • 'Destroys' the 'truth' • Embraces multiple view points, perspectives, realities • Includes art, theatre, architecture, music, film, literature, fashion, TV and other forms of expression • Borrows from a multiple array of styles • Rejects the notion of 'high art' and 'low art' • Embraces avant garde (forward thinking) experimental theatre • Does not prescribe to a 'purity' in art • 'Trashes' high art • Contains no fixed way of creating art • Moves towards a more subjective opinion • Holds that culture belongs to every person • Deconstructs (a way of taking set notions apart and putting them together again in a new, disrupted and disjointed manner) ideas, images and constructs • Contradicts ideas, images and constructs • Does not prescribe a meaning, point of view or perspective • Holds the notion that each individual viewer creates his/her own unique meaning • Reflects and celebrates the madness and chaotic way of life in a popular culture • Enjoys nonsense art, ideas, constructs and theories • Sees irony and humour • Emphasises HOW things are seen as opposed to WHAT is seen Pastiches: • Visual arts techniques of different images, media forms, etc. are pasted together to create one piece • References and layers of different texts and images • Non-linear in construction Copyright reserved Please turn over ### Page 10 Downloaded from hlayiso.com Dramatic Arts 10 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines Metatheatre/Text: • Reminds viewers that they are in the theatre • Contains characters that can step out of character and communicate with the audience • Used to reflect on the art work itself • Non-linear in construction • Reflexive • Used to make events non-essential • Used to pose theories or ideas • Broken up • Overlap with many points of view and conflicting voices Performances are: • The main focus • The main process • Not captured in a script because they consist of images, sounds and multimedia • Not based on an antagonist – there is no guilty party Rehearsal processes are: • Improvised • Changed • Revised • Updated • Continually transformed through performance Audience is: • An important active element • Often included in the dialogue Play texts: • Have no clear beginning, middle or end • Make the script just the starting point • Have unanswered questions Texts (visual, aural, the human body, etc.): • Look at themes or theatrical devices • Leave the play open-ended • Embrace the idea that the audience makes their own meaning • Ask more questions than are answered • Contain visual images and non-spoken actions • Deconstruct a truth and do not accept only one reality • Use time, space and structure to echo the deconstructed or defragmented story or plot • Do not necessarily have real people • Characters and people are merely a representation of fragmented ideas • Often start at a realistic point, but unravel and the action becomes unreal as the play goes along TOTAL SECTION A: 30 Copyright reserved Please turn over ### Page 11 Downloaded from hlayiso.com Dramatic Arts 11 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines SECTION B: SOUTH AFRICAN THEATRE: 1960–1994 The candidate must answer only ONE question in this section. QUESTION 2: WOZA ALBERT! BY PERCY MTWA, MBONGENI NGEMA AND BARNEY SIMON SOURCE B 2.1 Topics 11.4: South African Theatre: Protest 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) Cognitive Level of Difficulty Remembering Command verb Identify Explanation of Command Verb To recognise a problem, need, facts etc. And to show what it is and that it exists/To prove who or what someone or something Complexity of Thinking Level Factual Level of Complexity/ Easy Problem Solving Rubric type Basic Constructed Response (BCR) Mark allocation Low 0 Middle 1 High 1 Markers accept any relevant answers. The following is a guide: Albert: • Is Chief Albert Luthuli, one of the South African struggle heroes • Represents freedom fighters the people wish to raise (2) 2.2 Topics 11.4: South African Theatre: Protest 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) Cognitive Level of Difficulty Understanding Command verb Explain Explanation of Command Make something clear, easy to understand by describing it in more detail or Verb revealing relevant facts or information about it/Give a reason to justify or excuse (an event or action) Complexity of Thinking Level Factual Level of Complexity/ Easy Problem Solving Rubric type Basic Constructed Response (BCR) Mark allocation Low 1 Middle 2 High 1 Markers accept any relevant answers which reflect knowledge of the original production of Woza Albert!. Award full marks for: • Two well-motivated statements or • Four separate thoughts/ideas The following is a guide: Vocal Skills: • Actors sing and use their voices to make music, e.g. Jazz band in scene 1 • Music is live, immediate and spontaneous, e.g. actors sing freedom songs Physical Skills • Actors create rhythmic noises by stamping their feet, e.g. toyi-toyi • Use their bodies to create a jazz totem (4) Copyright reserved Please turn over ### Page 12 Downloaded from hlayiso.com Dramatic Arts 12 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines 2.3 Topics 11.4: South African Theatre: Protest 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7 Performance Text in Context Cognitive Level of Difficulty Analysing Command verb Analyse Explanation of Command Verb Examine, study something methodically and in detail, typically in order to discover, explain and interpret it Complexity of Thinking Level Conceptual Level of Complexity/ Moderate Problem Solving Rubric type Short Constructed Response (SCR) Mark allocation Low 1 Middle 1 High 1 Markers accept any relevant answers which reflect an understanding and analysis of how pre-recorded music might change the impact of the play. The following is a guide: Pre-recorded music: • Might detract from the immediacy and live elements of performance • Removes the capacity of the actor to show creativity and variety in performance • Might create technical problems in production which may interrupt the performance (3) 2.4 Topics 11.4: South African Theatre: Protest 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7 Performance Text in Context Cognitive Level of Difficulty Understanding Command verb Motivate Explanation of Command Verb Give a reason, present facts and arguments in support of doing, stating something Complexity of Thinking Level Factual Level of Complexity/ Easy Problem Solving Rubric type Short Constructed Response (SCR) Mark allocation Low 1 Middle 2 High 1 Markers accept any relevant and well-motivated answers which display an evaluation of the continued success of Woza Albert!. Award full marks for: • Two well-motivated statements or • Four separate thoughts/ideas The following is a guide: Woza Albert! provides audiences with: • Entertainment through the use of a variety of characterisations, song, dance, mime, etc. while at the same time creating awareness of the sociopolitical situation • Education, highlighting apartheid issues e.g. pass laws • Impetus for mobilisation of the masses to action, e.g. toyi-toyi, rousing songs at the end of the play • Themes and messages which are still relevant to audiences of today, e.g. education, poverty and exploitation of workers etc. • Language and dialogue which is accessible to the masses • Stereotypical characters who are easily recognisable (4) Copyright reserved Please turn over ### Page 13 Downloaded from hlayiso.com Dramatic Arts 13 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines 2.5.1 Topics 11.4: South African Theatre: Protest 11.12 Personal Resource Development; Acting and performance, Performance Texts in Context, Theatre Production 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7 Performance Text in Context Cognitive Level of Difficulty Remembering Command verb Name Explanation of Command Verb To identify, specify or mention by name Complexity of Thinking Level Factual Level of Complexity/ Easy Problem Solving Rubric type Basic Constructed Response (BCR) Mark allocation Low 1 Middle High Markers accept any relevant answers which display the selection of a different genre, e.g. realism. (1) 2.5.2 Topics 11.4: South African Theatre: Protest 11.12 Personal Resource Development; Acting and performance, Performance Texts in Context, Theatre Production 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7 Performance Text in Context Cognitive Level of Difficulty Remembering Command verb Describe Explanation of Command Verb To give, narrate, relate, tell, describe, express a detailed account of Complexity of Thinking Level Factual Level of Complexity/ Easy Problem Solving Rubric type Basic Constructed Response (BCR) Mark allocation Low 2 Middle 0 High 0 Markers accept any relevant answers which describe a scene from the play, e.g. 'I would select the barber shop scene in which the barber cuts the customers' hair and is interviewed by Skulu.' (2) 2.5.3 Topics 11.4: South African Theatre: Protest 11.12 Personal Resource Development; Acting and performance, Performance Texts in Context, Theatre Production 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7 Performance Text in Context Cognitive Level of Difficulty Understanding Command verb Explain Explanation of Command Verb Make something clear, easy to understand by describing it in more details or revealing relevant facts or information about it/Give reasons to justify or excuse (an action or event) Complexity of Thinking Level Conceptual Level of Complexity/ Moderate Problem Solving Rubric type Short Constructed Response (SCR) Mark allocation Low 2 Middle 2 High 2 Markers accept any relevant and well-motivated answers which display creativity and the application of the chosen style of performance as selected in QUESTION 2.5.2 in the staging of their scene. Award full marks for: • Three well-motivated statements or • Six separate thoughts/ideas The following is a guide: Genre of performance, e.g. realism might include: • Recorded sound which might be played instead of having actors using their voices to produce sound and sound effects, e.g. the sound of a moving train, helicopter, truck in motion, etc. • Various lighting techniques to enhance the realistic nature of the scene • Acting which is realistic • Realistic set, props and costumes (6) Copyright reserved Please turn over ### Page 14 Downloaded from hlayiso.com Dramatic Arts 14 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines 2.6 Topics 11.4: South African Theatre: Protest 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7 Performance Text in Context Cognitive Level of Difficulty Analysing Command verb Analyse Explanation of Command Verb Examine, study something methodically and in detail, typically in order to discover, explain and interpret it Complexity of Thinking Level Conceptual Level of Complexity/ Moderate Problem Solving Rubric type Short Constructed Response (SCR) Mark allocation Low 2 Middle 2 High 0 Markers accept any relevant and well-motivated answers which display an analysis and evaluation of the effectiveness of all the elements of the final scene to make it a 'thrilling conclusion' and have the ability to inspire solidarity and action. Award full marks for: • Three well-motivated statements or • Six separate thoughts/ideas The following is a guide: The final scene: Action: • Calls for action: the struggle heroes are raised to assist the people to fight against the evils of apartheid • Gives hope of a better future to the oppressed • Inspires the people to work together to effect change in their lives and communities • Encourages the audience to be active as opposed to being passive, thus taking action together in solidarity • Reminds the audience of the sacrifices of the struggle heroes Performance style: • Animated singing and dancing • Emotionally rousing statements • Evocative invoking of the spirit of dead struggle heroes • Inclusion of the audience through direct addressing of the audience • The audience might also participate in the chanting and singing (6) Copyright reserved Please turn over ### Page 15 Downloaded from hlayiso.com Dramatic Arts 15 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines 2.7 Topics 11.4: South African Theatre: Protest 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7 Performance Text in Context Cognitive Level of Difficulty Evaluating Command verb Evaluate Explanation of Command Verb To determine, judge, consider the significance, value, purpose Complexity of Thinking Level Meta Cognitive Level of Complexity/ Difficult Problem Solving Rubric type Extended Constructed Response (ECR) Mark allocation Low 3 Middle 5 High 4 Refer to the notes and the rubric in the annexure to guide your marking. Markers accept any relevant and well-motivated answers which reflect understanding, analysing, evaluating, applying and creating, based on the subject matter of the question. Candidates must refer to specific examples from the play text and current events. The following is a guide: Exploitation • Workers are still exploited by unscrupulous bosses, e.g. in the play text Baas Kom is exploiting the workers in Coronation brick yard by making them work hard yet he pays them minimum wages • They work long hours for very little pay • There is unfair treatment by management, e.g. Bobbejaan and Zuluboy are not treated the same by their employer • There is suppression of worker rights e.g. Baas Kom threatens to fire his workers because they complain about the poor working and living conditions • Unfair pay structures further exploit workers • There are few jobs and many people are seeking employment Working Conditions • Many people are forced to work at low paying jobs because of a lack of skills and education • Although we have unions fighting on behalf of workers and the basic conditions of service have improved, many people struggle because of the lack of jobs due to the poor economic growth in the country Poverty • Rising cost of living and inflation affects standard of living • This leads to lack of housing and basic amenities • Unemployment leads to poverty • There is a great divide between rich and poor • Retrenchments are common • Burgeoning squatter settlements affect poor living conditions • The influx of foreigners affects the number of jobs available Policing • There was and still is distrust of the police, with many communities openly defying the police • Perceived corruption within police ranks today has added to the fear and suspicion of the people • In many instances the police have used unnecessary force and brutality leading to the deaths of civilians (Marikana massacre). Copyright reserved Please turn over ### Page 16 Downloaded from hlayiso.com Dramatic Arts 16 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines • Police still use brutality when confronting protestors and suspected criminals • As a result, people take the law into their own hands through vigilantism Racism and discrimination • Is prevalent in various forms in the play text and currently, e.g. Pass Laws • Is seen in hate speech, channelled through social media platforms • Intolerance of language, culture and religion during apartheid and today (10) [40] Copyright reserved Please turn over ### Page 17 Downloaded from hlayiso.com Dramatic Arts 17 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines QUESTION 3: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY 3.1.1 Topics 11.4: South African Theatre: Protest 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7 Performance Text in Context Cognitive Level of Difficulty Understanding Command verb Describe Explanation of Command Verb To give, narrate, relate, tell, express a detailed account of Complexity of Thinking Level Factual Level of Complexity/ Easy Problem Solving Rubric type Basic Constructed Response (BCR) Mark allocation Low 1 Middle 1 High 0 Markers accept any relevant answers which demonstrate an understanding of appropriate mood. Award full marks for: • One well-motivated statement or • Two separate thoughts/ideas The following is a guide: The mood created by song is : • Tense because of the threatening nature of the lyrics • Anger because it expresses, using exclamation marks to suggest a loud volume, the feelings of the people • Threatening because of the stage directions in line 1.('The company storms onto stage') The effect on the audience is possibly: • Similar tension because the audience knows a threat may turn into conflict or even violence • Similar anger is experienced because the audience may share the feeling of injustice perpetrated by the apartheid government • A feeling of intimidation because the group of actors storming on stage may be overwhelming and the audience cannot leave the performance space (2) 3.1.2 Topics 11.4: South African Theatre: Protest 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7 Performance Text in Context Cognitive Level of Difficulty Understanding Command verb Motivate Explanation of Command Verb Provide a reason, present facts and arguments in support of doing, stating something Complexity of Thinking Level Factual Level of Complexity/ Easy Problem Solving Rubric type Short Constructed Response (SCR) Mark allocation Low 1 Middle 2 High 1 Markers accept any relevant and well-motivated answers which demonstrate an understanding of what the car represents. Award full marks for: • Two well-motivated statements or • Four separate thoughts/ideas The following is a guide: The car, as a symbol, represents: • The mobilisation of the residents of Sophiatown • The inevitable movement towards change/revolution • Revolution that is swift and silent ( line 8) • A threat, e.g. lines 5 and 10 because 'chips' means 'beware' • Aggressive protest, e.g. line 12 'it's going to run right over you (4) Copyright reserved Please turn over ### Page 18 Downloaded from hlayiso.com Dramatic Arts 18 DBE/Feb.–Mar. 2018 NSC – Marking Guidelines 3.1.3 Topics 10:12: Personal Resource Development, Acting and Performance, Performance text in Context, Theatre Production 11.4: South African Theatre: Protest 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7: Performance Text in Context Cognitive Level of Difficulty Understanding Command verb Explain Explanation of Command Verb Make something clear, easy to understand by describing it in more details or revealing relevant facts or information about it. Give reasons to justify or excuse (an action or event) Complexity of Thinking Level Factual Level of Complexity/ Easy Problem Solving Rubric type Basic Constructed Response (BCR) Mark allocation Low 0 Middle 1 High 0 Markers accept any relevant and well-motivated answers which reflect an understanding of the purpose of the song. Award full marks for: • One well-motivated statement or • Two separate thoughts/ideas The following is a guide: The song as a theatrical device: • The theme informs the audience about how the characters feel towards the apartheid government • The rhythm and beat drives the protest • The emotive nature shows the heightened emotions of the characters • A structural inclusion in the plot serves as a link between two scenes (2) 3.1.4 Topics 10:12: Personal Resource Development, Acting and Performance, Performance text in Context, Theatre Production 11.4: South African Theatre: Protest 11.12: Personal Resource Development; Acting and performance, Performance Texts in Context, Theatre Production 12.5: Prescribed Play Text 2: South African Play Text (1960–1994) 12.7: Performance Text in Context Cognitive Level of Difficulty Applying Command verb Suggest Explanation of Command Verb Cause, argue, demonstrate, show that (something) exists or is the case. Put forward for consideration. To mention an idea, possible plan, or action for other people to consider. To produce an idea in the mind. Complexity of Thinking Level Conceptual Level of Complexity/ Moderate Problem Solving Rubric type Short Constructed Response (SCR) Mark allocation Low 1 Middle 2 High 1 Markers accept any relevant and well-motivated answers which reflect the candidates' understanding of the use of a variety of languages in the play. Award full marks for: • Two well-motivated statements or • Four separate thoughts/ideas The following is a guide: The creators decided to use a variety of languages because: • The play is a reflection of Sophiatown, the place and the people who lived there • It was necessary to make the play authentic • It attracts and reaches a wider range of audiences • Sophiatown the place is multi-cultural • It makes the situations and characters more authentic (truthful) (4) Copyright reserved Please turn over Text truncated here. 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