Dramatic Arts Grade 12 Dramatic Arts 2021 Guideline (Eng)

Downloaded from hlayiso.com DRAMATIC ARTS EXAMINATION GUIDELINES GRADE 12 2021 These guidelines document consist of 36 pages. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 2 Examination Guidelines CONTENTS 1. INTRODUCTION 3 AIMS 3 2. SUBJECT CONTENT 4 2.1 Curriculum and Assessment Policy Statement 4 2.2 Curriculum Component of the CAPS 4 2.3 Assessment Component of the CAPS 4 2.4 Play Texts – Suggested and Prescribed 4 2.5 Textbook 4 3. ASSESSMENT 5 3.1 Assessment Objectives 5 3.2 Formal Annual Programme of Assessment for Grade 10, 11 and 12 5 3.3 Teaching, Learning and Assessment Weighting of Content Coverage in 7 Grades 10,11, 12 3.4 Content Relating to Previous Grades 7 3.5 Cognition Explained 8 3.6 Weighting of Cognitive Process Dimensions and Knowledge Dimensions 10 3.7 Degrees of Challenges 10 3.8 Requirements and Weighting of the Annual Programme of Assessment Components 10 4. SCHOOL-BASED ASSESSMENT 11 School-based Assessment – Overview 11 5. PERFORMANCE EXAMINATION 11 5.1 Performance Examination: Adhere to Strict Examination Conditions 11 5.2 Performance Examination: Options 11 5.3 Performance Assessment Tasks as Building Blocks for the Performance Examination 11 5.4 Theme Programme: Process and Format for Standardisation 12 5.5 Theme Programme: Teaching and Skills Building Standardisation – Rubric 14 5.6 Audition Programme: Process and Format – Standardisation 16 5.7 Audition/Theme Programme: Final National External Performance Examination – 17 Rubric 5.8 Technical Theatre Programme: Process and Format – Standardisation 20 5.9 Technical Theatre Programme: Teaching and Skills Building – Standardisation: 22 Design – Rubric 5.10 Technical Theatre Programme: Teaching and Skills Building – Standardisation: 24 Directing/Theatre Making – Rubric 5.11 Technical Theatre Programme: Teaching and Skills Building – Standardisation: 26 Film-making – Rubric 5.12 Technical Theatre Programme: Teaching and Skills Building – Standardisation: 28 Stage Management – Rubric 5.13 Practical/Performance Examination Day: Requirement for National Standardisation 30 and the Nine Provinces 6. WRITTEN EXAMINATION 31 6.1 Written Examination – Overview 31 6.2 Written Examination – Format 31 6.3 Additional Topics from Grade 10 and 11 Curriculum which may be Examined in 32 Grade 12 6.4 Written Examination – Assessment Grid And Subject Framework Tool: Overview 33 6.5 Written Examination – Assessment Grid And Subject Framework Tool: Design and 34 Purpose 6.6 Written Examination – Assessment Grid And Subject Framework Tool: Example 35 7. CONCLUSION 36 Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 3 Examination Guidelines INTRODUCTION The Curriculum and Assessment Policy Statement (CAPS) for Dramatic Arts outlines the nature and purpose of the subject Dramatic Arts. This guides the philosophy underlying the teaching and assessment of the subject in Grade 12. The purpose of these Examination Guidelines is to:  Provide clarity on the depth and scope of the content to be assessed in the Grade 12 National Senior Certificate (NSC) Examination in Dramatic Arts.  Assist teachers to adequately prepare learners for the examinations. This document deals with the final Grade 12 external examinations. It does not deal in any depth with the School-Based Assessment (SBA) or the practical assessment tasks (PATs) as these are clarified in a separate PAT document which is updated annually. These Examination Guidelines should be read in conjunction with:  The National Curriculum Statement (NCS) Curriculum and Assessment Policy Statement (CAPS): Dramatic Arts  The National Protocol of Assessment: An addendum to the policy document, the National Senior Certificate: A qualification at Level 4 on the National Qualifications Framework (NQF), regarding the National Protocol for Assessment (Grades R–12)  The national policy pertaining to the programme and promotion requirements of the National Curriculum Statement, Grades R–12 AIMS Dramatic Arts learners aim to:  Develop the human instrument (body/voice/mind/emotions) as a medium of expression, communication and creativity  Develop drama skills, techniques and processes to experiment with and shape dramatic elements meaningfully, both individually and with others  Create and present dramatic products across a range of modes (lyrical, narrative, dramatic) and styles (realistic, heightened), alone and in collaboration with others  Understand, analyse and interpret principles and elements of drama in texts and performances in context, in South Africa and the world  Reflect on and evaluate their own and others' dramatic processes, practices and products  Develop insight into how the dramatic arts affirm, challenge and celebrate values, cultures and identities  Engage with contemporary issues through Dramatic Arts Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 4 Examination Guidelines 2. SUBJECT CONTENT 2.1 Curriculum and Assessment Policy Statement (CAPS) Teachers should at all times be guided by the South African National Department of Basic Education's Curriculum and Assessment Policy Statement (CAPS) for the subject Dramatic Arts. 2.2 Curriculum Component of the CAPS The broad topics and topics contained in this document ensures that the relevant and appropriate teaching and learning of the subject's concepts, content, skills, knowledge, values, attitudes, techniques, principles and competencies are taught and examined by the teachers and learnt and demonstrated as achieved through applied competence by the learners. 2.3 Assessment component of the CAPS: The following four assessment components are used to assess/examine the CAPS broad topics and topics: 2.3.1 School-based Assessment: (SBA) Examinations 2.3.2 School-based Assessment: (SBA) Practical Assessment Tasks (PATs) 2.3.3 Performance Examination: Paper 2 2.3.4 Written Examination: Paper 1 2.4 Play Texts  Suggested (Grades 10 and 11)  Prescribed (Grade 12) The play texts, as required by the CAPS topics, will be selected by a National Curriculum task team consisting of the DBE's provincial representatives on the National Subject Committee, DBE examiners, DBE moderators, provincial subject advisors and specialist teachers. All nine provinces will be represented on this task team. For Grade 10 and 11 teachers may select their preferred play text titles. However, the play text must adhere to the following. They must:  Be published  Be available for purchase  Align with the CAPS in terms of the: o Topics' content, concepts, etc. o Topics genre or dramatic movement o Grade's entrance and exit levels Play texts may not be photo copied under any circumstances. It is illegal and schools/teachers may be prosecuted. The school principal must ensure that there is a Play Text budget allocation in the norms and standards submitted annually to the district. 2.5 Textbook See the Department of Basic Education's Catalogue for Textbooks. Teachers must at all times base teaching, learning and assessment on these textbooks. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 5 Examination Guidelines 3. ASSESSMENT 3.1 Assessment Objectives Assessment should be both informal (assessment for learning) and formal (assessment of learning). In both cases continuous feedback must be provided to learners to ensure improvement in their learning of the CAPS topics and their criteria (skills, knowledge, techniques and content). Assessment must:  Enable the teacher to make reliable observations and judgments about a learner's progress  Inform learners about their strengths, weaknesses, improvement points and progress  Assist teachers, parents and other stakeholders to make decisions about the learning process and progress of the learners The assessment tasks that constitute a formal programme of assessment for the year are regarded as formal assessment. Tasks are marked and formally recorded by the teacher for progression and certification purposes. All formal assessment tasks are subject to moderation for the purpose of quality assurance and to ensure that appropriate standards are maintained. 3.2 Formal Annual Programme of Assessment for Grades 10, 11 and 12 FORMAL ANNUAL PROGRAMME OF ASSESSMENT GRADES 10 AND 11 FORMAL INTERNAL ASSESSMENT SCHOOL-BASED ASSESSMENT During the year TERM 1 TERM 2 TERM 3 TERM 4 Task 1: Task 2: Task 5: Task 6: Practical Assessment Practical Assessment Practical Assessment Final End-of-year Exam Task PAT Task Task  Performance PAT PAT Examination (150)  Written Section (25)  Performance Section  Written Section (25)  Written Section (25) (25)  Performance Section  Performance Section (25) (25) Task 3: Task 7: Mid-year Control Test Final End-of-year Exam  Performance  Written Examination Examination (100) (150) Task 4: Mid-year Control Test  Written Examination (100) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 6 Examination Guidelines FORMAL ANNUAL PROGRAMME OF ASSESSMENT GRADE 12 FORMAL FORMAL FINAL INTERNAL ASSESSMENT NATIONAL SCHOOL-BASED ASSESSMENT EXTERNAL During the year EXAMINATION (25% of the NSC) End-of year TERM 1 TERM 2 TERM 3 TERM 4 Task 1: Task 2: Task 3: Practical Assessment Practical Assessment Practical Assessment Task Task PAT Task PAT PAT  Written Section  Written Section  Written Section (25) (25) (25)  Performance  Performance Section  Performance Section Section (25) (25) (25) Task 4: Trial Examination  Performance Examination Paper 1 (150) Written Paper (150) Task 5: Trial Examination  Written Examination (150) FORMAL FINAL NATIONAL EXTERNAL EXAMINATION End-of Year Paper 2  Performance Examination (150) Subject: DRAMATIC ARTS (Grades 10 and 11) Annual Programme of Assessment for SBA (Performance Assessment Tasks, Tests and Final End-of-Year Examination) TERM 1 TERM 2 TERM 3 TERM 4 Task 1 2 3 4 5 6 7 Num- ber Task PAT 1 PAT 2 Mid-year Mid-year PAT 3 End-of -year End-of-year Name  Written  Written  Written Performance  Written Written Performance Section (25) Section (25) Section  2 x Individual Section (25) Examination Examination Journal Essay or (Control Test) Items + Essay or  3x  Perforrmanc Research  One link Research Individual e Section (25)  Performance  Performanc Items + Dramatic Item 1 Section (25) e Section (25)  Two links Dramatic Item 2 Dramatic Item Mark 25 + 25 = 50 25 + 25 = 50 100 100 25 + 25 = 50 150 150 Allo- cation Fixed Weigh 13,3% 13,3% 10% 10% 13,3% 20% 20% -ting of each Task Final Weighting of SBA, PAT and Final Examination for Reporting on the Subject Mark Sheet/SASAMS Final End-of Year Examinations FINAL SBA = PAT = 30% SBA = 30% = 40% 100% Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 7 Examination Guidelines Subject: DRAMATIC ARTS (Grade 12) Annual Programme of Assessment for SBA (Performance Assessment Tasks AND Final Trial Examinations) TERM 1 TERM 2 TERM 3 Task Number 1 2 3 4 5 Task Name PAT 1 PAT 2 PAT 3 Trial Written Trial Performance  Written Section  Written Section  Written Section Examination Examination (25) (25) (25)  3 x individual Journal Essay or Essay or items +  Performance Research Research  Two links Section (25)  Performance  Performance Dramatic Item 1 Section (25) Section (25) Dramatic Item 2 Dramatic Item 3 Mark Allocation 25 + 25 = 50 25 + 25 = 50 25 + 25 = 50 100 100 Fixed Weighting for 20% 20% 20% 20% 20% Each Task for the Internal SBA out of 100% Weighting 10% 10% 10% 10% 10% Converted to 50% for the NSC Total Final Weighting of SBA, PAT and Final Examination for Reporting on the Subject Record Sheet/SASAMS PAT/SBA + Final Trial Examinations: 50% + Final DBE National Examinations: 50% = 100% for the Final National Senior Certificate NOTE: There will be NO mid-year examinations or control tests for Grade 12 for 2021. The DBE will communicate to all provincial departments if there is a change in this decision. 3.4 Teaching, Learning and Assessment Weighting of Content Coverage in Grades 10, 11 and 12 BROAD TOPICS Time weighting:4 hours/week, plus after school practice 1 Personal Resource Development 20% = 30 minutes to 1 hour per week 2 Acting and Performance 30% = 1 to 1,5 hours per week + 1 hour rehearsal time/week outside class Topics 1 and 2 are essentially practical in nature and should take up approximately 2 hours of contact time, with at least 1 additional hour of rehearsal or private practice taking place outside of class time per week. These topics should, where possible, be integrated, so learners develop skills which they can immediately put into practice in performance. 3 Performance Texts in Context 40% = 1,5 to 2 hours per week 4 Theatre and/or Film Making 10% = Modular Topics 3 and 4 are essentially theoretical in nature, although they can be experienced and understood through practical learning experience. These topics should, where possible, be integrated so learners understand how practical aspects of production are brought to bear on performance texts. Approximately 2 hours of contact time is dedicated to these topics 3.4 Content Relating to Previous Grades Examinations may contain content from previous grades that impact on, or reflect progression to, content stipulated in the Grade 12 curriculum. This will be particularly relevant in Personal Resource Development and Acting and Performance as these broad topics are developmental and content, concepts, skills and techniques are incrementally developed, applied and demonstrated over three years. It also applies to topic 3 where Grade 12 texts reflect a historical context covered in earlier grades. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 8 Examination Guidelines 3.5 Cognition Explained In Dramatic Arts there are two key taxonomies that are used to measure concepts, content, skills, techniques, etc. They are: 1. Bloom's Taxonomy 2. Dave's Taxonomy 3.5.1 Bloom's Taxonomy (Anderson and Krathwohl's) 2000 The original Bloom's taxonomy is over 50 years old. The refined Bloom's taxonomy has been in use from 2000. The difference in the updated version is in the useful and comprehensive additions of how the taxonomy intersects on the following: (a) Cognitive process dimension: Knowing, Understanding, Analysing, Applying, Evaluation, Creating (b) Complexity of thinking processes: Knowledge dimension: Factual, Conceptual, Procedural, Metacognitive INTERSECTION COGNITIVE PROCESS DIMENSION (cognitive complexity) : KNOWLEDGE REMEM- UNDERSTAN APPLYING ANALYSIN EVALUA- CREATING DIMENSION/ BERING D-ING G TING THINKING PROCESSES (Levels of difficulty) FACTUAL List Summarise Classify Order Rank Combine CONCEPTUA Describe Interpret Experi- Explain Assess Plan L ment PROCEDURA Tabulate Predict Calculate Differentiat Conclude Compose L e META- Appropriat Execute Construct Achieve Action Actualise COGNITIVE e Use Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 9 Examination Guidelines Above is an illustration of intersections of the cognitive processes with the thinking processes/ knowledge dimensions. Using a simple cross grid or table like this one, activities and objectives are matched to the types of knowledge and to the cognitive processes as required by a question. Teachers use it to track which levels of cognition they are requiring from learners, as well as which dimensions of knowledge. 3.5.2 Dave's Taxonomy (Ravindra H. Dave) (1970) Psychomotor skills can be defined as those skills and abilities that require a physical component. These skills require a degree of dexterity, suppleness or strength. They require motor control. It includes mental set (mental set to act), physical set (physical readiness to act), and emotional set (willingness to act). This taxonomy must be used in the teaching, learning and assessment of the three PATs performance sections (three dramatic items) as well as the performance examinations. In the case where teachers are not familiar with the practice of using a taxonomy to guide teaching and learning they should be trained by the provincial officials. Teachers must also be reminded that the examinations are based on Taxonomies and rubrics and it stands to reason that teaching and learning should incorporate the principles of knowledge dimensions, levels of cognition and thinking processes. Teachers must familiarise themselves with and use two Taxonomies: Bloom's taxonomy must be used for content, theoretical and written skills, and knowledge. Dave's taxonomy is a psycho-motor taxonomy and must be understood and used for the performance content, knowledge and skills. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 10 Examination Guidelines 3.6 Weighting of Cognitive Process Dimensions and Knowledge Dimensions Teachers must ensure that all tasks in the Annual Programme of Assessment comply with the cognitive processes and knowledge dimensions, as stipulated in the column below. This will ensure that learners are prepared for the design and demand of the final end-of-year examination which will also be based on the stipulations in the column below Cognitive Process Dimensions and Knowledge Activity Percentage Dimensions of the Task Levels 1 and 2 Basic thinking skills (e.g. Knowledge and Comprehension factual recall, low level (remembering and understanding) comprehension and low 30% Factual and Conceptual Knowledge Dimensions level application) Levels 3 and 4 Moderately high thinking Application and Analysis skills (e.g. more advanced (applying and analysing) application, interpretation 40% Conceptual and Procedural Knowledge Dimensions and low level analysis) Levels 5 and 6 Higher-order thinking Evaluation and Creation skills (e.g. advanced (evaluating and creating) analytical skills, 30% Procedural and Metacognitive Knowledge evaluation and creative problem-solving) Dimensions 3.7 Degrees of Challenge All examinations, and most assessment tasks in Dramatic Arts, must reflect subquestions of differing degrees of challenge, i.e. easy, moderate and difficult. The following weighting of degrees of challenge is generally accepted as appropriate for Grade 10–12 examinations: Easy Moderate Difficult 30% 40% 30% Note degrees of challenge are not necessarily tied to specific cognitive levels. A higher-order cognitive level question might not necessarily be difficult, while a lower-order level question might not necessarily be easy. For example:  When comparing Realism or Dramatic Theatre with another genre the appropriate cognitive process dimension would be higher order (i.e. evaluating), yet the degree of knowledge dimension might well be easy, depending on the context of the question and information provided.  An unseen practical based question will be regarded as being of the higher-order level/ cognitive dimension (i.e. creating), but could be easy, moderate or difficult in challenge, depending on the context of the question and information provided. Teaching, learning or assessment of whether content, skills, knowledge, concepts or a question is easy, moderate or difficult is based on the use and application of Bloom's taxonomy. The action verbs and the cognitive levels as well as the four thinking processes determine the level of difficulty. Examiners and moderators must ensure that examination question papers and memoranda accommodate the full range of abilities of learners. 3.8 Requirements and Weighting of the Annual Programme of Assessment Components for Grade 12 Practical Examinations Final External Final External Assessment Tasks Examination Examination Paper 2 Paper 1 Performance Written Converted to 25% of the NSC Converted to 75% of the NSC NSC: 25 % + 75 % = 100% Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 11 Examination Guidelines 4. SCHOOL-BASED ASSESSMENT Overview School-based assessment is a formal internal assessment component of the formal national final examination mark. The SBA assessment tasks, the practical assessment tasks and SBA examinations are preparation for the final external examination. Ensure all learners complete all the SBA tasks to ensure a sound basis of concepts, content, knowledge, skills, techniques, values, attitudes and competencies. If the SBA tasks are not handed in or completed, the learner will receive a '999' which means 'incomplete'. However, it is important that a learner must be provided with multiple opportunities to complete and submit the SBA tasks. Refer to the Practical Assessment Task Guidelines for more detail on the requirements for the three individual PATs. This document will provide guidance on the examinations. 5. PERFORMANCE EXAMINATION (FINAL END-OF-YEAR) 5.1 Performance Examinations: Adhere to Strict Examination Conditions The practical examinations are of the same status as the written examination. The same strict examination conditions must be applied to the practical examinations as are applied to the written examinations.  It is the duty of the provincial examination directorates, districts and schools principals to ensure the practical examinations receive the same respect, support and dedication as the written examinations.  Principals must allocate a specific day(s) on the timetable to both the mid-year and the end- of-year examinations.  The Dramatic Arts teacher must be given support in preparing the venue and paper work for the examinations.  On the day of the examinations an additional person must be made available to ensure there is NO noise from other classes. This is a similar strict examination condition as for the written paper. 5.2 Performance Examination: Options This section will provide clarity for the successful teaching, learning and assessment of the practical examination, from planning to inception to performance to recording and finally reporting. The final practical examination is internal for Grades 10 and 11 and external for Grade 12. There are three options available for candidates to select for their practical examination: Theme Programme OR Audition Programme OR Technical Theatre Programme: Design or Directing or Film Making or Stage Management 5.3 PATs (Practical Assessment Tasks as Building Blocks for the Practical Examination Before the actual examination is discussed it is important to understand what candidates should complete before they will be prepared for their practical examinations. For each year, for Grades 10 to 11 to 12, candidates should complete three PAT performance sections and their respective three dramatic items. Throughout the FET phase candidates will acquire nine dramatic items that will be vary in genre/movement and dramatic styles, e.g. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 12 Examination Guidelines Genres and Dramatic Movements: African Drama Forms/Commedia dell' Arte/Greek Theatre/South African Theatre/Realism in the Theatre/Elizabethan Theatre/Epic Theatre/Poor Theatre/Theatre of the Absurd/Post Modern Theatre Dramatic Styles: Poem/monologue/prose/praise poem/dramatised prose/storytelling mime/physical theatre/ movement/mime Candidates must select three vastly different (varied) dramatic items for each performance examination, e.g. Commedia dell' Arte: Monologue Elizabethan: Poem South African Prose OR Greek Theatre: Poem African Drama Forms: Storytelling Theatre of the Absurd: Monologue The above is not only varied in genre/dramatic movement but also in the style of the dramatic item. 5.4 Theme Programme: Process and Format for the Standardisation Across Provinces To standardise the theme programme design, content, process, preparation and final product across the nine provinces, use the following instructions: Candidates, facilitated by the teacher, should: 1. Consolidate, at the beginning of the process, the format of the theme programme. 2. Discuss the importance and consolidate the process of creating and maintaining entries for each individual candidate's Performance Examination Journal as a written record of the teaching and learning of the three dramatic items and the links. 3. Facilitate the CAPS topics that relate to performance work (vocal, emotional, physical, acting methods etc.) with the learners. This will provide them with the contexts, content, skills, knowledge, techniques, values, attitudes and competencies to measure their improvement and growth. 4. Discuss the theme programme rubric criteria with the learners to give them a tool to measure and assess the growth and improvement of their learning. These criteria are: preparation, vocal production, stage space, links, understanding of dramatic items, emotional connection, connection to the learner, impact of the programme, performer's impact on the programme. 5. Discuss Dave's taxonomy with the learners and illustrate the skills and techniques required to achieve marks on the respective levels. Explain how they must set higher skills and technique competencies for the next level of Dave's Taxonomy to achieve higher marks. 6. Teach, learn and assess the CAPS topics for the performance examination and the theme programme, to ensure that this journal contains reflections on all the concepts/content/skills/ theory and practical aspects required by the curriculum. 7. In the event of a candidate not being able to participate in the performance examination, the teacher, external examiner/moderator and examination panel will use this written record and the teacher's assessment of the practical work in progress to determine the candidate's mark. 8. With the help of the teacher and their group, each candidate must select three contrasting items to perform for their theme programme. 9. Candidates are only allowed to use dramatic items such a prose, poem, monologue, etc. from a published text. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 13 Examination Guidelines 10. Be aware of social, cultural, personal and religious sensitivities of other people when selecting Dramatic Items. 11. At least ONE of these dramatic items should be from a South African dramatic form/style/genre. 12. The remaining TWO drama items should represent different dramatic forms/styles/genres, such as indigenous African drama forms, indigenous African oral traditions, Commedia dell' Arte, Greek theatre, Elizabethan theatre, Realism in the theatre, Epic theatre, Theatre of the Absurd, Post Modern Theatre, South African Theatre, etc. 13. Consider the candidate's strength, and preference in the selection of the three dramatic items. Versatility is a key element of the final external performance examination. 14. Each candidate brainstorms a range of possible themes and selects one final theme at the end of the process. 15. Apply the skills, techniques etc. of the CAPS topics for performance skills to the theme programme 16. Create suitable links between the items of the whole group. 17. The length of the theme programme should be approximately five minutes per candidate. 18. Note the use of technical elements and costume items will not be examined. You may, only if it is absolutely essential, include a prop or costume item to suggest a character or a genre, e.g. a wine bottle to suggest a drunk person or a headscarf to suggest an older women. The flow of the theme programme must not be hampered by costume pieces or props. 19. Rehearse the theme programme towards a final performance of excellence. 20. As soon as possible, secure a day and time for the performance examination that will be suitable for all stakeholders: candidates, teacher, school and external examiner/moderator. The day, time and venue for the performance examination will in some provinces be communicated by the area offices/region/district/provincial unit. in other provinces teachers may select their own day and time and communicate this to the curriculum advisor and external examiner/moderator 21. Dress code: standard black attire (T-shirt and pants or skirt) must be worn. No personal jewellery may be worn. Where applicable long hair should be tied back, away from the face. Each candidate should have a large different colour, ribbon, piece of material etc., displayed clearly around the arm or pinned to the hip or the chest. This serves as identification for the teacher, external examiner/moderator and exam panel. 22. For examination purposes, each group of candidates must compile a completed hard copy script of the dramatic items that will be performed for their theme programme examination. The dramatic items must be organised in running order in the hard copy programme. 23. In the case of a candidate's mother tongue being different from the school's LOLT (Language of Learning and Teaching) the candidate may select ONE dramatic item to be in his/her mother tongue. But the dramatic item must be translated into the language of instruction: Dramatic Arts or Dramatiese Kunste, and included as such in the theme programme hard copy script. Copyright reserved Please turn over

Dramatic Arts Downloaded from hlayiso.com 14 DBE/2021 Examination Guidelines 5.5 Theme Programme. Discuss the criteria (concepts, knowledge and skills) as well as the level descriptors, of this rubric, with every learner from the beginning of the year. Ensure they understand this is the official examination tool against which their theme programmes, Paper 2, performance will be measured. They must prepare all the PAT performance sections as well as their performance examination dramatic items with the aim to achieve all 10 the criteria mentioned in this rubric. It is also essential to facilitate Dave's taxonomy with the learners to ensure they are familiar with the incremental development of skills on each of the respective levels and the related mark allocation for each level. ADAPTED THEME PROGRAMME RUBRIC LEVEL 1 2 3 4 5 6 7 COGNITIVE LEVELS BLOOM REMEBERING UNDERSTANDING APPLICATION ANALYSING ANALYSING-EVALUATION EVALUATION CREATING THINKING PROCESS FACTUAL FACTUAL CONCEPTUAL CONCEPTUAL PROCEDURAL PROCEDURAL METAGOGNITIVE PSYCHOMOTOR SKILLS. IMITATION IMITATION MANIPULATING MANIPULATING PRECISION ARTICULATING NATURALISING DAVE's SYMBOL G F E D C B A- A A+ Little, no Basic, some, Sensible, reasonable Suitable, satisfactory, Significant, extensive, Excellent, admirable, Exceptional, superior, ACTION WORDS evidence, straight-forward sufficient considerable meritorious unexpected, PERCENTAGE 0–29% 30–39% 40–49% 50–59% 60–69% 70–79% 80–100% PREPARATION Demonstrates little or Knows the words, Reasonable understanding Suitable manipulation and Significant analysis and Excellent articulation and Exceptional understanding, Words, genres, subtext, interpretation, merely knows the understands the items of the application of the analysis of the items and precision of the items and original creation of the application, analysis, evaluation and meaning, style, characterisation, words of all the items. and their subtexts, basic items and their subtexts, is their subtexts, is confident, their subtexts, considerable presentation of the items and superior originality in the creation of variation in Dramatic Items Displays limited confidence, evidence of confident. Applies good good judgement of thought, confidence and sound their subtexts, estimable the presentation of the items and confidence or evidence thought, planning and judgement of thought, planning and rehearsal. judgement of thought, confidence and excellent their subtexts, Remarkable of thought, planning rehearsal. Some planning and rehearsal. planning and rehearsal. judgement of thought, planning confidence and superior judgement and rehearsal. Limited imitation. and rehearsal. of thought, planning and rehearsal. imitation. VOCAL PRODUCTION Demonstrates little or Some understanding of Reasonable understanding Suitable understanding, Significant understanding, Excellent articulation and Exceptional Timing, rhythm, clarity, projection, basic knowledge technical skills and and good application of application and analysis of application, analysis and original creation of technical Understanding, application, analysis, pitch, articulation, pace, accent, applied in vocal proficiency: vocal technical skills and technical skills and evaluation of technical skills skills and proficiency. Vocal evaluation and superior originality in control, volume, pause, correct production. Limited interpretation of texts and proficiency. The vocal proficiency. The vocal and proficiency. Vocal interpretation of texts and vocal the creation of the presentation of breathing, modulation, accents, imitation. vocal variation is present interpretation of text and interpretation of text and interpretation of texts and variation are substantial. the technical skills and proficiency. resonance, interpretation of text, vocal and straight forward. vocal variation is vocal variation is vocal variation are Vocal interpretation of texts and variation, characterisation Some imitation. reasonable. acceptable. considerable and extensive. vocal variation are exceptional STAGE SPACE Demonstrates little or Good confident in the use Reasonable understanding Satisfactory and suitable Extensive and significant Excellent, admirable Exceptional and superior Stage areas, levels and dimensions. basic knowledge of of stage space. and application of the understanding, application understanding, application, articulation and creative use of understanding, application, analysis, Blocking stage space. Limited Understands the principles and the use of and analysis of the analysis and evaluation of the the principles in the stage evaluation and creative use of the imitation. principles of stage space. these in the stage space. principles and the use of principles and the use of space. principles in the stage space. Some imitation. these in the stage space. these in the stage space. LINKS Demonstrates little or Straight forward Reasonable and sensible Satisfactory and suitable Extensive and significant Excellent, admirable Exceptional and superior Selection, creation, transition's length, merely knowledge understanding and understanding, application understanding, application understanding, application articulation and creative use of understanding, application, style, genre, purpose and meaning components in the use participation in links to and participation in of links and participation in analysis and participation in links to links to enhance the meaning participation in, analysis, evaluation of links. Limited enhance the meaning to enhance the meaning of links to enhance the enhance the meaning and and flow of the programme and creative use of the links to imitation. and flow of the and flow of the programme. meaning and flow of the flow of the programme enhance the meaning and flow of programme. Some programme the programme imitation. UNDERSTANDING Demonstrates little or Demonstrates knowledge Demonstrates knowledge Demonstrates knowledge, Demonstrates knowledge and Demonstrates knowledge and Demonstrates knowledge and Dramatic Items, genre, style, basic knowledge of the and understanding of the and understanding and understanding and understanding. Displays understanding. Displays understanding. Displays exceptional conventions, meaning, interpretation, principles of Dramatic principles of Dramatic sensible and fair application sufficient and satisfactory considerable and significant excellent and admirable and superior application, evaluation characterisation items. Limited items. Some imitation. of the principles Dramatic application of the principles application and evaluation of application, evaluation and and creative use of the principles imitation. items Dramatic items the principles Dramatic items creative use of the principles Dramatic items Dramatic items PHYSICAL WORK Demonstrates little or Demonstrates knowledge Demonstrates knowledge, Demonstrates knowledge, Demonstrates knowledge, Demonstrates knowledge, Demonstrates knowledge, Body awareness, posture, relaxation, basic knowledge of and understanding of understanding and fair understanding and understanding and extensive articulation and creativity in the understanding and exceptional and control, spatial awareness, gesture, physical skills. Limited physical skills in a application of physical skills sufficient and satisfactory and significant application, use of physical skills. superior application, analysis, characterisation, facial expression, imitation. straight forward manner. in a sensible manner application and analysis of analysis and evaluation of evaluation and creativity in the use movement, focus, concentration, Some imitation. physical skills. physical skills. of physical skills. energy, emotional realisation Copyright reserved Please turn over

Dramatic Arts Downloaded from hlayiso.com 15 DBE/2021 Examination Guidelines EMOTIONAL CONNECTION Demonstrates little or Understands emotional Understands and applies Understands, applies and Understands, applies, Articulation and displays Understands, applies, analyses, Emotional memory, selection of basic knowledge of connection and the skills emotional connection and analyses emotional analyses and evaluates excellent creativity in the evaluates and displays exceptional appropriate emotions, authentic emotional connection. that this criterion consists the skills that this criterion connection and the skills emotional connection and the emotional connection and the creativity in the emotional connection emotions, connect, internalise, express Limited imitation. of in a straight forward consists of in a reasonable that this criterion consists of skills that this criterion skills that this criterion consists and the skills that this criterion truthfully, control and basic manner. Some manner in a sufficient manner consists of in an extensive of in an admirable manner consists of in an superior manner imitation. manner CONNECTION TO LISTENING Demonstrates little or Knows and understands Knows, understands and Knows, understands Knows, understands applies Articulates the skills and Knows, understands applies Focus, engage, in the moment, basic knowledge of what connects to applies the skills and applies and analyses the analyses and evaluates the concepts of listening. Creates analyses and evaluates the skills attention to body language, emotional connection to listening. listening is. Connects to concepts of listening. skills and concepts of skills and concepts of original ways of listening. and concepts of listening. Creates tone, how words are spoken, receive, Limited imitation. the speaker in a straight Connects to the speaker in listening. Connects to the listening. Connects to the Connects to the speaker in an original and unexpected ways of heard (intentions, sub text, motives, forward manner. Some a reasonable and sensible speaker in a suitable and speaker in a significant excellent manner listening. Connects to the speaker in desires), react in a natural manner imitation. manner sufficient manner manner an exceptional manner DRAMATIC IMPACT OF Unengaging Elementary performance Moderately engaging Adequately engaging Substantially engaging Commendable, engaging Exceptionally engaging performance PROGRAMME performance and and content. performance and content. performance and content. performance and content. performance and content, and content. Demonstrates Choice, content and themes of the content. Demonstrates knowledge Demonstrates knowledge, Demonstrates knowledge, Demonstrates knowledge, demonstrates articulation and knowledge, understanding, Dramatic items, performance of the Demonstrates little or and understanding of the understanding and understanding, application understanding, application, creative use of the skills and application, analysis, evaluation and candidate, versatility in performance basic knowledge of the skills and elements to application of the skills and and analysis of the skills analysis and evaluation of the elements to make a dramatic creative and unexpected use of the (styles, genres, conventions, accents, skills and elements make a fundamental elements to make and elements to make a skills and elements to make a and excellent impact. skills and elements to make a acting and vocal skills), unique that create an impact impact reasonable impact sufficient impact considerable impact remarkable impact. Holistically approach in a performance integrated performance. PERFORMER'S IMPACT IN THE Unengaging Elementary level and Moderate level and Adequate level and Substantial level and Meritorious level and excellent Outstanding level and exceptional PROGRAMME performance and fundamental versatility. reasonable versatility. sufficient versatility. extensive versatility. versatility. Demonstrates versatility. Demonstrates knowledge, Versatility in genre, style, content. Demonstrates Demonstrates knowledge, Demonstrates knowledge, Demonstrates knowledge, articulation and creative use of understanding, application, analysis characterisation, Demonstrates little or understanding of the understanding and understanding, application understanding, application, the skills and elements, to and evaluation of the skills and Vocal and physical proficiency), basic knowledge of the skills and elements, to application of the skills and and analysis of the skills analysis and evaluation of the create a performance, in a elements, to create a performance, Skills, techniques and elements; skills and elements to create a performance, in elements, to create a and elements, to create a skills and elements, to create commendable manner. in a superior manner. performance energy, stage presence, create a performance. a straight forward performance, in a performance, in a suitable a performance, in a significant uniqueness, creativity, synergy with Limited imitation. manner. Some imitation. reasonable manner manner manner other candidates Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 16 DBE/2021 Examination Guidelines 5.6 Audition Programme: Process and Format – Standardisation To standardise the audition programme design, content, process, preparation and final product across the nine provinces, use the following instructions: Candidates, facilitated by the teacher, should discuss and adhere to the following: 1. The audition programme is not an easy option and only candidates that are well supported by teachers or dedicated, determined, strong performers may do this examination. 2. The curriculum advisor/subject advisor/senior education specialist in each of the nine provinces must request teachers to submit a written letter of permission before a candidate may do the audition programme for their final external performance examination. 3. Consolidate, at the beginning of the process the format of the audition programme 4. Discuss the importance and consolidate the process of creating and maintaining entries for each individual candidate's Performance Examination Journal as a written record of the teaching and learning of the three dramatic items and the links. 5. Facilitate the CAPS topics that relate to performance work (vocal, emotional, physical, acting methods etc.) with the learners. This will provide them with the contexts, content, skills, knowledge, techniques, values, attitudes and competencies to measure their improvement and growth. 6. Facilitate the audition programme rubric criteria with the learners to give them a tool to measure and assess the growth and improvement of their learning. These criteria are: preparation, vocal production, stage space, links, understanding of dramatic items, emotional connection, connection to the learner, impact of the programme, performer's impact on the programme. 7. Discuss Dave's taxonomy with the learners and illustrate the skills and techniques required to achieve marks on the respective levels. Explain how they must set higher skills and technique competencies for the next level of Dave's taxonomy to achieve higher marks. 8. Teach, learn and assess the CAPS topics for the performance examination and the theme programme, to ensure that this journal contains reflection all the concepts/content/skills/ theory and practical aspects required by the curriculum. 9. In the event of a candidate not being able to participate in the performance examination, the teacher, external examiner/moderator and examination panel will use this written record and the teacher's assessment of the practical work in progress to determine the candidate's mark. 10. With the help of the teacher and their group, each candidate must select three contrasting items to perform for their programme. 11. Candidates are only allowed to use dramatic items such a prose, poem, monologue, etc. from a published text 12. Be aware of social, cultural, personal and religious sensitivities of other people when selecting dramatic items. 13. At least one of these dramatic items should be from a South African dramatic form/style/genre. 14. The remaining two drama items should represent different dramatic forms/styles/genres, such as indigenous African drama forms, indigenous African oral traditions, Commedia dell' Arte, Greek Theatre, Elizabethan Theatre, Realism in the Theatre, Epic Theatre, Theatre of the Absurd, Post Modern Theatre, South African Theatre, etc. 15. Consider the candidate's strength, and preference in the selection of the three dramatic items. Versatility is a key element of the final external performance examination 16. Create suitable links or transitions between the three drama items 17. The length of the audition programme should be approximately five to ten minutes. 18. Note the use of technical elements and costume items will not be examined. You may, only if it is absolutely essential include a prop or costume item to suggest a character or a genre, e.g. a wine bottle to suggest a drunk person or a headscarf to suggest and older women. The flow of the theme programme must not be hampered by costume pieces or props. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 17 DBE/2021 Examination Guidelines 19. Rehearse the audition programme towards a final performance of excellence. 20. Dress code: standard black attire (T-shirt and pants or skirt) must be worn. No personal jewellery may be worn. Where applicable long hair should be tied back, away from the face. The candidate should have a large different colour, ribbon, piece of material etc., displayed clearly around the arm or pinned to the hip or the chest. This serves as identification for the teacher, external examiner/moderator and exam panel. 21. As soon as possible, secure a day and time for the performance examination that will be suitable for all stakeholders: candidates, teacher, school and external examiner/moderator. This date should be on the same day as the other candidates' theme programme/technical theatre programme examinations. 22. The day, time and venue for the final external performance examination will, in some provinces, be communicated by the area offices/region/district/provincial unit. In other provinces teachers may select their own day and time and communicate this to the curriculum advisor and external examiner/moderator. 23. For examination purposes, each individual candidate must compile a completed hard copy script of the drama items that will be performed for their audition programme examination 24. In the case of a candidate's mother tongue being different from the school's LOLT (Language of Learning and Teaching) the candidate may select ONE Dramatic Item to be in his/her mother tongue. But the Dramatic Item must be translated into the language of instruction: Dramatic Arts or Dramatiese Kunste, and included as such in the Theme Programme hard copy script. 5.7 Audition Programme: Final National External Performance Examination – Rubric Facilitate the criteria (concepts, knowledge and skills) as well as the level descriptors, of this rubric, with every learner from the beginning of the year. Ensure they understand this is the official examination tool against which their theme programme, Paper 2, performance will be measured. They must prepare all the PAT performance sections as well as their performance examination dramatic items with the aim to achieve all 10 the criteria mentioned in this rubric. It is also essential to facilitate Dave's taxonomy with the learners to ensure they are familiar with the incremental development of skills on each of the respective levels and the related mark allocation for each level. Copyright reserved Please turn over

Dramatic Arts Downloaded from hlayiso.com 18 DBE/2021 Examination Guidelines AUDITION PROGRAMME RUBRIC LEVEL 1 2 3 4 5 6 7 COGNITIVE LEVELS REMEMBERING UNDERSTANDING APPLICATION ANALYSING ANALYSING- EVALUATION CREATING BLOOM EVALUATION THINKING PROCESS FACTUAL FACTUAL CONCEPTUAL CONCEPTUAL PROCEDURAL PROCEDURAL METAGOGNITIVE PSYCHOMOTOR SKILLS. IMITATION IMITATING MANIPULATING MAINIPULATING PRECISION ARTICULATING NATURALISING DAVE SYMBOL G F E D C B A- A A+ ACTION WORDS Little, no evidence, Basic, some, straight Sensible, Suitable, satisfactory, Significant, extensive, Excellent, admirable, Exceptional, superior, forward reasonable sufficient considerable meritorious unexpected PERCENTAGE 0–29 % 30–39 % 40–49 % 50–59 % 60–69 % 70–79 % 80–100 % PREPARATION The learner does not know The learner knows the words. The learner knows most The learner has suitable The learner knows the words of The learner has mastered the The learner has mastered the Words, genres, subtext, the words of the drama items, Basic and limited of the words, shows understanding, application and all the drama items well, is words, has a high degree of words, shows insight, is interpretation, meaning, style, has no confidence and shows understanding of the items some confidence and of analysis of the items and their confident, shows evidence of confidence and shows completely confident, shows characterisation, variation in very little evidence of thought, and their subtexts thought, planning and subtexts, is confident, good significant quality of thought, excellent evidence of excellent evidence of outstanding thought, Dramatic Items, confidence, planning and rehearsal. No or confidence, evidence of rehearsal. Good judgement of thought, planning planning and rehearsal. thought, planning and planning and rehearsal. thought, planning and rehearsal little imitation. thought, planning and evidence of and rehearsal. Excellent Evidence of precision. rehearsal. Excellent Exceptional naturalisation. rehearsal. Basic degree of manipulation. manipulation. articulation. imitation. VOCAL PRODUCTION The learner shows no Basic and limited Reasonable technical Suitable understanding, There is significant technical There is highly developed There is exceptionally developed Timing, rhythm, clarity, technical proficiency. There is understanding of technical proficiency, vocal application and analysis of proficiency. The vocal technical proficiency. Vocal technical proficiency. Vocal projection, pitch, articulation, no evidence of appropriate skills and proficiency: vocal interpretation of texts technical skills and proficiency. interpretation of text and vocal interpretation of texts and vocal interpretation of texts and vocal pace, accent, control, volume, vocal interpretation of the text interpretation of texts and and vocal variation Good The vocal interpretation of text variation is extensive. Evidence variation are excellent. variation are exceptional. pause, correct breathing, and no vocal variation. No or vocal variation is present but evidence of and vocal variation is of precision. Excellent articulation. Exceptional naturalisation. modulation, accents, resonance, little imitation. basic and straight forward. manipulation. acceptable. Excellent interpretation of text, vocal Basic degree of imitation. manipulation. variation, characterisation STAGE SPACE Lacks confidence and is Basic and limited confident in Reasonable technical Satisfactory and suitable Significant use of stage space. Excellent use of stage space is Exceptional use of stage space. Stage areas, levels and unable to use stage space the use of stage space. Basic proficiency with the use understanding, application and Evidence of precision. completely appropriate. Exceptional naturalisation. dimensions. Blocking appropriately and understanding of the stage space. Good analysis of the principles and Excellent articulation. interestingly. No or little principles and conventions of evidence of the use of these in the stage imitation. stage space. Basic degree of manipulation. space. Excellent evidence of imitation. manipulation. UNDERSTANDING Demonstrates no Basic and limited knowledge Reasonable Suitable knowledge, A significant understanding of Excellent understanding of the Excellent understanding of the Dramatic Items, genre, style, understanding of the work and understanding of the understanding of the understanding and sufficient the work and satisfactory range, work, and within an extensive work and interpretation and/or conventions, meaning, and there is no or very little principles and conventions of work, interpretation and satisfactory application of the interpretation and/or range, characterisation is characterisation is always interpretation, characterisation interpretation and/or Dramatic items. Basic degree and/or characterisation. the principles Dramatic items. characterisation is mostly mostly accurate and accurate appropriate and characterization. No or little of imitation. Good evidence of Excellent evidence of accurate and appropriate. appropriate. Excellent justified. Exceptional imitation. manipulation. manipulation. Evidence of precision. articulation. naturalisation. PHYSICAL WORK Chooses inappropriate Basic and limited knowledge Chooses reasonably Demonstrates knowledge, Significant choices and range of Excellent choices and range of Excellent choices of movement Body awareness, posture, movement or stillness for and understanding of appropriate movement understanding and sufficient appropriate movement and appropriate movement and or stillness wholly appropriate relaxation, control, spatial each piece. Unnecessary physical skills in a straight or stillness. There is and satisfactory application stillness, demonstrating stillness, demonstrating good to each piece, demonstrating awareness, gesture, tension. No or little imitation. forward manner. Basic unnecessary tension in and analysis of physical skills. adequate competence and competence and control. The excellent competence, control characterisation, facial degree of imitation. the body. Good control. The body is aligned and body is aligned and balanced and versatility. The body is expression, movement, focus, evidence of balanced and is largely free of and is free of unnecessary well aligned and balanced and concentration, energy, emotional manipulation. unnecessary tension. tension. Excellent articulation. there is no sign of realisation unnecessary tension. Exceptional naturalisation. EMOTIONAL CONNECTION No connection with the Basic and limited Reasonable connection Suitable understanding, Connects significantly with the Excellent connection with the Connects strongly with the Emotional memory, choose and emotional tone of the work. understanding of emotional with the emotional tone application and analyses of emotional tone of the work. emotional tone of the work. emotional tone of the work. select appropriate emotions, Emotional choices are connection and the skills that of the work. Manages, emotional connection and the Appropriate emotional choices. Excellent emotional choices. Exceptional emotional choices access authentic emotions, inappropriate and this criterion. Basic degree of within a reasonable skills that this criterion consists Evidence of precision. Excellent articulation. Exceptional naturalisation. connect, internalise, express unconvincing. No or little imitation. range, to make of. Excellent evidence of truthfully, control imitation. emotional choices. Good manipulation. evidence of manipulation. Copyright reserved Please turn over

Dramatic Arts Downloaded from hlayiso.com 19 DBE/2021 Examination Guidelines VOICE AND BODY No vocal interpretation Basic and limited Reasonable vocal and Suitable vocal and physical Significant vocal interpretation. Vocal interpretation of texts Excellent vocal interpretation INTEGRATION proficiency. Chooses understanding of vocal physical interpretation interpretation and integration. Chooses a range of appropriate and vocal variation are of texts and vocal Movement, stillness, relaxed inappropriate movement or interpretation. Chooses and integration. Some Some unnecessary tension. movement and stillness. excellent. variation is exceptional. vocal and physical mode, skills stillness for each piece. inappropriate movement or unnecessary tension. Excellent evidence of Chooses a wide range of Chooses a wide range of Chooses movement / stillness and techniques articulated and Unnecessary tension and no stillness for each piece. Good evidence of manipulation. appropriate movement and excellent movement and wholly appropriate to each naturalised integration between voice Unnecessary tension and manipulation. stillness. Significant integration stillness. Excellent integration piece. Exceptional voice and and body. No or little limited integration between between voice and body. of voice and body. Excellent body integration. Exceptional imitation. voice and body. Basic degree Evidence of precision. articulation. naturalisation. of imitation. USE OF RHYTHM IN No use or awareness of Basic and limited use and Reasonable use and Suitable level and sufficient Significant use and awareness of Excellent and appropriate Outstanding and motivated PERFORMANCE vocal, textual, emotional and awareness of vocal, textual, awareness of vocal, versatility in knowledge, vocal, textual, emotional and awareness of vocal, textual, awareness of vocal, textual, character rhythm in emotional and character textual, emotional and understanding, application and character rhythm in emotional and character emotional and character rhythm performance. No or little rhythm in performance and character rhythm in analysis of the skills and performance. Delivery is rhythm in performance. in performance. Delivery is imitation. the interpretation and delivery performance but the elements, to create a consistent and evident in some Delivery is consistent and consistent and evident in every is not consistent. Basic interpretation and performance, in a suitable items. Evidence of precision. evident in most items. item. Exceptional naturalisation. degree of imitation. delivery is not manner. Evidence of Excellent articulation. consistent. Good manipulation. evidence of manipulation. VERSATILITY OF LEARNER No versatility with different Basic and limited versatility Reasonable versatility Suitable versatility with Significant versatility with Excellent and appropriate Outstanding and motivated Three Dramatic Items, contrast performance genres, styles, with different performance with different different performance genres, different performance genres, versatility with different versatility with different in genre, movement, style and modes and dramatic genres, styles, modes and performance genres, styles, modes and dramatic styles, modes and dramatic performance genres, styles, performance genres, styles, mode of performance. Contrast elements. No or little dramatic elements. Basic styles, modes and elements. Excellent evidence elements. Evidence of precision. modes and dramatic elements. modes and dramatic elements. in characters, voice and body imitation. degree of imitation. dramatic elements. of manipulation. Excellent articulation. Exceptional naturalisation. Good evidence of manipulation. DRAMATIC IMPACT OF Unengaging performance and Elementary performance and Reasonable engaging Suitable performance and Significantly engaging Consistently engaging Exceptionally engaging PROGRAMME content, demonstrating no content. Basic and limited performance and content, demonstrating partial performance and content, performance and content, performance and content Choice, content and themes of creativity and/or insight. No or knowledge and content, demonstrating creativity and/or insight. creativity and insight. Evidence demonstrating consistent demonstrating consistent the Dramatic items, performance little imitation. understanding of the skills partial creativity and/or Excellent evidence of of precision. creativity and insight. Excellent creativity and insight. of the candidate, versatile in and elements requires to insight. Good evidence manipulation. articulation. Exceptional naturalisation. performance (styles, genres, make a fundamental impact of manipulation. conventions, accents, acting and vocal skills, unique approach Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 20 DBE/2021 Examination Guidelines 5.8 Technical Theatre Programme: Process and Format – Standardisation To standardise the technical theatre programme design, content, process, preparation and final product across the nine provinces, use the following instructions: This programme consists of four options. See CAPS document:  Design Elements Programme OR  Directing Programme OR  Film Making Programme OR  Stage Management Programme Candidates, facilitated by the teacher, should discuss and adhere the following: 1. The technical theatre programme is not an easy option and only candidates that are dedicated determined and have demonstrated an exceptionally high level of competence in design elements/directing/theatre making/film making/stage management skills from Grade 10 may choose this option. This is not an option for candidates who struggle in Dramatic Arts. 2. Written permission needs to be obtained from the provincial curriculum advisor/subject advisor/senior education specialist before a candidate may do the technical theatre programme for their final external performance examination. This must be presented to the external examiner on the day of the final external performance examination. 3. At the beginning of the process, discuss the format of the technical theatre programme. The structure and content of the notebooks for the designer/director/film maker/stage manager/ theatre maker should be planned and finalised by the teacher in collaboration with the curriculum advisor for Dramatic Arts at the beginning of the year. 4. The process of creating the technical theatre programme must be documented in each individual candidate's designated Notebook. This has to be a continuous record of the candidates work. This will be presented to the teacher, external examiner/moderator and the examination panel and used to determine part of the candidate's mark. 5. Make a DVD recording of the process. This DVD must be submitted to the external examiner before the day of the examination. 6. It is essential to consult the CAPS topic, the DBE approved Dramatic Arts textbook and rubrics for the technical theatre programme to ensure that the notebooks for the designer/director/film maker/stage manager/theatre maker contain all the concepts/content/skills/theory and practical aspects required by the CAPS curriculum. 7. The focus of the technical theatre programme will be on the ingenuity, versatility and creativity of candidates in improvising around available resources, in order to create an extensive and effective visual/aural environment, using several design elements, rather than on the sophistication of technical resources or the operation ability of a candidate, e.g. to operate the lighting board or sound system. 8. To ensure that the technical theatre programme option is comparable in range, weighting and complexity to the audition programme and the theme programme option, competence should be demonstrated in the school-based assessment, PAT tasks, e.g. journal, essay, research, short directed performance, control test and even a written or performance examination. 9. The examination panel will interview the design elements/directing/theatre making/film making/stage management candidate to examine creative decisions and interpretation and choices in concepts and style made by the candidate. It is recommended that the cast (except for the design elements option) of the play also be present to answer questions about the production and their experiences in it. 10. The technical theatre programme has four options: 10.1 Design Elements candidate Include the following in your designer notebook: the selected play, extensive and detailed research, preliminary and final technical plans, sketches (with artistic motivations) of the set, costume, music, sound effects, special effects, properties, lighting, make-up etc. Also include written information on the Role of the Designer and context of the play (social, political, religious, economic, artistic, historical, theatrical) etc. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 21 DBE/2021 Examination Guidelines 10.2 Director candidate Include the following in your director notebook: extensive and detailed research on the play, script analysis, given circumstances, character objectives and obstacles, character relationships, theme analysis, production vision, production designs (preliminary and final technical plans and sketches such as set, set pieces, costume lighting, sound, properties etc.(with artistic motivations),acting (e.g. Stanislavski) terminology, performance space, staging conventions etc. Also include written information on the role of the director. 10.3 Film-making candidate Include the following in your film-making notebook: the selected film text, extensive and detailed research, storyboard of the film text, preliminary and final technical plans, sketches (with artistic motivations) of the locations and settings, costumes, music, sound effects, special effects, properties, lighting, make-up etc. During you interview be prepared to share the editing process decisions. Also include written information on the role of the film maker. 10.4 Stage manager candidate Include the following in your stage-manager notebook: prompt script, extensive and detailed research, preliminary and final technical plans, sketches and or lists (with artistic motivations) of the set, floor plan of stage setup, costumes, lighting, sound, props, furniture, cast with contact numbers, sound and lighting cues, blocking, scene changes, map of layout of props, cast and technical calls, opening and closing procedures, etc. Also include written information on the role of the stage manager. 10.5 Theatre-maker candidate Include the following in your theatre-maker notebook: extensive and detailed research on the theme of the envisaged play, improvisational techniques, scripting procedures, given circumstances, character objectives and obstacles, character relationships, theme analysis, production vision, production designs (preliminary and final technical plans and sketches such as set, set pieces, costume lighting, sound, properties etc.(with artistic motivations),acting (e.g. Stanislavski) terminology, performance space, staging conventions etc. Also include written information on the role of the theatre maker. 11. As soon as possible, secure a day and time for the performance examination that will be suitable for all stakeholders: candidates, teacher, school and external examiner/moderator. this date should be on the same day as the other candidates' theme programme/audition programme examinations 12. The day, time and venue for the final external performance examination will, in some provinces, be communicated by the area offices/region/district/provincial unit. in other provinces, teachers may select their own day and time and communicate this to the curriculum advisor and external examiner/moderator 13. In cases where the candidate selected an item in any language other than the LOLT (Language of Learning and Teaching) for performance; the candidate should translate the text into the language of instruction: Dramatic Arts or Dramatiese Kunste. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 22 DBE/2021 Examination Guidelines 5.9 Technical Theatre Programme: Design – Rubric Facilitate the criteria (concepts, knowledge and skills) as well as the level descriptors, of this rubric, with every learner from the beginning of the year. Ensure they understand this is the official examination tool against which their Paper 2, performance product will be measured. They must prepare all the PAT performance sections as well as their performance examination dramatic Items with the aim to achieve all 10 the criteria mentioned in this rubric. TECHNICAL THEATRE PROGRAMME DESIGN (Set, Costume, Music, Sound Effects, Set Pieces, Special Effects, Properties, Lighting, Make- Up) RUBRIC LEVEL 1 2 3 4 5 DESCRIP- 1–34% 35–49% 50–69% 70–79% 80–100% TOR Role of the The candidate fails to The candidate The candidate The candidate The candidate demonstrates designer demonstrate demonstrates limited demonstrates demonstrates complete outstanding and insightful understanding that the understanding that the adequate understanding that the understanding that the role of role of the Designer is role of the Designer is to understanding that the role of the Designer is to the Designer is to research, to research, research, conceptualise role of the Designer is research, conceptualise conceptualise and actualise conceptualise and and actualise the world of to research, and actualise the world of the world of the play through actualise the world of the play through design conceptualise and the play through design design elements e.g. set, the play through elements e.g. set, actualise the world of elements e.g. set, costume, music, sound design elements e.g. costume, music, sound the play through design costume, music, sound effects, set pieces, special set, costume, music, effects, set pieces, special elements e.g. set, effects, set pieces, special effects, properties, lighting, sound effects, set effects, properties, costume, music, sound effects, properties, make-up. pieces, special effects, lighting, make-up. effects, set pieces, lighting, make-up. properties, lighting, special effects, make-up. properties, lighting, make-up. Given The candidate fails to The candidate The candidate The candidate The candidate demonstrates circum- demonstrate demonstrates limited demonstrates demonstrates complete outstanding, insightful and stances understanding of how understanding of how to adequate and highly effective highly effective to interpret and interpret and realise in understanding of how understanding of how to understanding of how to realise in her/his her/his design the given to interpret and realise interpret and realise in interpret and realise in design the given circumstances e.g. plot, in her/his design the her/his design the given her/his design the given circumstances e.g. the facts, the incidents, given circumstances circumstances e.g. plot, circumstances e.g. plot, the plot, the facts, the the period, the time and e.g. plot, the facts, the the facts, the incidents, facts, the incidents, the incidents, the period, place of the action and incidents, the period, the period, the time and period, the time and place of the time and place of the way of life in the play. the time and place of place of the action and the action and the way of life the action and the the action and the way the way of life in the play. in the play. way of life in the play. of life in the play. Back- The candidate fails to The candidate The candidate The candidate The candidate demonstrates ground and demonstrate demonstrates limited demonstrates demonstrates complete outstanding, insightful and context understanding of how understanding of how to adequate and highly effective highly effective to interpret and interpret and realise in understanding of how understanding of how to understanding of how to realise in her/his her/his design the to interpret and realise interpret and realise in interpret and realise in design the background and context in her/his design the her/his design the her/his design the background and of the play: social, background and background and context background and context of context of the play: political, religious, context of the play: of the play: social, the play: social, political, social, political, economic, artistic, social, political, political, religious, religious, economic, artistic, religious, economic, historical, theatrical. religious, economic, economic, artistic, historical, theatrical. artistic, historical, artistic, historical, historical, theatrical. theatrical. theatrical. Theatre The candidate fails to The candidate The candidate The candidate The candidate demonstrates spaces demonstrate demonstrates limited demonstrates demonstrates complete outstanding, insightful and understanding of how understanding of how to adequate and highly effective highly effective to create appropriate create appropriate understanding of how understanding of how to understanding of how to designs for the designs for the different to create appropriate create appropriate create appropriate designs different stage stage spaces, e.g. designs for the different designs for the different for the different stage spaces, e.g. Proscenium, arena, stage spaces, e.g. stage spaces, e.g. spaces, e.g. Proscenium, Proscenium, arena, thrust etc. Proscenium, arena, Proscenium, arena, arena, thrust etc. thrust etc. thrust etc. thrust etc. Generating The candidate fails to The candidate The candidate The candidate The candidate shows ideas for explore ideas for demonstrates moderate demonstrates demonstrates good evidence of excellent idea- design possible design generation of ideas for adequate generation of generation of ideas for generation and concep- elements in any detail possible design elements ideas for possible possible design brainstorming, with a range tualisation or does so in only in at least two of the design elements, with elements, with a good of visual and sensory one design category. design categories. some selection of selection of visual and material collected for use in visual and sensory sensory material the final design material collected for collected for use in the conceptualization in at least use in the final design, final design, in at least three of the design in at least two of the three of the design categories, demonstrating design categories. categories, excellent original thinking demonstrating some and creativity. original thinking. 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Downloaded from hlayiso.com Dramatic Arts 23 DBE/2021 Examination Guidelines Design The candidate fails to The candidate The candidate The candidate The candidate demonstrates elements; demonstrate demonstrates moderate demonstrates demonstrates good exceptional understanding, visual and understanding, understanding, selection adequate understanding, selection selection and creation of aural selection and creation and creation of understanding, and creation of appropriate and relevant of appropriate and appropriate and relevant selection and creation appropriate and relevant design elements in at least relevant design design elements in at of appropriate and design elements in at three of the design elements, or does so least two of the design relevant design least three of the design categories. in only one design categories. elements.in at least two categories. category. of the design categories. Realisation The candidate fails to The candidate realises The candidate realises The candidate realises The candidate realises of design realise his/her ideas his/her ideas practically his/her ideas practically his/her ideas practically his/her ideas practically in elements practically in the final in the final design of the in the final design of in the final design of the the final design of the piece, design of the piece. piece, in one or two of the piece, in at least piece, in at least three in at least three design This may be due to the the design categories. two design categories design categories, to categories, to exceptional use of inappropriate Some design elements to some extent. Some good effect. The majority effect. All design and materials, insufficient may be stronger than design elements may of design elements work technical elements work care taken, equipment others, with noticeable be stronger than seamlessly and there are seamlessly, supporting the malfunctioning, etc. technical glitches in others, with some few, if any, technical final performance and its realisation. technical glitches in glitches in realisation. reception by the audience. realisation. Creating a The candidate fails to The candidate brings The candidate brings The candidate brings The candidate brings design cohesive bring the different different design elements different design different design elements elements together theatrical design elements together in one or two elements together in at together in at least three seamlessly and to whole together so that they design categories but least two design design categories, to exceptional effect so that work cohesively and there are some elements categories but there is good effect contributing they together contribute to a together contribute to missing or at odds, which something missing or to the creation of a cohesive theatrical whole of a cohesive theatrical prevent the creation of a at odds which prevent cohesive theatrical considerable impact and whole. cohesive theatrical the creation of a whole. power. Design elements are whole. cohesive theatrical found across three or more whole. design categories. Director/ The candidate fails to The candidate submits a The candidate submits The candidate submits a The candidate submits a theatre submit a *(D/TMN) *(D/TMN) with limited and a *(D/TMN) with *(D/TMN) with complete *(D/TMN) with outstanding, maker with evidence of incomplete evidence of adequate evidence of and insightful evidence of insightful and highly effective notebook research, preliminary research, preliminary and research, preliminary research, preliminary and evidence of research, *(D/TMN) and final technical final technical plans and and final technical final technical plans and preliminary and final plans and sketches sketches such as lighting, plans and sketches sketches such as lighting, technical plans and sketches such as lighting, sound, etc. with artistic such as lighting, sound, sound, etc. with artistic such as lighting, sound, etc. sound, etc. with motivations as well as an etc. with artistic motivations as well as an with artistic motivations as artistic motivations as execution of the plan. motivations as well as execution of the plan. well as an execution of the well as an execution an execution of the plan. of the plan. plan. Interview The candidate fails to The candidate arrives for The candidate's The candidate's The candidate's responses arrive for the the interview; responses responses to the responses to the to the interview panel's interview or fails to to the interview panel's interview panel's interview panel's questions and enquiries are provide satisfactory questions are limited and questions and questions and enquiries outstanding, insightful and answers posed by the often not satisfactorily enquiries are are insightful and well- highly effectively motivated. examination panel. motivated. adequately and partly motivated. satisfactorily motivated. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 24 DBE/2021 Examination Guidelines 5.10 Technical Theatre Programme: Directing/Theatre Making – Rubric Facilitate the criteria (concepts, knowledge and skills) as well as the level descriptors, of this Rubric, with every learner from the beginning of the year. Ensure they understand this is the official examination tool against which their Paper 2, performance product will be measured. They must prepare all The PAT performance sections as well as their performance examination dramatic items with the aim to achieve all 10 the criteria mentioned in this Rubric. TECHNICAL THEATRE PROGRAMME DIRECTING/THEATRE MAKING RUBRIC LEVEL 1 2 3 4 5 DESCRIPTOR 1–34% 35–49% 50–69% 70–79% 80–100% The Role of the The candidate fails to The candidate partially The candidate adequately The candidate has a The candidate has an Director/Theatre understand that the role of understands that the role understands that the role complete understanding of exceptional insightful the director/theatre maker of the *(D/TM) is to be of the *(D/TM) is to be the role of the *(D/TM) to understanding of the role of Maker is to be responsible for the responsible for the overall responsible for the overall be responsible for the the *(D/TM) to be responsible *(D/TM) overall aural and visual aural and visual world of aural and visual world of overall aural and visual for the overall aural and visual world of the play, e.g. the play, e.g. creating a the play, e.g. creating a world of the play, e.g. world of the play, e.g. creating creating a vision, applying vision, applying vision, applying creating a vision, applying a vision, applying appropriate appropriate styles and appropriate styles and appropriate styles and appropriate styles and styles and genres, technical genres, technical aspects, genres, technical aspects, genres, technical aspects, genres, technical aspects, aspects, design elements design elements (lighting, design elements (lighting, design elements (lighting, design elements (lighting, (lighting, sound, costume, sound, costume, make up, sound, costume, make up, sound, costume, make up, sound, costume, make up, make up, set), the publicity set), the publicity (poster, set), the publicity (poster, set), the publicity (poster, set), the publicity (poster, (poster, programme and programme and marketing) programme and marketing) programme and marketing) programme and marketing) marketing) and finally and finally directing the and finally directing the and finally directing the and finally directing the directing the actors and their actors and their actors and their actors and their actors and their performances. performances. performances. performances. performances. Script Analysis The candidate fails to The candidate provides an The candidate provides a The candidate provides a The candidate provides a Given provide an appropriate list incomplete and limited list complete list of given complete list of given complete list of given of given circumstances. of given circumstances circumstances which is circumstances and circumstances and describes Circumstances which is appropriate to the wholly appropriate to the describes all the flexible all the flexible circumstances assigned play. assigned play. circumstances. with insight and creativity. Script Analysis The candidate fails to The candidate provides The candidate provides The candidate provides The candidate provides Character submit or submits incomplete character appropriate character insightful character insightful and creative character objectives, thus objectives and obstacles objectives and obstacles objectives and obstacles character objectives and Objectives and demonstrating a lack of demonstrating a limited demonstrating an demonstrating a mastery of obstacles demonstrating a Obstacles understanding of the understanding of the understanding of the the assigned play. masterful and creative assigned play. assigned play. assigned play. understanding of the assigned play. Script Analysis The candidate fails to The candidate submits a The candidate submits an The candidate submits an The candidate submits an Character submit a script analysis limited script analysis and adequate script analysis insightful script analysis insightful and creative script and description of description of the character and description of the and description of the analysis and description of the Relationships character relationships relationships which character relationships character relationships character relationships which thus demonstrating a lack demonstrates a limited which demonstrates an which demonstrates a demonstrates a complete and of understanding of the understanding of the adequate understanding of mastery of the assigned creative mastery of the assigned play. assigned play. the assigned play. play. assigned play. Script Analysis The candidate fails to The candidate submits a The candidate submits an The candidate submits an The candidate submits an Theme Analysis submit an analysis of the limited analysis of the adequate analysis of the insightful analysis of the exceptionally creative and themes in the play. themes in the play. themes in the play. themes in the play. insightful analysis of the themes in the play. Script Analysis The candidate fails to The candidate creates a The candidate creates an The candidate creates a The candidate creates an Director's/ create a director's vision in limited director's vision in adequate but predictable unique director's vision in exceptionally unique and terms of the aural and terms of the aural and and conventional director's terms of the aural and creative director's vision in Theatre Maker's visual world of the play. visual world of the play. vision in terms of the aural visual world of the play. terms of the aural and visual vision and visual world of the world of the play. play. Script Analysis The candidate fails to The candidate translates, The candidate adequately, The candidate creatively The candidate, creatively, Director/Theatre translate the vision for the but limitedly, the vision for but predictably, translates translates the vision for the uniquely and with insight, play into the concrete the play into the concrete the vision for the play into play into the concrete translates the vision for the Maker's designs aspects required for a play aspects required for a play the concrete aspects aspects required for a play play into the concrete aspects in the form of sketches and in the form of sketches and required for a play in the in the form of sketches and required for a play in the form or notes, e.g. set, costume, or notes e.g. set, costume, form of sketches and or or notes e.g. set, costume, of sketches and or notes e.g. lighting, sound, staging, lighting, sound, staging, notes e.g. set, costume, lighting, sound, staging, set, costume, lighting, sound, movement, blocking, movement, blocking, acting lighting, sound, staging, movement, blocking, acting staging, movement, blocking, acting style and genre. style and genre. movement, blocking, acting style and genre acting style and genre in an style and genre. exceptionally creative manner. Rehearsal The candidate fails to The candidate arrives on The candidate arrives on The candidate arrives The candidate arrives Process arrive on time for many time for most rehearsals time for all scheduled sufficiently early to conduct sufficiently early to conduct rehearsals and/or and/or performances. rehearsals and warm ups, physically and warm ups, physically and Punctuality performances. performances. vocally, for all scheduled vocally, for all scheduled rehearsals and rehearsals and performances. performances. Focus exercises and motivational sessions are conducted with the cast. Rehearsal The candidate fails to The candidate only at The candidate adequately The candidate explores The candidate, with skill and Process facilitate choices the actor times facilitates choices facilitates choices the actor and facilitates many insight, explores and has to make for the actor has to make for has to make for creative options in order to facilitates many creative Characterisation characterisation characterisation characterisation assist the actor in options in order to assist the appropriate to the script appropriate to the script appropriate to the script determining the best actor in determining the best and director's and director's and director's choices of choices of characterisation interpretation. interpretation. interpretation. characterisation for the for the script and director's script and director's interpretation. interpretation. Rehearsal The candidate fails to stay The candidate stays The candidate is actively The candidate actively The candidate is actively Process focused on her/his work focused on her/his work concentrating during concentrates during concentrating during during rehearsals and/or during rehearsals and/or rehearsals and rehearsals and rehearsals and performances Concentration performances. performances. performances. performances and offers and offers creative and insights to the actors. insightful options and insights to the actors. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 25 DBE/2021 Examination Guidelines Rehearsal The candidate fails to use The candidate sometimes The candidate uses The candidate uses The candidate uses Process appropriate acting and uses appropriate acting appropriate acting and appropriate acting and appropriate acting and directing terminology, e.g. and directing terminology, directing terminology, e.g. directing terminology with directing terminology with Directing and Directing: blocking, cross e.g. Directing: blocking, Directing: blocking, cross confidence, e.g. Directing: confidence and effective and Acting over, masking, etc. cross over, masking, etc. over, masking, etc. blocking, cross over, clear communication skills, (Stanislavski) Acting: magic if, Acting: magic if, Acting: magic if, masking, etc. e.g. Directing: blocking, cross Terminology concentration, given concentration, given concentration, given Acting: magic if, over, masking, etc. circumstances, units and circumstances, units and circumstances, units and concentration, given Acting: magic if, objectives, emotion objectives, emotion objectives, emotion circumstances, units and concentration, given memory, tempo-rhythm, memory, tempo-rhythm, memory, tempo-rhythm, objectives, emotion circumstances, units and relaxation. relaxation. relaxation. memory, tempo-rhythm, objectives, emotion memory, relaxation. tempo-rhythm, relaxation. Rehearsal The candidate fails to The candidate adequately The candidate understands The candidate understands The candidate understands Process understand the understands the the differences, uses and the differences, uses and the differences, uses and differences, uses and differences, uses and conventions of various conventions of various conventions of various Performance conventions of various conventions of various performance spaces and is performance spaces and is performance spaces and is Space performance spaces and is performance spaces and is able to select an able to select an able to select a creative and not able to select an able to select an adequate appropriate performance appropriate and creative dynamic performance space appropriate performance performance space for the space for the selected play performance space for the for the selected play and has space for the selected selected play. and has utilised it in an selected play and has utilised it in an insightful, play. manner appropriate to the utilised it in a creative creative and unique manner selected play. manner for the selected for the selected play. play. Rehearsal The candidate fails to The candidate adequately The candidate effectively The candidate effectively, The candidate creatively and Process implement appropriate and implements appropriate and uniquely implements creatively and uniquely dynamically, with unique effective staging and effective staging appropriate and effective implements appropriate insight, implements Staging conventions such as up- conventions such as up- staging conventions such and effective staging appropriate and effective conventions stage, centre stage, down stage, centre stage, down as up-stage, centre stage, conventions such as up- staging conventions such as stage, stage left, stage stage, stage left, stage down stage, stage left, stage, centre stage, down up-stage, centre stage, down right, prompt and opposite right, prompt and opposite stage right, prompt and stage, stage left, stage stage, stage left, stage right, prompt. prompt. opposite prompt. right, prompt and opposite prompt and opposite prompt. prompt. Interview The candidate fails to The candidate arrives for The candidate submits a The candidate submits a The candidate submits a arrive for the interview or the interview but submits complete but adequate complete (DTHN) complete (DTHN) containing fails to submit a an incomplete or limited (DTHN) or fails to containing creative creative and unique evidence Director/Theatre Maker (DTHN) or fails to provide adequately provide evidence and provides and provides thoughtful, Notebook (DTHN) or fails satisfactory answers posed satisfactory answers posed thoughtful and motivated insightful and motivated to provide satisfactory by the examination panel. by the examination panel. responses to the answers responses to the answers answers posed by the posed by the examination posed by the examination examination panel. panel. panel. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 26 DBE/2021 Examination Guidelines 5.11 Technical Theatre Programme: Film Making – Rubric Facilitate the criteria (concepts, knowledge and skills) as well as the level descriptors of this rubric with every learner from the beginning of the year. Ensure they understand this is the official examination tool against which their Paper 2, performance product will be measured. They must prepare all the PAT performance sections as well as their performance examination dramatic items with the aim to achieve all 10 the criteria mentioned in this rubric. TECHNICAL THEATRE PROGRAMME FILM MAKING RUBRIC LEVEL 1 2 3 4 5 MARK 1–34% 35–49% 50–69% 70–79% 80–100% Criterion Description: the candidate Description: the candidate Description: the candidate Description: the candidate Description: the candidate is able, with no or very is able, with limited and is able, with adequate and is able, with meritorious is able, with exceptional limited and elementary elementary suitable elementary elementary and excellent insight, understanding, technique understanding, technique understanding, technique understanding, technique understanding, technique and skill, to: and skill, to: and skill, to: and skill, to: and skill, to: Production File: Script Adapt a film script, from a Adapt a film script, from a Adapt a film script, from a Adapt a film script, from a Adapt a film script, from a and script published work (play, published work (play, published work (play, published work (play, published work (play, interpretation/adaptation poem or prose) to create poem or prose) to create poem or prose) to create poem or prose) to create poem or prose) to create for film a cinematic/audio-visual a cinematic / audio-visual a cinematic / audio-visual a cinematic / audio-visual a cinematic / audio-visual product which works for product which works for product which works for product which works for product which works for screen screen. screen. screen. screen. Convey the essence of Convey the essence of Convey the essence of Convey the essence of Convey the essence of the source work. the source work. the source work. the source work. the source work. Ensure an appropriate Ensure an appropriate Ensure an appropriate Ensure an appropriate Ensure an appropriate narrative arc with a sense narrative arc with a sense narrative arc with a sense narrative arc with a sense narrative arc with a sense of beginning, middle and of beginning, middle and of beginning, middle and of beginning, middle and of beginning, middle and end – even if it is cyclical end – even if it is cyclical end – even if it is cyclical end – even if it is cyclical end – even if it is cyclical or repetitive. or repetitive. or repetitive. or repetitive. or repetitive. Production File: Demonstrate extensive Demonstrate extensive Demonstrate extensive Demonstrate extensive Demonstrate extensive Pre-production and pre-production work in a pre-production work in a pre-production work in a pre-production work in a pre-production work in a production planning and production file and journal production file and journal production file and journal production file and journal production file and journal documents: shot-list, to convey the thinking, to convey the thinking, to convey the thinking, to convey the thinking, to convey the thinking, call-sheet, planning and process planning and process planning and process planning and process planning and process contingencies, etc. behind the film. behind the film. behind the film. behind the film. behind the film. Include documents such Include documents such Include documents such Include documents such Include documents such as treatments, notes on as treatments, notes on as treatments, notes on as treatments, notes on as treatments, notes on production design, a script production design, a script production design, a script production design, a script production design, a script outline, storyboards, a outline, storyboards, a outline, storyboards, a outline, storyboards, a outline, storyboards, a shot list, a call sheet shot list, a call sheet shot list, a call sheet shot list, a call sheet shot list, a call sheet (containing all the key (containing all the key (containing all the key (containing all the key (containing all the key details of the shoot). details of the shoot). details of the shoot). details of the shoot). details of the shoot). Include a contingency Include a contingency Include a contingency Include a contingency Include a contingency planning process. planning process. planning process. planning process. planning process. Production File: Demonstrate extensive Demonstrate extensive Demonstrate extensive Demonstrate extensive Demonstrate extensive Post-production work in a production file work in a production file work in a production file work in a production file work in a production file documents and and journal to convey the and journal to convey the and journal to convey the and journal to convey the and journal to convey the reflection post-production process. post-production process. post-production process. post-production process. post-production process. Include log sheets, other Include log sheets, other Include log sheets, other Include log sheets, other Include log sheets, other editing notes, notes on the editing notes, notes on the editing notes, notes on the editing notes, notes on the editing notes, notes on the process and difficulties process and difficulties process and difficulties process and difficulties process and difficulties encountered. encountered. encountered. encountered. encountered. Cinematography Plan appropriate shots for Plan appropriate shots for Plan appropriate shots for Plan appropriate shots for Plan appropriate shots for the script and convey the script and convey the script and convey the script and convey the script and convey these through their these through their these through their these through their these through their storyboards. storyboards. storyboards. storyboards. storyboards. Compose and shoot well- Compose and shoot well- Compose and shoot well- Compose and shoot well- Compose and shoot well- motivated, well-lit, varied motivated, well-lit, varied motivated, well-lit, varied motivated, well-lit, varied motivated, well-lit, varied visuals which use shot visuals which use shot visuals which use shot visuals which use shot visuals which use shot scale, movement and scale, movement and scale, movement and scale, movement and scale, movement and camera angles to camera angles to camera angles to camera angles to camera angles to complement and enhance complement and enhance complement and enhance complement and enhance complement and enhance content and mood. content and mood. content and mood. content and mood. content and mood. Mise en Scene Use elements such as set, Use elements such as set, Use elements such as set, Use elements such as set, Use elements such as set, costumes, props, make- costumes, props, make- costumes, props, make- costumes, props, make- costumes, props, make- up and lighting to enhance up and lighting to enhance up and lighting to enhance up and lighting to enhance up and lighting to enhance and support the overall and support the overall and support the overall and support the overall and support the overall production design. production design. production design. production design. production design. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 27 DBE/2021 Examination Guidelines Audio elements/Effects Produce a soundtrack Produce a soundtrack Produce a soundtrack Produce a soundtrack Produce a soundtrack with clearly audible with clearly audible with clearly audible with clearly audible with clearly audible ambient sound, dialogue ambient sound, dialogue ambient sound, dialogue ambient sound, dialogue ambient sound, dialogue and sound effects and sound effects and sound effects and sound effects and sound effects (if relevant). (if relevant). (if relevant). (if relevant). (if relevant). Use, copyright-free music Use, copyright-free music Use, copyright-free music Use, copyright-free music Use, copyright-free music to create mood and to create mood and to create mood and to create mood and to create mood and support visual and support visual and support visual and support visual and support visual and narrative elements. narrative elements. narrative elements. narrative elements. narrative elements. Editing Edit the film in a way that Edit the film in a way that Edit the film in a way that Edit the film in a way that Edit the film in a way that ensures narrative and ensures narrative and ensures narrative and ensures narrative and ensures narrative and visual flow, demonstrates visual flow, demonstrates visual flow, demonstrates visual flow, demonstrates visual flow, demonstrates an understanding of the an understanding of the an understanding of the an understanding of the an understanding of the 'grammar' of editing, is 'grammar' of editing, is 'grammar' of editing, is 'grammar' of editing, is 'grammar' of editing, is free of unintentional errors free of unintentional errors free of unintentional errors free of unintentional errors free of unintentional errors and enhances the overall and enhances the overall and enhances the overall and enhances the overall and enhances the overall style of the film. style of the film. style of the film. style of the film. style of the film. Performance elements Appropriately cast the Appropriately cast the Appropriately cast the Appropriately cast the Appropriately cast the (direction, choices, etc.) roles. roles. roles. roles. roles. Elicit engaging and Elicit engaging and Elicit engaging and Elicit engaging and Elicit engaging and convincing performances convincing performances convincing performances convincing performances convincing performances appropriate in style to the appropriate in style to the appropriate in style to the appropriate in style to the appropriate in style to the short film. short film. short film. short film. short film. Overall impact of the Create an original, Create an original, Create an original, Create an original, Create an original, film engaging and satisfying engaging and satisfying engaging and satisfying engaging and satisfying engaging and satisfying short film which short film which short film which short film which short film which communicates clearly. communicates clearly. communicates clearly. communicates clearly. communicates clearly. Ensure that all the Ensure that all the Ensure that all the Ensure that all the Ensure that all the elements (performance, elements (performance, elements (performance, elements (performance, elements (performance, visual, audio, editing) visual, audio, editing) visual, audio, editing) visual, audio, editing) visual, audio, editing) work cohesively together. work cohesively together. work cohesively together. work cohesively together. work cohesively together. Interview with the Articulate their intentions Articulate their intentions Articulate their intentions Articulate their intentions Articulate their intentions candidate regarding the short film regarding the short film regarding the short film regarding the short film regarding the short film and discuss the and discuss the and discuss the and discuss the and discuss the influences, interests and influences, interests and influences, interests and influences, interests and influences, interests and ideas that motivated the ideas that motivated the ideas that motivated the ideas that motivated the ideas that motivated the work. work. work. work. work. Explain the choices made Explain the choices made Explain the choices made Explain the choices made Explain the choices made at each stage of the at each stage of the at each stage of the at each stage of the at each stage of the production and justify any production and justify any production and justify any production and justify any production and justify any major changes made. major changes made. major changes made. major changes made. major changes made. Disclose any assistance Disclose any assistance Disclose any assistance Disclose any assistance Disclose any assistance received and motivate received and motivate received and motivate received and motivate received and motivate why this was justified. why this was justified. why this was justified. why this was justified. why this was justified. Convince examiners that Convince examiners that Convince examiners that Convince examiners that Convince examiners that the short film is their own the short film is their own the short film is their own the short film is their own the short film is their own creation. creation. creation. creation. creation. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 28 DBE/2021 Examination Guidelines 5.12 Technical Theatre Programme: Stage Management – Rubric Facilitate the criteria (concepts, knowledge and skills) as well as the level descriptors, of this Rubric, with every learner from the beginning of the year. Ensure they understand this is the official examination tool against which their Paper 2, performance product will be measured. They must prepare all the PAT performance sections as well as their performance examination dramatic items with the aim to achieve all 10 the criteria mentioned in this rubric. TECHNICAL THEATRE PROGRAMME STAGE MANAGEMENT RUBRIC LEVEL 1 2 3 4 5 Criteria 1–34% 35–49% 50–69% 70–79% 80–100% Prop list The candidate fails to The candidate provides a The candidate provides a The candidate provides a The candidate provides a props provide a props list or props list with evidence of props list with evidence of props list with evidence of list with evidence of all props (where provides an extremely only some props. all props; most scenes are all props and all scenes and all scenes are included. The applicable) limited list. included. are included. Research function of the props are also around suitable props is included. Research around provided. suitable props is extensive and the best selections have been made. Costume list The candidate fails to The candidate provides a The candidate provides a The candidate provides a The candidate provides a list of provide a costume list limited and incomplete list list of all costumes and list of all costumes and all all costumes and all scenes for (where or extremely limited of costumes. No scenes some scenes for use are scenes for use are use are indicated. Detail is applicable) list in evidence and for use are indicated. indicated. indicated but list lacks provided and the list is easy to scenes for use are not detail. Research around navigate. Research around indicated. suitable costumes is suitable costumes is extensive provided. and the best selections have been made. Furniture list The candidate fails to The candidate provides a The candidate provides a The candidate provides a The candidate provides a provide a furniture list. furniture list. Some furniture list of most complete furniture list, complete furniture list, scenes (where furniture is listed and furniture as well as most scenes for use are for use are indicated and the applicable) scenes for use are not scenes for use is indicated and most function of each piece of indicated. indicated. functions are indicated. furniture. The list is easy to Research around suitable navigate. Research around furniture is provided. suitable furniture is extensive and the best selections have been made Cast list with The candidate fails to The candidate provides The candidate provides a Complete cast list is Complete cast list is supplied for provide a cast list. evidence of some cast complete cast list but not supplied for each scene each scene with full contact contact members listed for some for each scene with most with contact details in at details via different mediums of numbers scene(s) with some contact details. least 1 medium of communication. contact details. communication. Sound Cues The candidate fails to The candidate provides The candidate provides The candidate provides The candidate provides provide evidence of evidence of indicating evidence of indicated evidence of indicated evidence of indicated sound (where sound cues indicated. some sound cues with sound cues with impulse, sound cues with impulse, cues with impulse, reflecting applicable) sound levels. reflecting speaker reflecting speaker speaker selection and sound selection and sound level. selection and sound level level, with appropriate but sound level not always anticipation markers. The sound appropriate to for the level is appropriate to for the performance space. performance space. Placement of speakers has been considered and is effective. Light Cues The candidate fails to The candidate provides The candidate provides The candidate provides The candidate provides (where applicable) provide, indicated in evidence indicated in the evidence, indicated in the evidence, indicated in the evidence, indicated in the stage (Consider the type of the stage manager stage manager prompt stage manager prompt stage manager prompt manager prompt book, of all LX equipment available) prompt book, evidence book, of some LX cues book, of LX cues reflecting book, of LX cues, with cues correctly indicated, with of LX cues indicated. reflecting light intensity. light area and light impulse indicated, impulse and appropriate intensity as well as timing. reflecting light area and anticipation markings, reflecting light intensity as well as light area and light intensity timing. appropriate to the performance space as well as timing. Movements The candidate fails to The candidate provides The candidate provides The candidate provides The candidate provides provide, indicated in evidence, indicated in the evidence, indicated in the evidence, indicated in the evidence, indicated in the stage noted/blocking the stage manager stage manager prompt stage manager prompt stage manager prompt manager prompt book, of all prompt book, notes of book, of some movements book, of all movements book, of all movements movements noted with the use movements indicated. noted. noted. noted with the use of of appropriate abbreviations and appropriate abbreviations. reference to furniture and décor. Scene The candidate fails to The candidate provides The candidate provides The candidate provides The candidate provides provide evidence, evidence, indicated in the evidence, indicated in the evidence, indicated in the evidence, indicated in the stage Changes indicated in the stage stage manager prompt stage manager prompt stage manager prompt manager prompt book, of all manager prompt book, book, of some scene book, of all scene changes book, of all scene changes scene changes indicated with of indicated scene changes with some with notes of actions that with notes of actions that notes of actions that should be changes. actions that should be should be executed. should be executed and executed with appropriate call taken. crew/actors involved. indications, timing and crew/ actors involved. Calls The candidate fails to The candidate provides The candidate provides The candidate provides The candidate provides provide evidence, evidence, indicated in the evidence, indicated in the evidence, indicated in the evidence, indicated in the stage indicated in the stage stage manager prompt stage manager prompt stage manager prompt manager prompt book, of all manager prompt book, book, of some calls with book, of all calls with book, of all calls, time calls noted with time indications of calls. some impulses. impulses. indications as well as as well as impulses and, where impulses. needed, anticipation markings with clear indications of time. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 29 DBE/2021 Examination Guidelines Opening and The candidate fails to The candidate provides, The candidate provides, The candidate provided, The candidate provides, indicate, indicated in indicated in the stage indicated in the stage indicated in the stage indicated in the stage manager closing the stage manager manager prompt book, manager prompt book, a manager prompt book, prompt book, appropriate procedures prompt book, the list of only brief opening and protocol for opening and appropriate protocol for protocol for opening and closing opening and closing closing procedures. closing procedures. opening and closing procedures with calls and timing procedures. procedures including calls as well as the impulses and the impulses required. required. Relevant crew/ actors are listed with calls. Map of layout The candidate fails to The candidate provides a The candidate provides a The candidate provides a The candidate provides a clearly do a layout of props. map of evidence of a map indicating the layout marked map indicating the marked map indicating a of props table layout of some props. of props on a prop table. layout of all props on a thoughtful layout of all props (where prop table. used on a prop table. Differentiating order of props applicable) according to scenes and/or other appropriate criteria. Floor plan of The candidate fails to The candidate submits a The candidate submits a The candidate submits a The candidate submits a clearly submit a stage map or basic stage map indicating functional stage map clearly labelled stage map labelled stage map indicating stage setup some stage map props, furniture and décor. indicating all props, indicating all props, accurate placement of all props, (where indicating some furniture and décor. furniture and décor with furniture and décor for each aspects of props, some degree of detail. scene with a high degree of applicable) furniture and décor. detail. Stage Manager The candidate fails to The candidate submitted a The candidate submitted a The candidate submitted a The candidate submitted a submit a stage stage manager script with stage manager script with stage manager script with stage manager script with Prompt Script manager script with some evidence of evidence of technical evidence of technical evidence of exceptional and evidence of technical technical aspects such as: aspects such as: a floor aspects such as: a floor clear detail of technical aspects aspects such as: a a floor plan, position of set plan, position of set and plan, position of set and such as: a floor plan, position of floor plan, position of and set pieces, doors, set pieces, doors, set pieces, doors, set and set pieces, doors, set and set pieces, windows, blocking, windows, blocking, windows, blocking, windows, blocking, entrances doors, windows, entrances and exits, entrances and exits, entrances and exits, and exits, sound cues, light cues blocking, entrances sound cues, light cues and sound cues, light cues and sound cues, light cues and and special effects. and exits, sound cues, special effects. special effects but not special effects. light cues and special always clear or correct. effects. Interview The candidate fails to The candidate arrives for The candidate arrives for The candidate arrives for The candidate arrives for the arrive for the interview the interview, submits an the interview, submits a the interview, submits a interview, submits a complete or fails to submit a incomplete stage manager complete stage manager complete stage manager stage manager prompt script stage manager prompt prompt script and provides prompt script and provides prompt script and provides and provides insightful, well- script or fails to brief and unsatisfactory satisfactory answers satisfactory and well- motivated and thoughtful provide satisfactory answers posed by the posed by the examination motivated answers posed answers posed by the answers posed by the examination panel. panel. by the examination panel. examination panel. examination panel. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 30 DBE/2021 Examination Guidelines 5.13 Practical/Performance Examination Day Requirements: Requirement for National Standardisation in the Nine Provinces It is important that the day of the performance examination runs without disruptions. See the CAPS for the performance day requirements. 1. The theme/audition performance script and the/designer/director/film-maker/stage manager/ theatre-maker note book, in hard copy, should be made available to the external examiner/moderator and teachers on the panel on the day of the final external performance examination. 2. Prepare the performance venue. 3. Provide the external examiner/moderator and teachers with a:  Table and chairs  Checklist with the candidates' names and surnames  Colour code for each candidate  Performance mark allocated by the teacher in the mark sheet 4. If teachers have invited an audience, the audience must be welcomed by the relevant teacher who must inform the audience that this is an EXAMINATION, and that responses and reactions to the performances are expected, but no distractions or interference with the performance will be allowed. 5. Start on time. 6. When examining or interviewing on the panel, the external examiner/moderator and teachers must have knowledge of the following:  The three performance examinations' process and procedures  The relevant rubrics for each of these three options  The Dramatic Arts CAPS Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 31 DBE/2021 Examination Guidelines 6. WRITTEN EXAMINATION 6.1 Written Examination: Overview This section will provide information for clarity towards the successful implementation and achievement of the written examination; from planning to inception to performance to recording and finally reporting. The written examination is internal for Grades 10 and 11 and external for Grade 12. The nature of the subject, Dramatic Arts, is to integrate Broad Topics and Topics. Candidates must be made aware that all the Curriculum Assessment Policy Statement (CAPS) concepts/ content/skills they acquire should underpin their answers to questions in all sections of the question paper. Refer to the Department of Basic Education's circular pertaining to the list of prescribed play texts. This list will provide clarity on which play texts have been prescribed for which topics of the CAPS. The written examination will be divided into four sections totalling 150 marks. SECTION A: 20TH CENTURY THEATRE MOVEMENTS 30 MARKS SECTION B: SOUTH AFRICAN THEATRE: 1960–1994 40 MARKS SECTION C: SOUTH AFRICAN THEATRE: POST-1994 – CONTEMPORARY 40 MARKS SECTION D: THE HISTORY OF THEATRE, PRACTICAL CONCEPTS, 40 MARKS CONTENT AND SKILLS 6.2 Written Examination: Format SECTION A: 20th Century Theatre Movements (30 marks) This question will consist of one long or several short essay question(s). For the long essay question the candidates will be expected to develop and sustain a discussion/an argument. Be mindful that a rote-learnt essay will disadvantage the candidate. It is important that candidates write down their own thoughts about the content required by the question. It would be an advantage if the candidate shows evidence of research and a critical approach. Use Bloom's taxonomy's six levels of cognition and four thinking levels to teach candidates what to provide to obtain a good mark. The essay question(s) may include, but is not limited to, the following: CAPS: Topic 3: Theatre of the Absurd or Epic Theatre or Post-modern Theatre CAPS: Topic 4: Prescribed Play Text: 20th-century Theatre Movements EITHER Theatre of the Absurd OR Epic Theatre or Post-modern Theatre SECTION B: South African Theatre: 1960–1994 (40 marks) This section will involve a choice dependent on which play text the candidate has studied. The number of questions will depend on the number of play texts prescribed as options. Candidates will answer the one question based on the play text he/she has studied. Reference may be made to Grade 11 work as background to the play text being studied. Different types of questions will be asked in this section:  Source-based play text, pictures, posters, reviews, etc.  Marks allocated may range per subquestion from 1 mark for short knowledge based questions to 15 marks for a question that requires a more sustained paragraph style answer. CAPS: Topic 5: Prescribed Play Text: South African Theatre (1960–1994) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 32 DBE/2021 Examination Guidelines SECTION C: South African Theatre: Post-1994 – Contemporary (40 marks) This section will involve a choice dependent on which play text the candidate has studied. The number of questions will depend on the number of play texts prescribed as options. Candidates will answer the one question based on the play text he/she has studied. Reference may be made to Grade 11 work as background to play text being studied. Different types of questions will be asked in this section:  Source-based play text, pictures, posters, reviews, etc.  Marks allocated may range per subquestion from 1 mark for short knowledge-based questions to 15 marks for a question that requires a more sustained paragraph-style answer. CAPS: Topic 6: South African Contemporary Theatre CAPS: Topic 7: Prescribed Play Text: South African Contemporary Theatre (post-1994) SECTION D: The History of Theatre, Practical Concepts, Content and Skills (40 marks) This section is based on theatre history and practical concepts, content and skills covered from Grades 10, 11 to 12. This section will consist of subquestions with a mark allocation from 1 mark to a maximum of 15 marks. This section could focus on the following: CAPS: Topic 1: 20th Century 'isms' CAPS: Topic 2: Performance Examination: Theme or Audition or Technical Theatre Programme CAPS: Topic 3: Theatre of the Absurd or Epic Theatre or Post-modern Theatre CAPS: Topic 5: Prescribed Play Text 2: South African Theatre (1960–1994) CAPS: Topic 6: South African Contemporary Theatre (post-1994) CAPS: Topic 7: Prescribed Play Text 3: South African Contemporary Theatre (post-1994) 6.3 Additional Topics from Grade 10 and 11 Curriculum which may be Examined in Grade 12: (Concepts, Content, Skills, Attitudes, Values, Techniques, Principles and Characteristics) Grade 10:  Topic 1: Introduction to Dramatic Arts  Topic 2: South African Theatre: Cultural Performance Forms or Oral Tradition  Topic 3: Play Text 1. South African Theatre  Topic 4: Scene Study  Topic 5: Origins of Western Theatre and Greek Theatre  Topic 6. Play Text 2: Greek Theatre  Topic 7: Non-verbal communication  Topic 8: Text Interpretation  Topic 9: Choice of Medieval Theatre/Commedia dell 'Arte/Indian Theatre  Topic 10: Play Text 3: Choice of Medieval Theatre/Commedia dell 'Arte/Indian Theatre  Topic 11. South African Theatre: Introduction to Workshop Theatre  Topic 12: Staging and/or Film Conventions  Topic 13: Performance Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 33 DBE/2021 Examination Guidelines Grade 11:  Topic 1: Realism and Constantin Stanislavski  Topic 2: Play Text 1: Realism in the Theatre  Topic 3: Voice and Body Work  Topic 4: South African Theatre  Topic 5: Play Text 2: South African Theatre  Topic 6: Physical Theatre  Topic 7: Stylised Theatre  Topic 8: Play Text 3: Stylised Theatre  Topic 9: The Director/Designer in Theatre and/or Film  Topic 10: Poor Theatre  Topic 11: Preparation of Practical Work 6.4 Written Examination – Assessment Grid and Subject Framework Tool: Overview This is an assessment/examination tool that ensures it is possible to design and write a test/examination that covers all the CAPS Topics. This tool also ensures that the topics are set at all the six levels of Bloom's Taxonomy. It also indicates the distribution of the three levels of difficulty: 30% of the questions on a lower level, 40% of the questions on a middle level or 30% of the questions on a high level. This tool must accompany every test and examination set for school-based assessment to prepare learners for the final end-of-year examination's design and weighting. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 34 DBE/2021 Examination Guidelines 6.5 Written Examination – Assessment Grid and Subject Framework Tool: Design and Purpose THEATRE OF THE ABSURD THINKING Factual Factual/ Conceptual/ Procedural Procedural/ Meta- PROCESS Conceptual Procedural Meta- cognitive cognitive KNOW- Remem- Under- Analysing Applying Evaluating Creating LEDGE bering standing LEVEL QUESTION TOPIC VERB CONTENT Total marks 1 3 Evaluate Source, 4 4 7 7 4 4 discuss characters, and movement, create themes, theatrical conventions Total marks = lower order Total marks = middle order Total marks = higher order 30 % 40 % 30 % WOZA ALBERT! THINKING Factual Factual/ Conceptual/ Procedural Procedural/ Meta- PROCESS Conceptual Procedural Meta cognitive cognitive KNOW- Remem- Under- Analysing Applying Evaluating Creating LEDGE bering standing LEVEL QUESTION TOPIC VERB CONTENT Total marks Total marks = lower order Total marks = middle order Total marks = higher order 30 % 40 % 30 % SOPHIATOWN THINKING Factual Factual/ Conceptual/ Procedural Procedural/ Meta- PROCESS Conceptual Procedural Meta cognitive cognitive KNOW- Remem- Under- Analysing Applying Evaluating Creating LEDGE bering standing LEVEL QUESTION TOPIC VERB CONTENT Total marks Total marks = lower order Total marks = middle order Total marks = higher order 30 % 40 % 30 % SIENER IN DIE SUBURBS THINKING Factual Factual/ Conceptual/ Procedural Procedural/ Meta- PROCESS Conceptual Procedural Meta cognitive cognitive KNOW- Remem- Under- Analysing Applying Evaluating Creating LEDGE bering standing LEVEL QUESTION TOPIC VERB CONTENT Total marks Total marks = lower order Total marks = middle order Total marks = higher order 30 % 40 % 30 % NOTHING BUT THE TRUTH THINKING Factual Factual/ Conceptual/ Procedural Procedural/ Meta- PROCESS Conceptual Procedural Meta cognitive cognitive KNOW- Remem- Under- Analysing Applying Evaluating Creating LEDGE bering standing LEVEL QUESTION TOPIC VERB CONTENT Total marks Total marks = lower order Total marks = middle order Total marks = higher order 30 % 40 % 30 % GROUNDSWELL THINKING Factual Factual/ Conceptual/ Procedural Procedural/ Meta- PROCESS Conceptual Procedural Meta cognitive cognitive KNOW- Remem- Under- Analysing Applying Evaluating Creating LEDGE bering standing LEVEL QUESTION TOPIC VERB CONTENT Total marks Total marks = lower order Total marks = middle order Total marks = higher order 30 % 40 % 30 % MISSING THINKING Factual Factual/ Conceptual/ Procedural Procedural/ Meta- PROCESS Conceptual Procedural Meta cognitive cognitive KNOW- Remem- Under- Analysing Applying Evaluating Creating LEDGE bering standing LEVEL QUESTION TOPIC VERB CONTENT Total marks Total marks = lower order Total marks = middle order Total marks = higher order 30 % 40 % 30 % Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 35 DBE/2021 Examination Guidelines 6.6 Written Examination – Assessment Grid and Subject Framework Tool: Example Woza Albert! by Mbongeni Ngema, Percy Mtwa and Barney Simon will be used as an example: This question is from the NSC November 2018 question paper. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 36 DBE/2021 Examination Guidelines WOZA ALBERT! THINKING Factual Factual/ Concep- Procedur Procedur Meta PROCESS Concept tual/ al al/ cognitive ual Procedural Meta cognitive KNOWLEDGE Remem- Understan Analys- Applying Evaluat- Creating LEVEL bering ding ing ing QUESTION TOPICS VERB CONTENT Total marks 2.1 10. 2 Explain Props/theme/ 2 2 11. character 12. 5 2.2 10. 2 Suggest Title/characters 1 1 2 11. 12.5 2.3 10.1/4/7 Describe Voice/body/ 1 1 4 6 /8/12 performance 11.3/6 space/blocking 12.2/5 2.4 10.4/7 Analyse Acting/voice/body/ 1 1 2 4 11.3/6 characterisation 12.2/5 2.5 10.5/12 Explain Stage directions 1 1 2 12.2 12.5 2.6 10.11 Explain History/socio- 1 1 1 1 4 11. political context 125 2.7 10.4/7 Identify Acting and vocal 1 1 3 1 6 11.3/6/ style/physical 10 theatre/ 12.2/5 2.8 10.4/11 Assess Workshop 1 1 1 1 4 11.4/10 Theatre/socio- 12.5/6 political context 2.9 10.11 Discuss Audience reception/ 1 1 1 2 5 10 11.6/9/ theme/acting 10 style/socio-political 12.2/5 context/style of play Total marks = Total marks = Total marks = e.g. 40 Lower order: 11 Middle order: 18 Higher order:11 30% 40% 30% 100% 1. 'Orange' and other colours. Write the title of the question. 2. Design questions that will fall into each of the three levels of difficulty (30% vs. 40% vs. 30%) 3. 'Question' heading. Write the question number. 4. 'Topic' – write down the topic number. 5. 'Verb' – write down the action verb as per Bloom's six cognitive levels and four levels of thinking 6. 'Content' – write down one-word answers to stipulate what content the question covers, e.g. theme/characters/use of stage. 7. 'Yellow and Green' – Bloom's six cognitive levels and four thinking processes: Write the amount of marks in each question that falls in the three levels of difficulty, e.g. the question counts 10 marks. 3 marks are on the lower level, 4 marks are on the middle level and the last 3 marks are on the higher level. 8. 'Total marks = lower/middle/higher order': At the end of setting all the questions add all the marks in the lower-level columns: It should be 30% of the total mark of the whole question, 40% must be on the middle level and the last 30% must be on the high level 9. In the case where the weightings are not correct, the subquestions must be redone by either changing the topic or the action word or the expected answer. 7. CONCLUSION This examination guidelines document is meant to articulate the assessment aspirations espoused in the CAPS document. It is therefore not a substitute for the CAPS document which educators should teach to. Qualitative curriculum coverage as enunciated in the CAPS cannot be over-emphasised. Copyright reserved