# Dramatic Arts Grade 12 Dramatic Arts 2021 Guideline (Eng) > Grade 12 Dramatic Arts exam guideline from the Dramatic Arts 2021 (English), 36 pages. Read online or get the free PDF download. - Page: https://www.hlayiso.com/library/dramatic-arts-gr-12-exam-guidelines-2021-eng/ee6f0ea9-ddcf-425a-9a16-c37aced5853f - Updated: 2026-09-27 - Subject: Dramatic Arts - Grade: Grade 12 - Document type: Exam guideline - Year: 2021 - Exam period: Dramatic Arts - Curriculum: CAPS - Pages: 36 Breadcrumbs: [Home](https://www.hlayiso.com/) › [Library](https://www.hlayiso.com/library) › [Grade 12](https://www.hlayiso.com/library/grade-12) › [Dramatic Arts](https://www.hlayiso.com/library/grade-12/dramatic-arts) › [Dramatic Arts Grade 12 Dramatic Arts 2021 Guideline (Eng)](https://www.hlayiso.com/library/dramatic-arts-gr-12-exam-guidelines-2021-eng/ee6f0ea9-ddcf-425a-9a16-c37aced5853f) ## About this document Dramatic Arts · Grade 12 · Dramatic Arts · 2021. Exam guideline, 36 pages. Read online or download the PDF. Read it free online on the page above; download the PDF from there. ## Document text Text extracted from the PDF. Layout, diagrams and tables may not survive extraction. ### Page 1 Downloaded from hlayiso.com DRAMATIC ARTS EXAMINATION GUIDELINES GRADE 12 2021 These guidelines document consist of 36 pages. Copyright reserved Please turn over ### Page 2 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 ### Page 3 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 ### Page 4 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 ### Page 5 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 ### Page 6 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 ### Page 7 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 ### Page 8 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 ### Page 9 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 ### Page 10 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 ### Page 11 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 ### Page 12 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 ### Page 13 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 ### Page 14 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 Text truncated here. 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