# Dramatic Arts Grade 12 Eastern Cape Mock 2018 Memo (English) > Grade 12 Dramatic Arts memorandum from the Eastern Cape Mock Exam 2018 (English), 42 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/dramatic-arts-gr12-memo-sept2018-english/b7d3fa27-67eb-40cb-8240-0ce6fad51074 - Updated: 2026-09-27 - Subject: Dramatic Arts - Grade: Grade 12 - Language: English - Document type: Memorandum - Year: 2018 - Exam period: Eastern Cape Mock Exam - Curriculum: CAPS - Pages: 42 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 Eastern Cape Mock 2018 Memo (English)](https://www.hlayiso.com/library/dramatic-arts-gr12-memo-sept2018-english/b7d3fa27-67eb-40cb-8240-0ce6fad51074) ## About this document Dramatic Arts · Grade 12 · Eastern Cape Mock Exam · 2018 · English. Memorandum, 42 pages. Read online or download the PDF. Read it free online on the page above; download the PDF from there. ## Document text Text extracted from the PDF. Layout, diagrams and tables may not survive extraction. ### Page 1 Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE GRADE 12 SEPTEMBER 2018 DRAMATIC ARTS MARKING GUIDELINE MARKS: 150 This marking guideline consists of 42 pages. ### Page 2 Downloaded from hlayiso.com 2 DRAMATIC ARTS (EC/SEPTEMBER 2018) GENERAL COMMENT FOR EXAMINERS/EDUCATORS: 1. Candidate must refer to the Dramatic Arts theory and contextualising within the play studied. Full marks cannot be awarded unless the candidate shows an understanding of the theories of the subject. The answers must be discipline specific. Use What, Why and How with pointed references to examples in the text. 2. Tick clearly to indicate the learning which is being assessed. Markers should engage actively with the answers. 3. Chief markers should facilitate the rubric with markers. The level descriptors of Dramatic Arts must be used to guide the marking. 4. Have regular rounds of consultation to ensure marking is standardised. 5. In the case where a candidate writes more than the suggested number of words – do not penalise (essay question). 6. The answers in the marking guideline are a suggestion and do not offer all the answers for a question. Markers should take this into account and be open to candidates’ responses and make sure that different teaching styles do not disadvantage the learner. 7. Spend the first day to unpack the quality and quantity of the evidence in the marking guideline and standardise and find common definitions and concepts. 8. Markers to align Broad Topics and Topics with the questions. 9. The suggested answers are often beyond what most candidates at Grade 12 level can manage and should be regarded as a learning tool for markers. Copyright reserved Please turn over ### Page 3 Downloaded from hlayiso.com (EC/SEPTEMBER 2018) DRAMATIC ARTS 3 SECTION A: 20TH CENTURY THEATRE MOVEMENTS QUESTION 1: 20TH CENTURY THEATRE MOVEMENTS (-ISM) Topic 12.1: 20th Century ‘isms 12.3: Absurd or Epic or Postmodern Theatre 12.4: Play Text 1: 20th Century Theatre Movements, Epic or Absurd or Post-Modern theatre Cognitive level difficulty Analyse, Evaluate, Create Command verb Discuss, Evaluate, Create Explanation of command verb To determine, judge, consider the significance, value, purpose, worth of something by careful appraisal and study for the purpose of understanding, interpreting or guiding. Complexity of thinking process Metacognitive Level of Complexity/Problem-solving Very difficult Rubric type Extended Constructed Response Weighting of mark allocation Low 9 Middle 12 High 9 Quality MARK QUALITY OF EVIDENCE Level Allocation High End Score The response indicates application of a reasonable strategy that leads to a correct point solution in the context of the problem. The procedural representations are correct. 24–30 The explanation and/or justification is logically sound, clearly presented, fully developed, supports the solution, and does not contain significant conceptual errors. The response demonstrates a complete understanding and analysis of the problem. Average and Score The response indicates application of a reasonable strategy that may or may not Above point Average lead to a correct solution. The use of content/skill is essential correct. 15–23 The explanation and/or justification is generally well developed, feasible, and supports solution. The response demonstrates a clear understanding and analysis of the problem. Achieved Score The response indicates an incomplete application of a reasonable strategy that point may or may not lead to a fit-for-purpose solution. The use of content/skill is 11–14 fundamentally correct. The explanation and/or justification support the solution and are plausible, although it may not be well developed or complete. The response demonstrates a conceptual understanding and analysis of the problem. Weak Score The response indicates little or no application of a reasonable strategy. It may or point may not have the correct answer. The use of content/skill is incomplete or 1 – 10 missing. The explanation and/or justification may be incomplete or missing. The response demonstrates a minimal understanding and analysis of the problem. Not Achieved Score The response is completely incorrect or irrelevant. There may be no response, or point the response may state, ‘I don’t know’ 0 Copyright reserved Please turn over ### Page 4 Downloaded from hlayiso.com 4 DRAMATIC ARTS (EC/SEPTEMBER 2018) The following content pointers serve as guide: The candidate must:  Answer this question in a form of an essay  Use the play text he/she has studied as an example  Refer to either one of the three movements: Theatre of the Absurd OR Epic Theatre OR Postmodern Theatre in their answer  Refer to the Source in their answer  Demonstrate the question and source have been analysed, understood and integrated in their essay The content of the essay must cover the following: 1. ONE selected Theatre Movement: o Theatre of the Absurd OR o Epic Theatre OR o Postmodern Theatre 2. Play text studied 3. Question 4. Source Markers’ note:  Candidate must demonstrate that the above has been understood and critically analysed and applied in the essay.  Rote learnt knowledge must be contextualised in an original argument that displays factual, contextual, procedural and meta-cognitive thinking.  Use the rubric on the next page to assist in the assessment of the essays. Copyright reserved Please turn over ### Page 5 Downloaded from hlayiso.com (EC/SEPTEMBER 2018) DRAMATIC ARTS 5 DESCRIPTOR MARKS THE CANDIDATE DEMONSTRATES THE FOLLOWING:  Thinking process: Adapts factual, conceptual, procedural and meta- cognitive knowledge in the question, source and integrates the demands of the question. Quotes in a differentiated, interpretative, creative and original Outstanding manner. 27−30  Evaluates examples in the play text, the theatre movement and other Metacognitive 90−100 additional sources within an expansive range of insightfully chosen Knowledge theoretical, practical and aesthetic content. Create A+  Designs and creates an argument in a new and unique pattern that proposes reflexive creative, critical and analytical thinking.  Cognitive level: Demonstrates an ability to create, reorganise, synthesise, discover, renew, change, elaborate, and improve.  Thinking process: Appraises factual, conceptual, procedural and meta- cognitive knowledge in the question, source and content and integrates the demands of the question. Quotes in a differentiated, interpretative and Excellent interesting manner. 24−26  Appraises/Assesses examples in the play text, the theatre movement and Metacognitive 80−89 other additional sources within a significant range of appropriately chosen Knowledge theoretical, practical and aesthetic content. A  Compiles an argument in an interesting pattern that proposes reflective Evaluate critical and analytical thinking.  Cognitive level: Demonstrates ability to judge, critique, recommend, report, evaluate, predict, invent, and propose.  Thinking process: Analyses, distinguishes and explores factual, conceptual, and procedural knowledge in the question, source and the content and Meritorious integrates the demands of the question. Quotes in a differentiated and 21−23 interpretative manner. Procedural  Analyses/Dissects examples in the play text, the theatre movement and 70−79 Knowledge other additional sources within a broad range of appropriately chosen theoretical, practical and aesthetic content. B Analyse  Compiles an argument that proposes critical and analytical thinking.  Cognitive level: Demonstrates and ability to analyse, infer, deconstruct concepts, interrelate, attribute, discover.  Thinking process: Analyses and distinguishes factual, conceptual and procedural knowledge in the question, source and content and integrates the Substantial demands of the question. Quotes in an organised, differentiated and 18−20 interpretative manner. Procedural  Integrates examples from the play text, the theatre movement and other 60−69 Knowledge additional sources within a wide range of appropriately chosen theoretical, practical and aesthetic content. C Apply  Provides an argument that proposes critical and analytical thinking.  Cognitive level: Demonstrates an ability to apply, construct, integrate, simulate. Copyright reserved Please turn over ### Page 6 Downloaded from hlayiso.com 6 DRAMATIC ARTS (EC/SEPTEMBER 2018) DESCRIPTOR MARKS THE CANDIDATE DEMONSTRATES THE FOLLOWING:  Thinking process: Explains, interprets and rephrases factual and conceptual knowledge in the question and source and content and integrates the Adequate 15–17 demands of the question. Quotes in a differentiated manner.  Interprets examples in the play text, the theatre movement and other Conceptual 50–59 additional sources within a general range of theoretical, practical and Knowledge aesthetic content, predictable. Understand D  Provides an argument that proposes analytical thinking.  Cognitive level: Demonstrates an ability to interpret, infer, exemplify, classify, summarise, compare and explain.  Thinking process: Explains and interprets factual and conceptual knowledge in the question, source and content and integrates the demands of the Moderate question and quotes in a differentiated manner. 12–14  Explains examples in the play text, the theatre movement and other Conceptual additional sources within a predictable range of theoretical, practical and 40–49 Knowledge aesthetic content.  Writes an explanation within a range of predictable/general thinking E Understand processes.  Demonstrates the ability to interpret, infer, exemplify, classify, summarise, compare, and explain.  Thinking process: Defines and applies knowledge from memory and Elementary integrates the demands for the question. Quotes in an 10–11 uncomplicated/straightforward and fundamental manner. Factual  Selects examples in the play text, the theatre movement and other additional 30–39 Knowledge sources within a narrow range of theoretical and aesthetic content. F  Writes an explanation within a range of predictable thinking processes. Remember  Cognitive level: Demonstrates an elementary ability to problem solve, identify, list relate, and define.  Thinking process: Remembers and applies disjointed/irrelevant knowledge. Not Achieved Demonstrates limited to basic ability to solve the demands of the question. 1–10  Chooses examples from the play text, the theatre movement and other Factual sources. 20–29 Knowledge  Writes an explanation within a basic range of thinking processes that is decontextualised. G Remember  Cognitive level: Demonstrates a limited ability to identify, list, relate, define, interpret, and differentiate.  Demonstrates no understanding of the question or source, unable to write an Not Achieved 0 essay, provides no examples from the play text or the theatre movement. OR Factual  Presents a few facts, unrelated to the question. OR Knowledge  Unable to identify, list, relate, define. OR H  Presents memorised information and content that does not answer the Remember question. Copyright reserved Please turn over ### Page 7 Downloaded from hlayiso.com (EC/SEPTEMBER 2018) DRAMATIC ARTS 7 IMPORTANT NOTES WHEN MARKING THE ESSAY: In addition to referring to all knowledge and skills outlined in the rubric per descriptor, please take note of the following: One factual statement about the theatre style or the play does not equal one mark. Carefully consider the thinking process and cognitive level involved in the overall discussion by the candidate. An essay filled with factual statements about the play and theatre style at best falls into the Elementary descriptor category (30%–39%). Essays assessed as being in the Excellent and Outstanding Descriptor category (80% and above) must include all knowledge and skills outlined in the rubric and must include a discussion/comparison of the socio-political contexts of the modern and 20th century worlds. The socio-political context is implied in the question for higher order cognitive level answers. The following content that candidates should refer to is taken from the Via Afrika Grade 12 Learners Textbook and other sources. This may be used as an aid to assessment of the content of the essay and as further study resource material. ABSURD THEATRE Socio-Political context  After the Second World War people had a desperate need to make sense of the brutality and chaos (horrors of Nazi concentration camps) of the war  Science had failed to provide social solutions  Destructive power of atomic bomb – man able to destroy humanity  Questions about reason and human beings’ rationality  People feeling disillusioned, exhausted and desolate  People lost faith in God and technology  Theatre focused on the basic human condition  Feelings of helplessness and futility in a world that seemed without purpose Philosophies/20th century –isms Influential thinkers/philosophers of the time: Existentialism The main concern of this philosophy is the meaning of existence, which is seen as illogical, pointless, arbitrary and cruel. We exist because we exist – there is no pre- ordained plan and after life we become dust – there is no proof of after-life existence. This makes living in the moment very important because the present is the only reality we can count on. Copyright reserved Please turn over ### Page 8 Downloaded from hlayiso.com 8 DRAMATIC ARTS (EC/SEPTEMBER 2018) Friedrich Nietzsche (1844–1900) first claimed that ‘God is dead’. He meant that people’s relationship with God was broken, and that God was as good as dead. Jean-Paul Sartre said that ‘Man is condemned to be free’: condemned also because we did not create ourselves. Having been hurled into the world, we are responsible for everything that we do. As such people feel alien in a world that has no meaning, and this feeling of alienation creates despair, boredom and a sense of absurdity. He did not believe in a system of absolute morals we have to adhere to. We were created as free individuals and this freedom condemns us to make choices throughout our lives. Facts and events in live only have meaning because we have attached such meaning to them. An action is therefore only immoral because we chose to label it as such. Our choices are significant. We must find our own values and act in accordance with them – and then accept the consequences. In existentialist philosophy, this is called ‘authenticity’. Albert Camus was the first theorist to use the term ‘Absurd’ in relation to the human existence. By this we mean that human beings are ridiculous creatures, out of harmony with their surroundings. The term expresses the gulf between our aspirations and the meaningless universe in which we exist. Our problem is to find our own way and our own standards in a world of chaos. He reinforces the idea of solipsism – a belief that one can only know oneself. Camus believed that human beings lost the comfort to explain the world in terms of logic and reason after WW2. The modern world makes no sense. People are also isolated and cut-off from each other through difficulties in communication. Camus’ ideas are summed up in an essay, The Myth of Sisyphus (1942), in which he describes the plight of human beings through the Greek myth about Sisyphus, who angered the gods and was condemned to push a boulder up a hill, only to have it roll back down as soon as he reached the top. He saw this act of seemingly pointless repetition similar to existence for post-war society. Absurdist characters  Representative of humanity, rather than an attempt to create a ‘real’ person on stage.  Exaggerated qualities  The situations are intensified  No character background – they have no past and little indication of their futures  They are not judged against who or what they are but rather for what they do  Characters are vehicles to express the playwright’s thoughts on humanity  Characters often come in pairs/comic duos. Mutually dependent characters as for instance Vladimir (mind) and Estragon (body) representing a single human being or Genet’s characters often forming a master-slave relationship. Copyright reserved Please turn over ### Page 9 Downloaded from hlayiso.com (EC/SEPTEMBER 2018) DRAMATIC ARTS 9 Other Absurd Theatre conventions Plot structure The plots of Absurd Theatre do not follow traditional structural forms. There is no unity of action, time and place as in the mirrored society of traditional theatre. Action, time and place is dislocated to reflect a world out of harmony. Playwrights employ a circular, episodic structure emphasising the lack of progress to a logical resolution. All events have equal insignificance and the only resolution is the inevitable moment of death. The structure gives the audience an experience of living a senseless live in a meaningless world through either following a circular pattern or spiral descending into futility. There is little exposition and nothing seems to happen. The climax is postponed. Characters fill the time with trivial activities such as circus clowning, music- hall banter, repetitive dialogue, farce and futile attempts at understanding their universe. Language/Dialogue  Inability of language to bridge the gap between human beings  Language is depersonalising, automatic and meaningless  Meaningless conversations  Silence/pauses  New words are created reflecting people’s attempts to communicate with others. The attempts are doomed to fail.  Banal daily conversations mixed with lyrical language, puns, clichés, slang and repetitions  Sudden changes in linguistic style and mood  Stichomythia – a quick exchange of dialogue  Occasional forceful speeches  Repetition Performance space Stage used to reflect the emptiness of the existentialist world where people feel isolated in their environment. The stage becomes a metaphor for the world itself. The performance space focuses attention on themes and symbolic meaning rather than the external realities of life. Beckett’s empty performance spaces reflect the oppressive emptiness of the lives of the characters. Ionesco clutters the performance space yet achieves the same effect of oppressive emptiness (of spirit). A cluttered environment that is still empty of meaning. Copyright reserved Please turn over ### Page 10 Downloaded from hlayiso.com 10 DRAMATIC ARTS (EC/SEPTEMBER 2018) EPIC THEATRE Socio-political context Brecht  1918 Brecht was drafted as a medical orderly in the First World War and witnessed the daily slaughter and suffering of human beings.  Brecht was strongly opposed to the political powers that sacrificed countless human lives for what he believed was capitalist economic gain.  Brecht recognised the conflict between people’s spiritual aspirations and their physical reality and animal nature.  After Treaty of Versailles, Germany suffered tremendous economic hardship.  The Russian revolution of 1917 was followed by the emergence of Karl Marx’s theories.  Marxism provided Brecht with a scientific view of the world and a strong political faith.  He opposed mindless patriotism and the values of bourgeois society and supported the idea of an inevitable class struggle, in which the proletariat would bring about social revolution. Philosophies/20th century –isms Influential thinkers/philosophers of the time: Marxism was based on Hegelian dialectics, which can be described as ‘the coexistence of opposites, the merging of thesis and antithesis, the fact that order cannot be conceived without disorder – in a word, dynamic ambiguity’. This became for Brecht the essence of drama, as it showed that human life was never static, but always developing. All causes, effects and relationships are dynamic, involving ongoing conflict and contradictions. Conflicting forces pull a person, family or society in opposite directions, which, in turn, bring about movement, development or change. In the early 20th century, the artistic world was involved in a rebellion against the romantic and naturalistic styles, and movements, such as Dadaism, cubism, surrealism and expressionism, were opposed to naturalism and realism. Expressionism was first applied to respectively the Dutch and French painters Van Gogh and Gauguin who worked in a style different from the Impressionist painters. It focused on the artist’s emotions rather than on the objects that aroused these emotions. In drama, it refers to the movement that first grew in Germany around the time of First World War. It captured feelings of dissatisfaction with authority and the materialism associated with the war. Expressionism used sarcasm and satire to attack increasing industrialisation and materialism. Copyright reserved Please turn over ### Page 11 Downloaded from hlayiso.com (EC/SEPTEMBER 2018) DRAMATIC ARTS 11 The expressionists believed that there is no absolute truth but that fundamental truth is to be found within humankind – its spirit, desires and visions – and external reality should be reshaped until it is brought into harmony with these internal attributes. They believed that beneath the social façade there is a vast hidden reality consisting of secrets and unconscious desires, aspirations, conflicts, frustrations and hallucinations. It is this subjective reality that Expressionists wished to explore. The aim of Expressionistic writers was to expose the inner feelings and experiences of the characters, rather than the outer reality in which they existed. The focus was on the journey of the soul of the main character, so normal order of events and the unities of time, place and action were disrupted to create a heightened effect. Epic characters  Characters represent a universal type such as peasants or soldiers as a social milieu for more rounded characters such as Grusha, Shen Te, Mother Courage and Kanna in Kanna Hy Kô Hystoe  Character development is not of lesser importance in Epic Theatre.  There is no obvious hero that the audience must identify with.  The characters are victims of a social and political system and do not fail because of their own choices of free will or their own bad judgement.  Characters are represented one-sided and representative.  Characters seem to be products of their socio-political setting.  Actors use gestus (show attitude) rather than express feelings.  Characters exclude the psychological – feelings are externalised. Other Epic Theatre Conventions Plot Structure The epic play was structured as a montage of independent incidents (episodes which are complete within themselves), which Brecht believed could connect dissimilar in such a way as to ‘shock’ people into new recognitions and understandings. In Kanna Hy Kô Hystoe the structure forms a montage through the unstructured connecting of important moments, happenings and conversations in the life of the family. As the text indicates ‘the characters speak across distances, years, dreams and death’. In an episodic structure the episodes are linked by thematic threads, which Brecht wanted his audience to confront, ponder, debate and reflect upon. The audience could make connections between the past and present. Brecht’s plays were structured according to Marxist dialectics: argument, clash and confrontation. The thesis-antithesis structure of an argument can be found in the structure and placement of the scenes. Brecht referred to the ‘gest’ of each scene – its well-defined action and purpose. Copyright reserved Please turn over ### Page 12 Downloaded from hlayiso.com 12 DRAMATIC ARTS (EC/SEPTEMBER 2018) The chain of events exists to present a solid case from which a socio-political lesson can be learned. Brecht maintained that his plays were like scientific experiments that examined human behaviour to see what morals and principles influence them, and whether there is scope for improvement. Historification Historification (or setting the play in a distant past or distant location away from the audience’s reality) contributes significantly to keeping the audience critical of what they are watching, while allowing them to draw parallels with the present. He wanted the audience to experience an objective distance, so they could participate in alternative decision-making. Historification refers not only to the historical setting of the action, but also to the geographical setting. Verfremdungseffect Verfremdung (sometimes translated as ‘alienation’ or ‘distancing’, but literally meaning ‘to make strange’) is an important Brechtian term. The verfremdungseffekt (or V- effect) refers to the way Brecht went about ensuring that his audience’s empathy was broken, so that they remained critical of the events they were watching. POST-MODERN THEATRE Socio-Political context  Post-Modernism began to emerge in the mid-1980’s and is an eclectic movement, which embraces many different ideas and approaches.  In the 20th century there was a blurring of the boundaries between different disciplines, and also between ‘high’ and ‘low’ culture. In Post-Modernism, the divisions between genres and disciplines disappear altogether. The idea of elite art is laughed at and artists recycle popular culture.  Modernist artworks lament the loss of meaning and coherence, and see the fragmentation of history as tragic. Post-Modernism, on the other hand, celebrates the chaos of contemporary life, embracing nonsense and absurdity, and creating a sense of fun, playfulness and irony.  In the Modernist era, radical theatre experimented with breaking away from the expected norms. Post-Modern Theatre, in turn, rejects the ideologies and certainties of the Modern era.  In America, mainstream theatre is represented by Broadway, while Off-Broadway theatre is more experimental. The Off-Off-Broadway theatre movement was driven by artists who pushed boundaries because they were dissatisfied with the mainstream, which was unlikely to take risks. Many of what are now considered Post-Modern plays came out of this spirit of testing new frontiers.  As the world around us changes, and scientific discoveries advance, technologies multiply, and global capitalism and consumerism seem to go out of control, playwrights need new ways to express the chaos and change they find around them. Copyright reserved Please turn over ### Page 13 Downloaded from hlayiso.com (EC/SEPTEMBER 2018) DRAMATIC ARTS 13 Philosophies/20th century –isms Influential thinkers/philosophers of the time The term ‘postmodern’ came into the philosophical lexicon with the publication of Jean-Francois Lyotard’s La Condition Postmodern in 1979 (The Postmodern Condition: A report on knowledge, 1984). One of the themes in postmodern philosophy is a denial of universal, objective truth. This is clearly declared in Jean-Francois Lyotard’s statement ‘incredulity towards metanarrative’. A metanarrative refers to a unifying story that seeks to explain how the world is – in other words a metanarrative is a worldview. Lyotard suggests that we should be sceptical of such broad explanations. For example, the statement ‘God so loved the world’ is nonsensical to Postmodernists for two reasons: (1) they deny the existence of God, and (2) statements reflecting the whole world (metanarratives) are impossible. The computer age has transformed knowledge into information, that is, coded messages within a system of transmission and communication. We live in a world where we are bombarded with messages and information and shy away from accepting only one absolute truth about the world we live in. Postmodernism is a repetition of the modern as the ‘new,’ and this means the ever-new demand for another repetition. Sam Shepard’s plays are peopled with characters from the mythic landscape of America: heroes, rock-stars and cowboys. He combines storytelling with experimental forms. His plays seem to border on realism but it really is a container for stories that explore the post-modern condition in America. His theatrical style is marked by monologues with a hallucinatory quality, dialogue that seems bizarre and sometimes nightmarish. The language is meant to transport the audience into moments of heightened consciousness. Another notable aspect of his work is pastiche: he juxtaposes pop culture images and characters on stage. Post-modern characters  Using characters that are ordinary and non-exceptional  Characters could be psychologically real with real motivations.  Characters can be fragmented, disembodied representations of ideas. Post-Modern conventions Pastiche: The taking of various ideas from previous writings and literary styles and pasting them together to make new styles. Intertextuality: The acknowledgement of previous literary works within another literary work. Copyright reserved Please turn over ### Page 14 Downloaded from hlayiso.com 14 DRAMATIC ARTS (EC/SEPTEMBER 2018) Metafiction: The act of writing about writing or making readers aware of the fictional nature of the very fiction they are reading. In theatre, this becomes Meta-theatre, making the audience aware of the fact that it is only a play. Temporal Distortion: The use of non-linear timelines and narrative techniques in a story. Minimalism: The use of characters and events which are decidedly common and non- exceptional characters. Maximalism: Disorganised, lengthy, highly detailed writing. Magical Realism: The introduction of impossible or unrealistic events into a narrative that is otherwise realistic. Faction: The mixing of actual historical events with fictional events without clearly defining what is factual and what is fictional. Reader Involvement / Audience Involvement: Often through direct address to the reader/audience and the open acknowledgement of the fictional/unreal nature of the events being described. TOTAL SECTION A: 30 Copyright reserved Please turn over ### Page 15 Downloaded from hlayiso.com (EC/SEPTEMBER 2018) DRAMATIC ARTS 15 SECTION B: SOUTH AFRICAN THEATRE (1960–1994) QUESTION 2: WOZA ALBERT! BY BARNEY SIMONS, PERCY MTWA AND MBONGENI NGEMA 2.1 2.1.1 Topic 10.11: SA Theatre, Workshop Theatre 12.5: SA Theatre (1960-1994) Cognitive level difficulty Remembering Command verb Name Explanation of command verb To identify, specify or mention by name Complexity of thinking process Factual Level of Complexity/Problem-solving Easy Rubric type Short Specific Response Weighting of mark allocation Low 0 Middle 0 High 1 Workshop method. (1) 2.1.2 Topic 10.11: SA Theatre, Workshop Theatre 10.8: Text Interpretation Cognitive level difficulty Analyse Command verb Discuss Explanation of command verb Write about the topic in detail, take into account or consider different issues or ideas or opinions related to it. Complexity of thinking process Procedural Level of Complexity/Problem-solving Difficult Rubric type Short Extended Response Weighting of mark allocation Low 1 Middle 2 High 3 Markers to mark with discretion. The following is a guideline: With regards to Workshop theatre making method, ‘Interpretive freedom’ refers to the following. One mark for a simple response and THREE marks for a well-motivated answer.  Every member of the group can and may equally analyse and contribute to the making of the production without fear of their positions in the entire production.  Ideas can be a collective instead of one person making analytical decisions without the consent of the team.  Every idea that is proposed by the team members is subjected to analysis and criticism by the group.  Being open minded when approaching the rehearsal process.  To be able to change the decisions that you had made previously based on new discoveries.  Being able to adjust the production in your own way as you rehearse.  To freely analyse and change things without the fear of who you are in the production. (3) Copyright reserved Please turn over ### Page 16 Downloaded from hlayiso.com 16 DRAMATIC ARTS (EC/SEPTEMBER 2018) 2.1.3 Topic 10.1: Introduction to Drama 10.Staging Conventions 11.11: Poor Theatre 12.3: Epic Theatre 12.5: SA Theatre (1960-1994), Playtext Woza Albert! Cognitive level difficulty Analyse Command verb Explain Explanation of command verb Make Something clear, easy to understand by describing more in detail or revealing facts or information. Give a reason so as to justify or excuse (an action or event) Complexity of thinking process Conceptual Level of Complexity/Problem-solving Moderate Rubric type Analyse Weighting of mark allocation Low 0–1 Middle 3–6 High 7–8 Consider the following as guidelines (Refer to ANNEXURE A). Award marks for FOUR different aspects discussed individually or TWO well explained aspects. The traditional plot for plays usually looks like this:  Exposition sets the scene. The writer introduces the characters and setting, providing description and background.  Complication, sometimes called the inciting incident, is a single event that begins the major conflict.  Rising Action builds during the story and gets more exciting.  Climax is the moment of greatest tension in the story.  Falling Action happens as a result of the climax and we know that the story will soon end.  Resolution is when the character solves the main problem/conflict or someone solves it for him or her.  Denouement (French: the action of untying): is the series of events that follow the plot’s climax. It is the opposite of the exposition, in that any remaining questions or mysteries that remain after the resolution are solved by the characters or explained by the playwright. Sometimes the playwright leaves us to think about the theme or future possibilities for the characters. Copyright reserved Please turn over ### Page 17 Downloaded from hlayiso.com (EC/SEPTEMBER 2018) DRAMATIC ARTS 17 Candidate may oppose the plot by discussing the structure as Episodic. An episodic structure is characterised by the following:  Each scene has its own beginning, middle and end  This structure can be either plot driven or character driven. Keep in mind that a “place” can be considered a character if it is the central figure in each episode.  If the story is character driven, you will most likely have at least one character showing up in every episode, using this character as the driving force in each story. (In the case of Woza Albert!, Percy and Mbongeni)  If the story is plot driven, you will see a similar character, place, or theme in each chapter or story, but the driving force will be the events within each.  Each scene/episode stands on its own. Some of the jokes require you to know a lot about the characters from previous episodes and the Main Character’s goal is often developed over time, but overall each episode can stand alone as an individual story. Candidate may argue against traditional using the above information. COSTUME:  Costumes are authentic  Costumes demonstrate the place, socio-political, cultural, period, age, gender, etc. characteristics of the character In Woza Albert!  Actors are only wearing pants  Costumes are representational  Costumes are used to transform into different characters in the play  There is minimal use of costumes (8) Copyright reserved Please turn over ### Page 18 Downloaded from hlayiso.com 18 DRAMATIC ARTS (EC/SEPTEMBER 2018) 2.2 Topic 10.12: Staging Conventions 11.1: Realism and Stanislavski 11.10: Poor Theatre 12.5: SA Theatre (1960-1994) Cognitive level difficulty Analyse Command verb Explain Explanation of command verb Make Something clear, easy to understand by describing more in detail or revealing facts or information. Give a reason so as to justify or excuse (an action or event) Complexity of thinking process Conceptual Level of Complexity/Problem-solving Moderate Rubric type Brief Constructed Response Weighting of mark allocation Low 1–2 Middle 3–4 High 5–6 Candidate agrees or disagrees with the given statement. However, in the beginning of the play Woza Albert! It is clearly stated that the actors, Mbongeni and Percy went under a strict actor training method i.e. Poor theatre techniques. Consider the following: Award full marks for THREE well-motivated reasons. In Woza Albert! the following are true to the acting:  His aim was to eliminate the division between actor and audience, creating a communion between the two (the holy communion).  Actors typically performed with the spectators on many sides.  Participants also performed in and around the spectators strategically placed amongst them in the space.  The actor and his/her skills were at the core of all Poor Theatre performances.  On occasions, performances used no ‘real’ props, but employed actors as props instead.  Actor training was intense over long periods of time.  Actors with egos had no place in Grotowski’s theatre.  Aim was for acting to be authentic, akin to Stanislavski’s system (but more physical).  Grotowski used a variation of Stanislavski’s emotion memory technique with his own actors. (6) Copyright reserved Please turn over ### Page 19 Downloaded from hlayiso.com (EC/SEPTEMBER 2018) DRAMATIC ARTS 19 2.3 Topic 10.12: Staging Conventions 12.5: SA Theatre (1960-1994) Cognitive level difficulty Evaluating Command verb Evaluate Explanation of command verb Determine, judge, consider the significance, value, purpose, worth, condition of something by careful appraisal and study for the purpose of understanding, interpreting or guiding. Complexity of thinking process Meta cognitive Level of Complexity/problem-solving Very difficult Rubric type Brief Constructed Response Weighting of mark allocation Low 1-2 Middle 3-4 High 5-6 Candidates’ own response. Markers must mark with discretion. Award full marks for THREE well-motivated reasons with examples. The following might be the reasons:  The Episodic nature of the play may change  They may have to change into real costumes  There will be to many actors on stage  The actor’s skills will not be challenged to its fullest potential (6) 2.4 Topic 11.10: Poor Theatre 12.5: SA Theatre (1960-1994) Woza Albert! Cognitive level difficulty Suggest Command verb Explain, Describe Explanation of command verb Make Something clear, easy to understand by describing more in detail or revealing facts or information. Give a reason so as to justify or excuse (an action or event) To give, narrate, relate, tell, describe, express a detailed account of Complexity of thinking process Conceptual Level of Complexity/Problem-solving Procedural Rubric type Brief Constructed Response Weighting of mark allocation Low 1–2 Middle 3–4 High 5–6 Award full marks for THREE well explained, with examples reasons given by candidates. These are some of the motivations behind the meaning of the term Poor Theatre.  Grotowski’s acting area was typically bare, with few props and no set. Object transformation was a key aspect of Poor Theatre  After transformation, objects were often symbolic and/or of great significance  Lighting typically flooded the acting area with no use of spotlights or focus areas  If used at all, ‘costumes’ would be anonymous, not identifying character (as with realism) (6) Copyright reserved Please turn over ### Page 20 Downloaded from hlayiso.com 20 DRAMATIC ARTS (EC/SEPTEMBER 2018) 2.5 Topic 10.12: Staging Conventions 12.5: SA Theatre (1960–1994) Woza Albert! Cognitive level difficulty Suggest Command verb Discuss Explanation of command verb Write about the topic in detail, taking into account or considering different issues or ideas or opinions related to it. Complexity of thinking process Metacognitive Level of Complexity/Problem-solving Very difficult Rubric type Extended Constructed response Weighting of mark allocation Low 0–3 Middle 4–7 High 8–10 Refer to staging conventions of Poor Theatre. Consider the school environment in candidates’ responses. Use the rubric in ANNEXURE B. (10) [40] OR Copyright reserved Please turn over ### Page 21 Downloaded from hlayiso.com (EC/SEPTEMBER 2018) DRAMATIC ARTS 21 QUESTION 3: SOPHIATOWN BY JUNCTION AVENUE THEATRE COMPANY 3.1 3.1.1 Topic 12.5: SA Theatre (1960–1994) Cognitive level difficulty Remembering Command verb Name, Identify and Select Explanation of command verb Specify time or place as something desired. Prove what or who someone or something is. Carefully choose, determine or decide the best or most suitable. Complexity of thinking process Factual Level of Complexity/Problem-solving Easy Rubric type Short Constructed Response Weighting of mark allocation Low 1 Middle 2 High 3-4 The character of Jakes introduces the audience to the socio-political background of the play in a monologue. The audience is then introduced to the characters of Mingus and the writing of the love letter introducing the theme of love as contrast to the conflict of the struggle. The exposition carries on in scene 2 as we are introduced to Mamriti’s shebeen and the characters of Lulu and Princess. The exposition comes to an end with the triggering event which is when Ruth enters. (4) 3.1.2 Topic 10.12: Staging Conventions 12.5: SA Theatre (1960 – 1994) Cognitive level difficulty Creating Command verb Create Explanation of command verb Evolve from one’s own thought or imagination, as a work of art, an invention or something new. Cause to come to being. Complexity of thinking process Metacognitive Level of Complexity/Problem- Difficult solving Rubric type Short Constructed Response Weighting of mark allocation Low 1-2 Middle 3-4 High 5-6 Award marks for knowledge of positioning on stage as well as the use of movement and lighting. Following is an example of a possible response: Shafts of light illuminates the cast spread over the stage on different levels with Jakes centre stage. Theu move around the stage as they dance to the opening song. Characters move to their designated positions at the end of the song to establish their characters: Lulu to school desk, Mamriti to arm chair, Mingus and Princess to the street lamp and Charlie at Mingus’ feet. Jakes to typewriter. Jake rises and moves down stage as he addresses the audience. Mingus joins him until scene two where all characters are illuminated in Mamariti’s house. (6) Copyright reserved Please turn over ### Page 22 Downloaded from hlayiso.com 22 DRAMATIC ARTS (EC/SEPTEMBER 2018) 3.2 Topic 12.5: SA Theatre (1960 – 1994) Cognitive level difficulty Applying Command verb Suggest Explanation of command verb Cause, argue, demonstrate, show that something exists or is the case. Put forward for consideration. Mention an idea, possible plan, or action for other people to consider. Produce an idea in mind Complexity of thinking process Conceptual Level of Complexity/Problem- solving Moderate to difficult Rubric type Short Constructed Response Weighting of mark allocation Low 1–3 Middle 4–6 High 7–8 Award TWO marks per well explained response or ONE mark per briefly stated fact. Mamariti: (A respectable shebeen queen with a motherly figure above her, the oldest in the house, the leader of a home)  A dress that fits her age, flowing and long  A doek on her head  A shawl over her shoulders Mingus: (A gangstar kingpin, a thug, a fashion lover with an obvious inclination to brand names)  Formal Bostonian shoes  A shirt  A Borsalino hat  A three-piece suit Candidate must provide reasons for their choice of costume. Use rubric in ANNEXURE A (8) Copyright reserved Please turn over Text truncated here. 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