# Dramatic Arts Grade 12 Eastern Cape Mock 2015 Memo (English) > Grade 12 Dramatic Arts memorandum from the Eastern Cape Mock Exam 2015 (English), 40 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/dramatic-arts-memo-gr12-2015-eng/913ae65b-c91a-4c83-ad3b-c200b80e2052 - Updated: 2026-09-27 - Subject: Dramatic Arts - Grade: Grade 12 - Document type: Memorandum - Year: 2015 - Exam period: Eastern Cape Mock Exam - Curriculum: CAPS - Pages: 40 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 2015 Memo (English)](https://www.hlayiso.com/library/dramatic-arts-memo-gr12-2015-eng/913ae65b-c91a-4c83-ad3b-c200b80e2052) ## About this document Dramatic Arts · Grade 12 · Eastern Cape Mock Exam · 2015. Memorandum, 40 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 2015 DRAMATIC ARTS MEMORANDUM MARKS: 150 This memorandum paper consists of 40 pages. ### Page 2 Downloaded from hlayiso.com 2 DRAMATIC ARTS (EC/SEPTEMBER 2015) 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. Have regular rounds of consultation to ensure marking is standardised. 4. In the case where a candidate writes more than the suggested number of words – do not penalise (essay question). 5. The answers in the memo are a suggestion and do not offer all the answers for a question. Markers should take this into account and be open to candidate’s responses and make sure that different teaching styles do not disadvantage the learner. 6. Spend the first day to unpack the quality and quantity of the evidence in the memo and standardise and find common definitions and concepts. 7. Markers to align Broad Topics and Topics with the questions. 8. 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 2015) DRAMATIC ARTS 3 SECTION A: 20TH CENTURY THEATRE MOVEMENTS QUESTION 1 The candidate must answer this question in the form of an essay and use the play text he/she has studied as an example; Theatre of the Absurd, Epic Theatre OR Postmodern Theatre. Candidate should choose any THREE of the sub-topics suggested in the question. The essays should be marked using the rubric grid and the notes provided below. Take into consideration the candidates' approach to the topic. Motivated, original answers that show insight should be given credit. MARKS DESCRIPTOR The candidate clearly understands the quotation and can relate the play text and theatrical movement he/she has studied to the quotation. The candidate is able to construct an argument Excellent supporting the truth of the quotation and uses concrete, specific examples from the movement 27–30 and play text. The candidate discusses a minimum of three of the bullets and a maximum of five, choosing suitable points from the bulleted list connecting to the play text and movement he/she has studied. He/she focuses on the different purposes of theatre and clearly discusses how the play text studied is an example of a particular motivation. The candidate understands the quotation and can relate the play text and theatrical movement Very Good he/she has studied to the quotation. The candidate is able to construct an argument supporting 24–26 the truth of the quotation and uses examples from the movement and play text. The candidate discusses a minimum of three of the bullets, choosing some suitable points from the bulleted list connecting to the play text and movement he/she has studied. He/she discusses how the play text studied is an example of a particular playwright's motivation and theatrical movement. The candidate refers to the quotation and can connect the play text and theatrical movement he/she has studied to the quotation. The candidate attempts to support the truth of the quotation Good 21–23 and uses examples from the movement and play text. The candidate discusses a minimum of three of the bullets, choosing some suitable points from the bulleted list connecting to the play text and movement he/she has studied. He/she considers how the play text studied is an example of a particular playwright's motivation and theatrical movement. The candidate may refer directly to the quotation but is more likely to infer a connection rather Satisfactor than state it directly. He/she discusses the play text and theatrical movement. The candidate 18–20 attempts to connect the movement and play text. The candidate discusses some of the bullets, y choosing some points from the bulleted list connecting to the play text and movement he/she has studied. He/she may cover more points from the bulleted list but at a superficial level. The candidate is likely to infer a connection to the quotation rather than state it directly. He/she explains the play text and theatrical movement. The candidate manages to give some Average 15–17 example(s) of dramatic theorists/ practitioners, plays or texts, but rarely is able to relate this to the quotation. He/she gives some basic descriptions of bulleted points but lacks ability to connect the theatre movement, play text and quotation cohesively. Generally makes broad statements that relate to three or more of the bullets. The candidate is likely to ignore the quotation and connects by chance rather than design. Elementary He/she describes the play text and theatrical movement. The candidate manages to give some 11–14 example(s) of dramatic theorists/practitioners, plays or texts, but rarely is able to relate this to the quotation. The candidate gives some descriptions of bulleted points but lacks ability to connect the theatre movement, play text and quotation cohesively. Generally makes statements that relate to three or more of the bullets and is often plot focused in his/her answer. The candidate is likely to ignore the quotation and connects by chance rather than design. The Weak 0–10 candidate gives some descriptions of bulleted points but lacks the ability to connect the theatre movement, play text and quotation. Generally makes general statements that relate to some of the bullets. Copyright reserved Please turn over ### Page 4 Downloaded from hlayiso.com 4 DRAMATIC ARTS (EC/SEPTEMBER 2015) Candidates may use different ways to respond in essay form to show their understanding. However, take candidate’s knowledge of the text and the particular -ism under which it has been studied. Below are facts associated with the different -isms from which candidate may draw some of the facts in their essay. EPIC THEATRE: The candidate should be able to break down all the different parts of this new kind of drama and discusses every aspect of it that needs to be in a certain way. First of all, the audience needs to be “relaxed”, and there are a few ways to achieve that. The most important is to make the audience aware that they are in a theatre watching a play. Brecht did not want to “seduce” the audience into believing they were watching “real life”. He accomplished that by keeping the stage sets minimalistic, showing exposed lighting instruments and, in general, not “covering” the fact that it was a theatre play. Moreover, the plot is usually set in a historical time concerning “familiar events”, highlighting the universality of its theme. According to Brecht’s techniques, “their epic extensions through the style of acting, the placards and captions, is intended to purge them of the sensational”. The main character is not a tragic hero but rather an “untragic hero”, which is the reason why “Brecht’s drama eliminated the Aristotelian catharsis, the purging of the emotions through empathy with the stirring fate of the hero”. Another key characteristic is that the story line goes through a series of “interruptions” during the play, because “interruption is one of the fundamental devices of all structuring”. As a result of these interruptions the actors would use a variety of gestures to express themselves. One of the most imperative features of the epic theatre though is the fact that it is a “didactic play”. As mentioned before, Brecht wanted to make the audience realise certain socio- political conditions that were being depicted through the play’s plot, but simultaneously, he wanted to “keep a social drama free of the effects which empathy produces and which the audience was accustomed to” , giving the play an instructive tone. Consequently, a significant part of the play’s success was the actor, who’s “task in the epic theatre is to demonstrate through his acting that he is cool and relaxed”, like the audience. An actor in epic theatre should not play his role as if he is the character but rather act non-naturalistically and have “the possibility of stepping out of the character artistically” in order to be critical of what he is performing, and even addressing the audience directly sometimes. Copyright reserved Please turn over ### Page 5 Downloaded from hlayiso.com (EC/SEPTEMBER 2015) DRAMATIC ARTS 5 Some of the characteristics of Epic Theatre include  Plays are usually political and didactic in nature.  Brecht plays also draws from other past dramatists such as the ancient Greeks and the Elizabethans.  These plays are translations of the Noh Theatre of Japan with unemotional prose.  He uses satire by combining blank verse and songs.  Plays that are written for social action ‘Theatre of Social Action’  Brecht’s plays have a passion embedded in the need to bring change – theatre as a space on which to express opinions and attitudes that could initiate change in ideas, thoughts and action.  He wanted his audience to leave the theatre with a new form of awareness to consider the problems in his play and do something about these problems in reality.  He believed that emotions in theatre overshadow reason when you are watching a sentimental drama.  The play becomes a montage with a series of independent incidents developed to shock the people into new recognitions and understandings.  There’s always a narrator/storyteller who addresses the audience directly thus breaking the fourth wall created in realist theatre.  An entire historical event can be covered in one sentence.  The audience must remain constantly critical  Each scene is given a subtitle that would be removed only to be replaced by a new one when the scene changed.  He defies linear dramatic structure of a well-made play which involves continuity from one scene to the next and the building of suspense towards a climax.  Scenes are linked through thematic threads rather than the structure and the unfolding of events as in the realist theatre.  Theatre as a spectacle, with subject matter and audience participation or involvement.  Plays are creates in a style that is commentary to society for the sake of social change.  Author as producer, as maker as of any other product  Destroy theatrical illusion.  Music/song versus text or commentary by actors.  The audience should be involved in the performance to observe objectively, think and develop critical detachment in order to influence social action.  Epic Theatre appeals less to the feelings than to the spectator’s reason.  Brecht developed the Verfremdungseffekt or "Alienation-effect". Copyright reserved Please turn over ### Page 6 Downloaded from hlayiso.com 6 DRAMATIC ARTS (EC/SEPTEMBER 2015) Other techniques that could be found in Epic Theatre plays can include:  Signs, placards or projections which tell us what's going to happen before each scene, to disrupt the illusion, give us a context or message on which to base our observations.  Masks and puppetry  Visible stage machinery (expose the technology of theatre)  The play as the "parable play” or that which is known as Lehrstück.  Use of music to interrupt and comment on action  Acting in the third person  Having actors describe their moves and gestures outside the written dialogue  Exploring the “gest” of character. Gest meaning both gesture and gist. Candidate may mention any of the above in line to the play that they have studied. Markers are advised to look at candidate’s response in relation to whether it shows knowledge of Epic Theatre from its intentions, its structural purpose, the relationship between text, performance and audience as a didactic platform where the audience is given the opportunity to criticise both political and social issues for the sake of action and social reform; from this knowledge, markers are also advised to assess whether candidate was able to fuse this knowledge as resultant to a play that they have studied through their level of application. Candidates should be able to identify aspects of plot, structure, characters, language and themes as per Epic Theatre conventions. The theoretic knowledge should be applied to text analysis and the distinctions of different -isms or styles as suggested in the extract. It should be noted that there will be some candidate show an extended knowledge through knowledge, application and the capability to synthesise these features together as a lesson that is accurate to the complete outcomes aimed at by Epic Theatre. THEATRE OF THE ABSURD Candidate should show an insightful understanding of theatre of the absurd as a different style as suggested in the extract by identifying elements of absurdity in the study text. Markers should consider candidate’s response by referring to the suggested answers below inclusive in an essay. Candidate should at least have the following facts in a discussed in their essay: Generally Theatre of the Absurd comprises od broad comedy, mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichés, wordplay, and nonsense; plots that are cyclical or absurdly expansive; either a parody or dismissal of realism and the concept of the "well-made play". Copyright reserved Please turn over ### Page 7 Downloaded from hlayiso.com (EC/SEPTEMBER 2015) DRAMATIC ARTS 7 Absurd in Theatre of the Absurd could mean the following:  Without purpose  Illogical  Out of harmony  Useless  Devoid of reason  Meaningless  Hopeless  Chaotic  Lacking order  Uncertain PLOT AND STRUCTURE  Traditional plot structures are rarely a consideration in The Theatre of the Absurd. Plots can consist of the absurd repetition of cliché and routine, as in Godot or The Bald Soprano.  Often there is a menacing outside force that remains a mystery  Absence, emptiness, nothingness, and unresolved mysteries are central features in many Absurdist plots  Absurdist theatre uses few stage props and what’s on the stage is usually a display of the inside of the characters’ minds.  Often the action is cyclical (repeats itself), or ends exactly where it began  Briefly: - Anti-realistic - Going against many of the accepted norms of conventional theatre – labeled by some critics as ‘anti-theatre’ - Often characterised by a deliberate absence of the cause and effect relationship between scenes - Non-linear plot developments, sometimes cyclical - Ending where they began - Occasionally appearing as though there is no plot at all to speak of deliberate lack of conflict - Sometimes it seems there is no plot. - Planned absence of conflict Copyright reserved Please turn over ### Page 8 Downloaded from hlayiso.com 8 DRAMATIC ARTS (EC/SEPTEMBER 2015) LANGUAGE  One of the most important aspects of absurd drama is its distrust of language as a means of communication.  Despite its reputation for nonsense language, much of the dialogue in Absurdist plays is naturalistic.  The moments when characters resort to nonsense language or clichés – when words appear to have lost their denotative function, thus creating misunderstanding among the characters, making the Theatre of the Absurd distinctive.  Language frequently gains a certain phonetic, rhythmical, almost musical quality, opening up a wide range of often comedic playfulness.  Much of the dialogue in Absurdist drama (especially in Beckett's and Albee's plays, for example) reflects this kind of evasiveness and inability to make a connection. When language that is apparently nonsensical appears, it also demonstrates this disconnection.  Language, it seems to say, has become nothing but a vehicle for stereotyped, meaningless exchanges.  Theatre of the Absurd shows that words cannot go beyond the surface; they cannot express the meaning of human existence  Briefly: o Language was devalued as a communication tool (unreliable and distrusted) o Often illogical o Sometimes telegraphic and clipped o Long pauses – clichéd – repetitive o Rhythmical o Frequent use of silence o Monotone o Slow dialogue sometimes accompanied by a frenzied, fast-paced monologue (extremes) CHARACTERS  The characters in Theatre of the Absurd are lost and floating in an incomprehensible universe and they abandon rational devices and discursive thought because these approaches are inadequate. Many characters appear as automatons stuck in routines speaking only in cliché. Characters are frequently stereotypical, archetypal, or flat character types. Copyright reserved Please turn over ### Page 9 Downloaded from hlayiso.com (EC/SEPTEMBER 2015) DRAMATIC ARTS 9 THEMES  Whereas traditional theatre attempts to create a photographic representation of life as we see it, the Theatre of the Absurd aims to create a ritual-like, mythological, archetypal, allegorical vision, closely related to the world of dreams.  The focal point of these dreams is often man's fundamental bewilderment and confusion, stemming from the fact that he has no answers to the basic existential questions: why we are alive, why we have to die, why there is injustice and suffering, etc.  The focus is on human beings trapped in an incomprehensible world subject to any occurrence, no matter how illogical. The above guidelines should be inclusive in candidate’s response as required by the question. Markers should consider how candidate shows their understanding of the different characteristics (as stated in the theory) and use the text to serve as an example of such -ism. POSTMODERN THEATRE  Postmodern theatre serves a primary purpose to deconstruct a number of core ideas associated with Modernist theatre, such as the ‘The truth is unverifiable’.  The audience are confronted with a decision to make up their own truth about productions.  The use of media forms.  Experimentations in language and thought.  A pastiche of different textual and historical sources.  The inclusion of sources taken from popular culture.  Non-linear storytelling conventions.  No attempt to duplicate reality.  A combination of wild humour with terrible tragedy. Copyright reserved Please turn over ### Page 10 Downloaded from hlayiso.com 10 DRAMATIC ARTS (EC/SEPTEMBER 2015) Characters in Postmodern Theatre Characters in Buried child:  Characters tell us about themselves rather than having other characters tell about themselves. We see this through many uncertainties that lie in the character relationships in Buried Child. No one seem to know anything about anyone in the play, thus take whatever the character says about themselves. For instance, Shelly arrives with Vince to a shock containing a series of misunderstanding. If Shelly knew about Vince and reported it through her lines, then the truth might have been believable as the opinions would be from two sources.  Characters are metaphors, archetypes  Dodge usually for instance, dissociates himself from his family and all affection.  Notice how every member of the family usually dissociates themselves from the family throughout the play.  Halie is a hypocrite, hiding behind religion, yet having an affair with the minister and atleast one other man. She lives with a secret and that cripples her and makes her abusive in nature.  Characters are dark, unhappy, terse, alienated, secretive, violent, and often one-dimensional.  Characterisation includes role-playing and sudden transitions – whom do we believe and when?  We are not sure if Halie is telling the truth when she remembers her happy past and trips to the racetrack in the sunshine.  Is Ansel a real hero?  Does Dodge remember Vince or not? Dialogue and Language in Buried Child:  Language is natural, filled with repletion, fragments and emotions.  Language fits the characters − there is evidence of a fewer gaps between the characters and what they say. Themes in Buried Child:  Family corruption: Alienation and dissociation are experienced by all family members as they suffer for the sin of their father, Dodge, all denying reality, and therefore their true identity. Characters are crippled in one way or another. They are unable to recognise Vince, one of their own who has arrived to seek his own identity truth. All characters need the purifying rain and action that takes place. Dodge (dodging the truth) dies as Tilden (the tiller) tells the truth of the past, and the earth gives up its dead. Copyright reserved Please turn over ### Page 11 Downloaded from hlayiso.com (EC/SEPTEMBER 2015) DRAMATIC ARTS 11  American Dream: The values of the Dream, that include independence and a belief in might taking the law into its own hands, have ruined this family. This is a tale for America and its misuse of land and force.  Organised Religion has no answers: Organised Religion does not answer to any man’s troubles. Father Dewis is shown to be weak and cowardly, immoral, totally unable to help with the needs of the family  Past and Present: The problems of the past are always with us in the present, and we pay for the sins of our fathers forever. The past has somewhat made the present. Vince lies like Dodge on the sofa in the end of the play. The play ends with a return to the beginning hinting that the past will always be with this family. Characters in Top Girls:  Marlene, Is happy with her achievements and knows what she wants, has fought for her right to achieve as a woman in the workplace, spends her life escaping from the standards she grew to resent as a child: her life is determined by her own ambitions, assumes others should share her outlook  Joyce is a doggedly loyal, independent, very bitter and transfers this negative attitude onto others and she does not realise how she might affect others.  Angie Is an independent thinker, intelligence, no real direction in life and she is a pessimist. Language in Top Girls:  Characters are portrayed by their use of language.  Short sentences are loaded with a lot of meaning. The clarity of speech does not mean that there are fewer issues in implication.  The use of strong language to shock.  Some characters use of Latin to indicate education and learning  Joan uses Latin in the presence of other characters as a form of alienation in itself.  The use of misogyny by women  There are subsequent feminist commentary in the play  A speech follows the one before it but when one character starts speaking before the other finished, the point of disruption is marked.  A character sometimes continues to speak right through another’s speech  The characters speeches indicate the postmodernist displacement of time.  Speeches overlap each other  Language in Top Girls is idiomatic of humankind. Copyright reserved Please turn over ### Page 12 Downloaded from hlayiso.com 12 DRAMATIC ARTS (EC/SEPTEMBER 2015) Themes in Top Girls: Choices and Consequence Act 1, at the dinner party; all characters present had to make a particularly hard decision to have been where they are. Pope Joan chose to live like a boy, then a man in public. She fell pregnant by her secret lover for which consequentially she had to be stoned. Joyce chose to adopt Angie and this brought a certain life path which she had to follow. Marlene also made several choices. She became a career woman as a result estranged herself from her family. Marlene is alone because of the choices that she has made. Angie chose to drop out of school and went to live in London with her aunt and for this the consequences are not yet clear.  Success and Failure  Success is an important aspect of Marlene’s life in Top Girls, who she is and whose company she keeps. The dinner party is in place to celebration Marlene’s promotion to managing director as well as the successes of her guests. Joan became pope, Isabella travelled the world, Gret fought the devils in hell and Griselda survived her husband’s extraordinary test of loyalty. It should be noted that Marlene sees these women as successful even though they are not in her actual life. Again, Marlene’s personal life is a failure due to her success in business. She does not have any real friends and she has not seen her biological daughter in seven years. Marlene believes that Joyce is a failure because she did not grow beyond her neighbourhood. Joyce cleans houses for a living and she also is not impressed at Marlene’s life. However, Marlene and Joyce believe that Angie has no chance of success due to her lack of education, ambition and her rather dumb nature. They agree that one should support oneself to be successful.  Class Conflict We see the conflict in class through Marlene and Joyce’s different definitions of success. Marlene has education and persistence hence her success from working-class to middle-class. She holds a management position in a demanding field. Marlene supports the philosophies of the female prime minister of Britain, Margaret Thatcher even though perceived as anti-working class. Joyce works as a cleaning lady to support Angie. Joyce thinks that Margaret Thatcher as evil and compares her to Adolf Hitler for her attitudes towards the working-class people. Joyce thinks Marlene is too good for her. Marlene doesn’t like working-class people but she does not regard her sister as one of them. The two never see eye to eye in terms of class Copyright reserved Please turn over ### Page 13 Downloaded from hlayiso.com (EC/SEPTEMBER 2015) DRAMATIC ARTS 13  Sex Roles and Sexism Top Girls deals with society’s expectations of what women should be and do. The guests at the dinner party define womanhood in a particular era, with regards to what they already are or that which they are not. Isabella could not live up to the standards of femininity defined by her sister, Hennie. Yet Isabella is a well-travelled woman who saw more of the world than most men. Marlene’s career sets her apart as a woman and the roles that she now has to perform. Even though Marlene has benefited economically from her career, her disregards sex roles proves to be a problem. She is not married, and it does not seem like she is in any long term relationship with anyone. Joyce does not like her. Mrs Kidd, the wife of a man over whom Marlene got the promotion begs Marlene not to take it. Mrs Kidd believes that Howard must not answer to a woman in terms of work. Mrs Kidd believes that Marlene should give up her promotion so that Howard can obtain it and be able to support his family as per stereotype. She calls Marlene unnatural for standing on the promotion and her commitment to her job. Sexism does not make Marlene’s life and choices any easy. Candidates may mention any of the above in line to the play that they have studied. Markers are advised to look at a candidate’s response in relation to whether they show knowledge of Postmodern Theatre from its plot, language, structure, characters and theme; its structural purpose, the relationship between text, performance and audience as a didactic platform where the audience is given the opportunity to criticise both political and social issues for the sake of action and social reform; from this knowledge, markers are also advised to assess whether candidate was able to fuse this knowledge as resultant to a play that they have studied through their level of application. It should also be noted that candidate should respond to the extract and the validity thereof by virtue of showing insight. It should be noted that there will be some candidate show an extended knowledge through knowledge, application and the capability to synthesise these features together as a lesson that is accurate to the complete outcomes aimed at by Theatre of the Absurd. TOTAL SECTION A: 30 Copyright reserved Please turn over ### Page 14 Downloaded from hlayiso.com 14 DRAMATIC ARTS (EC/SEPTEMBER 2015) SECTION B: SOUTH AFRICAN THEATRE (1960-1994) Answer ONLY ONE question from this section. QUESTION 2: WOZA ALBERT! BY PRECY MTWA, MBONGENI NGEMA AND BARNEY SIMON 2.1 2.1.1 The Pass Law. Candidate may respond in this manner. There were certain groups of people that the previous dispensation did not allow in certain areas without producing a valid pass book. The actors in the picture are reflecting that law through dramatic action and the use of the pass book as a prop in the pictured scene. Award 1 mark for the named law and 2 marks for the explanation (3) 2.1.2 Candidate may have the following rendition around the topic of satire: In the case where candidate agrees or disagrees with the topic, the following guideline must be considered by the marker to assess candidates understanding of satire and identifying its elements in the study text. Satire is traditionally a form of comedy, but can sometimes be found at the heart of more serious drama. Satire will often ridicule an individual, but the target can also be a group of people or an institution. The aim of satire is to mock the weaknesses or similar characteristics of another. In the case of Woza Albert! satire is applied through the use of Morena as a metaphor for the apartheid government. The use of Morena as the saviour and the uncertainty thereof plays a huge thematic role in the play especially in the beliefs placed around such deity. Calvinism is also criticised as having the same standard as hypocrisy and failure to deliver its promises. The mocking of these believes is seen through lack to deliver the needs of the people. Thus Woza Albert! is a satiric representation of South Africans especial the government’s folly. Consider candidates response carefully. (5) 2.1.3 Jerzy Grotowski and his Poor Theatre actor-training techniques. (1) Copyright reserved Please turn over ### Page 15 Downloaded from hlayiso.com (EC/SEPTEMBER 2015) DRAMATIC ARTS 15 2.1.4 Consider the following in candidate’s response.  The actor and his/her skills was 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  This act cannot exist if the actor is more concerned with charm, personal success, applause and salary, than with creation as understood in its highest form. It cannot exist of the actor conditions it according to the size of his part, his place in the performance, the day or kind of audience. (Jerzy Grotowski) (6) 2.1.5 Candidate is expected to mention incidences in the script where physical theatre is used to address issues. For instance, the play begins with the actors singing and movement and using their bodies as instrument to compose musical sounds. The element of the total act by Jerzy Grotowksi insists that actors need to be fully engaged in the performance, using all their inner truths to communicate a theme. (5) 2.2 2.2.1 The Theatre of Resistance addressed itself to the oppressed with the overt aim of mobilising them to explore ways and means of fighting against the oppression of apartheid. Candidate’s response must indicate somewhat the knowledge of the above guideline. For instance, the calling for Morena could be a metaphor to call the existing people forward to help fight against the apartheid regime. (6) 2.2.2 Candidate may use the events of the play as reference to their answer. It is a rendition of the previous state of South African government history. It discusses the evils of the past both in name and in event explanations. Woza Albert! tells the story of the condition in which South Africa and its citizens used to live in the past. (6) Copyright reserved Please turn over ### Page 16 Downloaded from hlayiso.com 16 DRAMATIC ARTS (EC/SEPTEMBER 2015) 2.2.3 Use the following rubric to assess candidate. MARKS DESCRIPTOR The candidate has an excellent understanding of the play and the review. Very Good He/she is able to support his/her answer connecting the socio-political 6–8 environment of the play and the characters' motivations using relevant examples from the play to connect it to present society. This candidate is more likely to agree that the review is valid. . The candidate has a sound understanding of the play and the review. He/she is able to support his/her answer with relevant examples from the play and the Good 5–6 characters' motivations and connects this with present times. This candidate may agree or not with the validity of the review being still valid now but has the capacity to support his/her answer. Average The candidate has an understanding of the play. Tends to make correct 3–4 statements but they are not supported by clear reference to the play text. Weak The candidate has a poor understanding of the play. Tends to make broad 0–2 statements, many of which do not connect to the review at all. Copyright reserved Please turn over ### Page 17 Downloaded from hlayiso.com (EC/SEPTEMBER 2015) DRAMATIC ARTS 17 Woza Albert! is a true reflection of what used to be South Africa in the past; the unfair laws of apartheid and the characters that stood as the victims of a higher power to whom help may be received. The themes in Woza Albert! reflect the same acts that were carried out by the South African government in the past. This gives the readers/audiences the opportunity to learn about the history of South Africa in during the Apartheid regime. Markers should consider candidates’ opinions on the subject addressed in the question. Markers should also consider candidates’ view about theatre, its role in society, theatre as a means of communication and information tool. (8) [20] OR QUESTION 3: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY 3.1 Candidate may discuss any TWO of the following:  Musical theatre: King Kong  Jazz music: Dolly Rathebe, Miriam Makeba, Hugh Masekela, Abdullah Ibrahim and many more.  Writers: Can Themba, Bloke Modisane, Es’kia Mphahlele, Nat Nakasa, Arthur Maimane, Todd MAtshikiza Lewis Nkosi, most worked for Drum magazine as writers. (4) 3.2 Candidate may respond with any TWO of the following:  Triomf was to be built in the place of Sophiatown.  Influx controls,  Blackspots: A 'Blackspot' was an area of land in which blacks lived in freehold in what the National Government regarded as white South Africa. The Blackspots were bought legally by blacks, either as individuals or as groups, before apartheid legislation made it illegal to do so, and many had been bought as far back as before the Union Government of South Africa in 1910  Bantustan (or homeland) policy aimed at stripping all Africans of any political rights as well as their citizenship in South Africa.  Any TWO clearly discussed reasons. (4) Copyright reserved Please turn over ### Page 18 Downloaded from hlayiso.com 18 DRAMATIC ARTS (EC/SEPTEMBER 2015) 3.3 Candidate may mention ONE of the following:  In the Pietersburg area, the Department of Bantu Administration in the Pietersburg area began moving blacks into a new township, Moletsi, in 1966. Others were moved to Seshego.  The Coloured population was moved to Westernburg in 1965, west of Sterkloop.  Indians and Coloureds were moved out of the city centre and into Group Areas, the former to Nirvana and the latter to Westernburg.  In 1953 the black people of Charlestown were told that they would have to move to Buffalo Flats, 40 miles away, and 18 miles from Newcastle, the nearest town. In 1963 people were forcibly moved from Charlestown to another area, 6 miles from Newcastle, called 'Duck Ponds'. Their Charlestown houses were demolished, and their goods were loaded onto lorries and moved to small prefabricated huts. They were not allowed to take their livestock with them.  On February 11, 1966, the apartheid government declared Cape Town's District Six a whites-only area under the Group Areas Act of 1950. From 1968, over 60 000 of its inhabitants were forcibly removed to the Cape Flats, over twenty five kilometres away. Except for the local houses of worship, the buildings were systematically bulldozed throughout the 1970s, and by 1982, almost all evidence of the district had been destroyed. Candidate may mention any ONE of the above suggestion. (2) 3.4 Township musical: A musical form of theatre that fuses African and other styles to reflect on township life, usually for a township audience.eg. Sophiatown, Mbongeni Ngema, Gibson Kente’s productions etc. (2) 3.5 Candidate should show their understanding of the term Township Musical and the ability to identify its elements within the study text. The following suggestion is based on the elements of Township theatre and Sophiatown as an example thereof: Sophiatown is an example of a Township Musical Characteristics/elements of a Township musical – urban township lifestyle that include vibrant street scenes and illicit drinking spots called shebeens e.g. Mamariti’s house in Sophiatown. There are usually pennywhistle players, an acapella singing and traditional mbaqanga music, as well as a mixture of black American jazz and blues styles (the singing in Sophiatown and the spread of music, song and dance within the play itself). The themes and stories relate to the historical, social, political and cultural aspects of township life (the forced removals as the core theme in Sophiatown). There are other elements of a township musical that may not necessarily apply to the question because of their performance nature. Therefore, the candidate may not be able to apply them in the question because they may have never seen Sophiatown’s live performance. (8) Copyright reserved Please turn over ### Page 19 Downloaded from hlayiso.com (EC/SEPTEMBER 2015) DRAMATIC ARTS 19 3.6 3.6.1 Group Areas Act: During the 1950s and 1960s, the large-scale removals of Africans, Indians, and Coloureds were carried out to implement the Group Areas Act, which mandated residential segregation throughout the country. More than 860,000 people were forced to move in order to divide and control racially-separate communities at a time of growing organised resistance to apartheid in urban areas. These removals meant separation of cultural, family and societal bonds that the residents had already developed. Charlie has to be without Mingus and the separation brings about his tragic death. Consider candidate’s knowledge of the effects of the forced removals specific to the environment of the study text and its people. (5) 3.6.2 Consider the following facts in the candidate’s response: The following may be inclusive in the dress code of Mingus and Charlie:  Gangsters were influenced mostly by the Italian and American gang lifestyle.  This meant expensive clothes usually used also in a boastful or ‘swanky’ manner.  This included fancy suits (Simpson suits), smart hats (Stetson and or Bozalino hats) and fancy formal shoes (Crockett and Jones shoes). Assess whether candidate knows how the gangsters dressed in Sophiatown drawing from the two characters in the play as examples. (6) 3.7 3.7.1 Monotone refers to lack of tonal variation in speech delivery by an actor. There is no change in the sounds; it is both without harmony and has no change in pitch. (2) 3.7.2 Candidate has a choice to answer with anything from Stanislavsky, Grotowski or Gibson Kente. A discussion on the latter; a style that many may relate to as caricature. Gibson Kente trained his actors physically and vocal as music was centre to his style of theatre. Actors had to be able to speak in staccato, a technique used to avoid reverberation that could be caused by the lack of acoustic quality in township halls. Speaking in staccato is a technique used to avoid speech from clashing with the reverberated sound. Actors were also trained physically in order to perform dances that were mostly inclusive within Township musical theatre. Actors were also trained in the style of enunciation that was special to Township theatre. Voice training is also essential to meet the singing requirements in Township musicals (7) [40] Copyright reserved Please turn over ### Page 20 Downloaded from hlayiso.com 20 DRAMATIC ARTS (EC/SEPTEMBER 2015) QUESTION 4: SIENER IN DIE SUBURB BY PG DU PLESSIS 4.1 Problem drama: The kind of theatre where a problem/dilemma is played out before the audience to encourage them to rethink or re-examine their own views about the topic addressed by the play. (2) 4.2 Plays would be banned for the following reasons:  For challenging mainstream Afrikaans culture  For challenging Calvinism  Addressing taboo issues like homosexuality  Plays forced the audiences to confront their own prejudices and lack of knowledge about their fellow human beings.  Challenging the idea of patriarch or father figure in Afrikaner culture, which had been such a strong part of the Afrikaans identity  Challenging the stereotypes in humorous and controversial ways. Candidate may discuss any two of the above guidelines with a well written account to gain the full marks. (4) 4.3 4.3.1 The characters on the picture from left to right are: Jakes, Tjokkie and Giel (3) 4.3.2 Consider the candidate’s accuracy in responding to this question as required by the instructions. This is a point in the play when Giel and Jakes are forcing Tjokkie to ‘see’. This is one of the themes tackled by the play itself. Giel and Tjokkie are trying to force Tjokkie to see but this is to his detriment. They use a number of abusive techniques almost third degree in nature. The two would threaten him with abusive talk and promises of physical harm. The troubles faced by both Giel and Jakes are seemingly to be solved if he (Tjokkie) can ‘see’ into the future or the past in order to bring solutions. Tjokkie is fixing his car as he does, seen to be a sort of a preparation to move out of the suburb and this dream is always distracted by the pessimistic yet demanding people around him. Jakes and Giel are almost drunk also in this scene. The picture captures this moment in the play. Markers to use discretion when marking this question; candidate will not respond as is in the guidelines but in their own way. Consider the above as some of the facts that may be present in candidate’s response. (4) Copyright reserved Please turn over ### Page 21 Downloaded from hlayiso.com (EC/SEPTEMBER 2015) DRAMATIC ARTS 21 4.3.3 Candidate may agree or disagree to the question with reasons. The following is the guideline to answering this question. Protest theatre is the style of theatre that has strong political and topical issues as its element. It aims to raise awareness to expose injustice and to suggest how to change the existing situation, providing an alternative. To educate, instruct and bring about change. The audience is made to sympathise with the ‘cause’ or the victim and re-evaluate their former opinions and behaviour. It aims to evoke an emotional response in the audience as a trigger to action. The message of the play is central. All features such as plot and character are subordinate to the main theme. Candidate may use the above information in relation to text, agreeing or disagreeing to the question. ‘Die arme blanke vraagstuk’ (Poor white problem) and the state of poverty in the play, Siener in die Suburb could be what the play is protesting about. How poverty in the suburb brings about many challenges to the community and families of the play; protesting against a certain economic position held by others within the South African community. The state of the characters in the play serve as an example of what poverty may do to a person and how the environment also puts pressure on the human; and an even distribution of wealth as the underlying request. (5) 4.3.4 Like the other characters in the play; Tjokkie has his own grievances, wishes, goals and dreams. However, Tjokkie still lives in the suburb and he fails to see a way out for himself. His ‘seeing powers’ are not helpful to him as a person and he is not progressing yet others are trusting him even to an extent where he suffers abuse. So his ‘seeing’ maybe seen a problem against himself as a person in the story; it works against him instead of for him. It is ironic that Tjokkie is nothing better than the other characters in the play. He fails to use his gift to serve himself and become a success and to leave the suburb. Mark in consideration to the above as a suggestion. (6) 4.3.5 Candidate will be assessed based on their understanding of drama elements in play performance and the ability to analyse the text in terms of its characters. Candidates need to know the requirements for an actor to play the role of Ma. Their response should indicate their awareness of the character of ma and acting as taught in theory. The candidate’s response should also indicate an understanding of dramatic arts in terms of acting and the skills thereof. Candidate should also be able to identify events from the play where the certain characteristics discussed are evident from the character of Ma in the play. Copyright reserved Please turn over Text truncated here. 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